Part 41 of my series of Iron Maiden reviews! This time, we’ll talk about the Kerrang! exclusive tribute album Maiden Heaven, and a cover tune that didn’t make it onto the B-sides for A Matter of Life and Death.
This will be the last Maiden review of this series before Christmas. After the holiday we’ll reconvene so be sure to check back!
TRIBUTE TO IRON MAIDEN – Maiden Heaven (2008)
A little bit out of continuity, I wanted to get this release out of the way before we get into the next Maiden studio album. Maiden Heaven was a Kerrang! exclusive tribute album, probably out of print. I received this from my bud Dan Slessor who writes for the mag. It was especially interesting to me for the exclusive Metallica and Dream Theater tracks! Thus far, neither of these tracks have been reissued on releases by either band!
“Remember Tomorrow” by Metallica is friggin’ amazing. It sounds exactly as you would expect, retaining the hard/soft vibe of the original, but with Kirk’s slippery soloing and Lars’ machine gun snare fills. James nails the vocal with his trademark growl. I would consider this among the very best covers that Metallica have recorded. As James says, “Yeeeahh-yah!” Unfortunately, there are no producer credits.
Dream Theater had the guts to cover “To Tame A Land”, one of my personal favourite tracks from Piece of Mind. Dream Theater have been nothing but courageous their entire career, so it is only suitable that they would tackle one of the lesser-appreciated Maiden epics, and one of the rhythmically most challenging. Mike Portnoy was still the drummer at this time. It’s interesting to hear the song performed with keyboards since the original was so sparse and dry (reflecting the planet Dune itself). But the keyboards lend a more exotic middle-eastern flavour. It is also interesting hearing anyone but Steve Harris playing the bass line since it is such an integral part of the song. Nothing against James Myung, the man is an absolute master of his instrument, but any time anybody covers Maiden, the bass always sticks out like a sore thumb because nobody sounds like Steve. James LaBrie has no problem tackling the challenging vocal, high notes and all.
Other bands that appear on the disc include Coheed and Cambria (“The Trooper”), Avenged Sevenfold (“Flash of the Blade”…woo!), Trivium (“Iron Maiden”) and Machine Head (“Hallowed Be Thy Name”). Most of the rest of the bands I have never heard of, but I also liked this soft acoustic n’ keys version of “Brave New World” by a band called Ghostline. One that I definitely hated was “Run To The Hills” by some band called Sign. It’s just…weird. Unique, but just wrong.
Overall, an interesting listen but I really only need it for Metallica and Dream Theater.
3/5 stars
And second, from the brand new Deep Purple tribute album…
IRON MAIDEN – “Space Truckin'” from the Deep Purple tribute album Re-Machined (2012)
Sonically, it is very raw, sounding live off the floor. Some fans were underwhelmed by the track. I think it’s obvious that Bruce is thrilled to be covering his idol, Ian Gillan. He throws in lots of those little Gillan idiosyncrasies. “Eee-hoo-hoo!” While I think Maiden did a fine job on the track (especially considering they don’t have a keyboard player), this is not one of the great Maiden covers. It’s no “I’ve Got The Fire” or “Massacre”. It’s still a total treat to hear Maiden gleefully ripping through this classic. If this was actually live in front of an audience, I think it would have been better received.
IRON MAIDEN – A Matter of Life and Death (2006 CD/DVD)
“Majestic” is the best word I can think of to describe A Matter of Life and Death, the 14th studio album by Iron Maiden (and 3rd of the “reunion era). That, and “classic”! This truly is classic Maiden: Most songs running between 7 and 9 minutes long, recorded virtually live off the floor, raw and epic. I truly believe that this represents the absolute peak of Maiden’s creativity. While not a concept album like Seventh Son, it does indeed follow themes: war, religion, humanity.
Anybody who thought Dance of Death sounded tired had better get ready to be blown away by a revitalized band. This is the best album of the reunion era, my favourite from the sextet period, and a shining moment in the Maiden canon. 10 songs, over an hour of music. If you’re not a fan of long-winded Maiden, then perhaps this one’s not for you.
While “Different World” starts the show in a fast and furious way, similar to “Wildest Dreams” from Dance of Death, this is no re-tread. This time, melody is at the forefront, especially when Bruce lets rip in the chorus. To boot, there’s a great dual guitar solo before Adrian (the master of melody) takes one of his own. This one was written by Steve Harris and Adrian Smith, which almost always proves to be a ferocious, melodious combination. But it is also the shortest number on the album, and not in any way indicative of the challenging songs to come!
As if the opening was not good enough, “These Colours Don’t Run” is next. Going through multiple tempos, from that slow-burn Maiden opening that they’d become known for, to a pounding march, this is another winner. It is a seven minute epic with many changes, never getting dull, dueling guitars and complex rhythms, always sounding like Iron Maiden. Producer Kevin Shirley says that Bruce laid down all his vocals live off the floor. If that’s the case, it explains why there is so much magic in his voice. This is incredible. The lyrics reflect an older, wiser Maiden. No longer satisfied with simple war epics, there is a sadness here now.
Far away from the land of our birth
We fly a flag in some foreign earth
We sailed away like our fathers before
These colours don’t run from cold bloody war
“These Colours”, and the next song, “Brighter Than A Thousand Suns” were written by the triumvirate of Bruce, Steve and Adrian, which has produced so many Maiden classics in the past. The lyrics for “Thousand Suns” reflects religion, war and the atomic bomb. I’m a big fan of Bruce’s lyrics. There is even a subtle reference to Robert Oppenheimer:
Whatever would Robert have said to his God?
About how he made war with the sun
E equals MC squared, you can’t relate
How we made God with our hands
This song is not as immediate as the first two, and the chorus still has that repetition that had plagued previous albums, but its melodic quality and epic solos allow it to rise above. It’s 9 minutes long, probably could have been shorter, but aside from a couple repeated lines of chorus, I don’t know what I would cut. I like it all.
A shorter one (but still over 5 minutes), “The Pilgrim”, was written by Steve and Janick. Religion and war are the themes here, seen through the eyes of Steve. Musically it starts with a stomp, similar to a section of “Afraid to Shoot Strangers”, but then they release the brake and accelerate, culminating into another melodic chorus. Short songs like this help balance the longer material, although the previous songs are superior.
“The Longest Day” begins ominously, like a landing craft gliding quietly through the water. Once again, Steve, Adrian and Bruce have written a war classic. Something about Bruce’s lyrics, they’re never simple. They always have layers to them, and “The Longest Day” is like that. He spits the words out like a rifle, and the song is spellbinding for its entire 8 minute length, guitar harmonies intertwining with Nicko’s relentless war march. And that ends side one.
“Out of the Shadows” begins side two on a somewhat mellow note, acoustic guitars mixed with electrics, and a slower tempo. Bruce wrote this one with Steve, a rare pairing. It is probably a good thing to sequence a slow song somewhere in here, as the relentless pounding of the previous five may well have left your brain nothing but mush. Fortunately there is an epic chorus here to keep us firmly in Maiden-land.
And oh-my-God, if you happened to sleep through “Out of the Shadows”, then Benjamin Breeg has arrived to wake you from your slumber! I’ll say it again: the rare occasions that Dave Murray writes a song, it usually produces gold. “The Reincarnation of Benjamin Breeg” is a monstrous epic, and even though it starts slow, that riff will make the dead rise from their graves. “Benjamin Breeg” is certainly one of the most immediate songs on the album, no mean feat for a song that is 7 1/2 minutes long! That time goes by in a blur so quickly, you’ll want to hit the back button on your player of choice and see what you may have missed. Awesome song, and a very brave choice as first single. There is no question: This one would make any Iron Maiden mix tape that I put together, hands down.
And as if that wasn’t enough, almost 10 minutes of “For the Greater Good of God” follows. Another condemnation of the combination of religion and war, “For the Greater Good of God” is the only song written solely by Steve. That too is a rare thing, as in the past he usually provides half an album on his own. A Matter of Life and Death truly is a collaborative effort. Twisting and turning through many sections, light and shade, this song too would fight for space on any Maiden mix CD that I make. I have heard criticism that its flaw is Steve trying to cram too many syllables into one line during the choruses. After a few listens, you don’t really notice anymore.
If you still have any life left in you after that pummeling, then prepare to meet the “Lord of Light”. Yet another Smith/Dickinson/Harris composition, it too exceeds 7 minutes. Starting quietly, it soon turns into a relentless pummeling, the three guitars behaving as one, Bruce soaring overtop. Nicko and Steve drive the whole Beast forward, this is probably the heaviest song in many respects, with a great chorus and many changes in tempo.
And finally, “The Legacy”. Almost 10 minutes long, “The Legacy” is very different for Maiden. It is a Steve/Janick composition, mellow, and lyrically devastating.
Sent off to war to play little games
And on their return, can’t name no names
Some strange yellow gas
Has played with their minds
Has reddened their eyes, removed all the lies
As if the acoustic “Journeyman” from the last album injected a new dose of courage into the band, “The Legacy” is a daring way to end an album this heavy. It begins acoustically and takes a little while to start cooking. When it does kick into gear, it is a relentless rhythm, and a total triumph. One of Maiden’s more challenging but rewarding epics.
The sound of this album is the perfect mix of heavy and raw with just enough polish. The sound straight from the mix was so hot, the band and Kevin Shirley chose not to master this album. The CD on the shelves is straight from the mixing desk, an unusual choice in mainstream music. I can’t name another album that wasn’t mastered! But the sound is perfect, I can’t fault this choice. It has an immediate, lively, vital sound. Certainly Bruce’s vocals are a highlight, and if they were live off the floor then more power to him.
(Hey, what happens when they eventually remaster the Maiden catalogue? What will they call this album? Just “mastered”?)
As far as the direction goes, the tempos are more “march” and less “gallop”, and that’s fine. It’s not about repeating the past, it’s about making a great heavy metal album, and Maiden have done that. Did I miss “the gallop” on this album? No more than I did on previous Maiden platters like Brave New World. The album is riff laden, complex, and layered. You can’t “get” it in just a couple listens. A Matter of Life and Death demands that you devote a great deal of time to it, but when you do, it will pay you back a hundred fold.
Even the cover art is a vast improvement over Dance of Death. Even though Eddie is in the background this time, it’s a great piece of art, by Tim Bradstreet with Grant Goleash. It is evocative of the music and lyrics, and just a great picture to look at.
iTunes offered a bonus track, a live version of “Hallowed Be Thy Name”, but it is available on some of the singles that we’ll talk about later. Stay tuned and we’ll discuss all the bonus tracks and B-sides. There is also a bonus DVD, a documentary on the making of the album. Included is the “Benjamin Breeg” video, a photo gallery, and an in-studio performance of “Different World”.
In summation, I believe that A Matter of Life and Death is the greatest album of reunion era Maiden. I also believe it to be their best album since Seventh Son, perhaps even surpassing that lofty masterpiece in some respects.
…And the era of Maiden compilations had begun. And I did buy them all.
The Essential is a series. I have The Essential Johnny Cash as well as others. So, this one was not put together by the band. There’s no Eddie on the cover, no exclusive content, no liner notes from Rod Smallwood nor Steve Harris. Instead there are liner notes from Lonn M. Friend of RIP Magazine. They’re aimed at newbies, but at least all songs get full musician and writing credits.
Much like 1996’s Best of the Beast, the tracks are reverse-chronological. This time, it works better than on Best of the Beast. The cool thing is that this means you start with the incredible epic “Passchendale” from Dance of Death. What an opening. Every album (studio and live) is visited, including four Blaze Bayley tracks.
Everybody bitches about what tracks should have been left off, and which should have been included. Here’s mine:
1. I would have included no Blaze tracks, and instead included live versions of Bruce singing them.
2. Those are the only times I would have included live tracks.
3. I could do without “Holy Smoke” and “Bring Your Daughter”. Give me “Tailgunner” instead.
4. Give me “Stranger In A Strange Land” instead of “Heaven Can Wait”.
But that’s about it. You get a healthy mix of hits along with great album cuts such as “Wrathchild”, “Killers”, and glory be, “Phantom of the Opera”! Those, plus “Passchendale”, make this a passable greatest hits disc.
Tracklist is below, but only you can decide if this one’s worth buying. I bought it for “the collection”. As far as a complete career-spanning set goes, this is about as close as it got without having to buy multiple sets. However it’s now out of print, so the point is moot.
BRUCE DICKINSON – Tyranny of Souls (2005, Japanese version)
I spoke about this album’s lyrics at length previously in a Record Store Tale called Navigate the Seas of the Sun. Part of the reason I love this album so much is due to the lyrics. As good as The Chemical Wedding was, science fiction is much more my speed than is William Blake. Therefore, given that slight edge, I actually do prefer Tyranny of Souls. If you’re curious about the lyrics then do please check out that aforementioned Record Store Tale.
Lyrics aside, Bruce Dickinson has had a pretty consistent decade as a solo artist, Maiden notwithstanding. Ever since his Accident Of Birth CD, he’s done nothing but truly excellent heavy metal music. Tyranny Of Souls, however is unique among them: It is Dickinson’s first solo album since rejoining Iron Maiden in 1999. Would anything be different this time? After all, usually when one does a solo album, it is to get ideas of one’s chest that are not appropriate for that band. Sometimes, that can lead to misguided genre experiments that are pleasing to few but the artist.
Reassuringly, Tyranny Of Souls is not a drastic departure from the music Bruce made on his last solo album, The Chemical Wedding. Tyranny uses that album’s sound as its starting point, but actually grows and progresses as you listen to it. It starts just as heavy, but then starts to explore light and shade.
“Mars Within” is an instrumental bit that sets up the first song, “Abduction”. It’s one of Bruce’s heaviest, but then he takes it even heavier with “Soul Intruders”. This is metal just as awesome as Bruce’s best work.
Then we get a little anthemic with “Kill Devil Hill”, easily one of the best melodies Bruce has ever written. The Wright brothers’ first flight is the subject here. We all know Bruce is a pilot and aviation is a passion of his. The passion ended up producing one of his best tunes. Just a great, incredible singalong anthem. I challenge you to get the chorus out of your head.
“Navigate The Seas Of The Sun” is a Maiden-esque power ballad, it could have fit right in with anything on Dance Of Death. Every bit as good as “Kill Devil Hill” with thoughtful lyrics to boot. More awesome songs follow: another anthem called “The River of No Return”, a fast metal tune called “Power of the Sun”, and the insanely catchy “Devil on a Hog”. Despite the silly title, this is simply a great groover, a ride you do not want to end.
The dull sludgey “Believil” is the only stumble. Skip worthy and dumb-titled, I consider this one to be filler. It’s one of those slow dirgey songs that tries to sound modern and fails. Luckily it’s also short, and it is followed by the monstrous title track, which ends the domestic album on a rather sudden note. I prefer the way the Japanese CD ends, with the epic power ballad “Eternal”. Roy Z’s incredible guitar soloing propels this one to the clouds, ending the album on a much more satisfactory note.
Speaking of Mr. Z, he does co-write and produce once again. The drums are ably played by a chap named David Moreno, who replaced the very talented David Ingraham in Z’s Tribe of Gypsies. The bass is handled by a couple guys named Ray Burke and Juan Perez. I miss the recognizable character of Ingraham and original bassist Eddie Casillas, but this album is still strong without them.
Tyranny of Souls is a triumph in many ways. One is that Bruce managed to make a heavy metal record different from Maiden, but just as good. Another is that Bruce made an album worthy of his own back catalogue. Whether you agree with me that it tops Chemical Wedding is not important. I realize that’s a tall order. Hopefully, you will agree that Bruce made yet another winner, a staggering string of great records.
And with this under his belt, Maiden returned to the studio refreshed and renewed, ready to take on A Matter of Life and Death…
When Death On The Road came out, I was very excited. When a band of Iron Maiden’s age (or Rush’s, for that matter) put out great new studio albums, I like a live album to follow. Back in the 80’s I would have found this unnecessary However, let’s face it — how many more Maiden tours will be there be? How many times will Maiden play “Passchendale” live? It may never happen, so a souvenir like this is important to me. Some fans would simply choose not to buy an album like this since they may already own Rock In Rio, and that’s fine. For me, I want to hear more. I want to hear “Dance of Death”. I want to hear “Passchendale”. I want to hear “Journeyman”.
Anyway, what I’m getting at is: If you don’t want it, don’t buy it. If you love Maiden, and if they never play these songs again, then why miss out? New fans would be better off picking up Live After Death or Flight 666 (which we’ll get to in due time) for a better overview of the whole Maiden shebang. For the diehards, this is solid.
Death On The Road, recorded in Dortmund Germany on 24 November 2003, has a good mix of newer “reunion” era Maiden with the classics. Yes, I could probably go the rest of my life without ever hearing another version of “Run To The Hills” or “Running Free”, but it’s a double CD and you may as well get the whole setlist. If Maiden didn’t play those songs live, there would be riots. The real treats here are the Dance Of Death material. There’s a DVD too, which I don’t have — very expensive and hard to get here.
The show opens with one new track, “Wildest Dreams”, the first single from Dance of Death. While this was never a personal favourite of mine, it is better live than on the album. Also better live is the single “Rainmaker”. It just has a little more energy which helps compensate f0r the “repetitive chorus syndrome”. “Wrathchild” and a somewhat flat “Can I Play With Madness” represent the early material right off the bat, before Maiden slam into “The Trooper” which was the single from this album.
“Dance of Death” begins with Bruce quoting Hamlet: “There are more things in heaven and earth, than are dreamt of in your philosophy.” I love this song. The afforementioned “Rainmaker” and “Brave New World” follow. Surprisingly, “Brave New World” is the only song from that album, where Rock In Rio had plenty of material from it. This is why it is important for a band of Maiden’s stature to keep releasing live albums. The setlists change drastically tour to tour.
The best of the new songs, “Passchendale” (with more poetry, this time from Wilfrid Owen), stokes the fire, taking its place in Maiden history as one of their best live epics. It shines live. It is followed by a lackluster “Lord of the Flies”. While these Blaze Bayley songs sound awesome with Bruce’s pipes, it was probably past time to retire them from the set. After all, they could have played “The Wicker Man” or an older song like “Powerslave” instead of this tune that, frankly, isn’t up to the quality of the rest of the concert. Anyway, it’s nice to have a Blaze song “sung properly” so to speak, although Bruce has to awkwardly shift from his low voice to high. It was clearly not written for his voice, but he does his best with the material at hand.
It is on disc two that the classics come out. After a repetitive “No More Lies” that goes on a bit too long, you are assaulted with “Hallowed”, “Fear of the Dark”, “Iron Maiden”, “Beast”, and of course “Run to the Hills”, with only the acoustic “Journeyman” breaking up the slew of hits. “Journeyman” was a brave choice live, but the crowd know every note. Judging by the sequence this seems to be the first song of the encores. Wonderful soloing here.
Production by Kevin “Caveman” Shirley and Steve Harris is fine, but a little bit more dull than the stellar Rock In Rio. Cover art (once again by Melvyn Grant who did Fear of the Dark) is a bit cheesy and I’m not too much into the choice of colours. The booklet, as always, is loaded with awesome live shots.
With this album in the can, Bruce had time for another solo album. How could he possibly top or even equal The Chemical Wedding? With a Tyranny of Souls…
IRON MAIDEN – “The Trooper” (2005 single, available on CD, 7″, 12″, and a special download with an exclusive track)
“The Trooper” was re-released as a live single, in support of Maiden’s forthcoming Death on the Road live album (up next in my series of Maiden reviews), and their then-current Eddie Rips Up the World tour. It was released in numerous formats, each with its own exclusive content. Let’s look at ’em all:
CD Single
This, the most common format to find, contains 3 audio tracks and 2 videos. Personally, I never watch these enhanced CDs, and both these videos are available elsewhere on DVD. They are the 2003 live version of “The Trooper” from the Death on the Road DVD, and the original music video.
The 3 audio tracks are:
“The Trooper” – 2003 live version from Death on the Road
“The Trooper” – original album version from Piece of Mind
‘“Prowler” – 2005 live version from the Eddie Rips Up the World tour
I love when Bruce sings the old Di’Anno-era classics, and this version of “Prowler” is exclusive to the CD format. During the Eddie Rips Up the World tour, they only played tracks from the first 4 records! That was because at the same time, they were also promoting their 2004 The Early Years DVD, which I talked about last time.
mp3 Single
Undoubtedly, the rarest version. Since you can’t take a picture of a non-physical format, here’s a picture of the CD that I made of it!
This is what the download site had to say at the time about this odd-duck release:
To celebrate the release of their new single The Trooper, Iron Maiden are also releasing an exclusive EXTRA digital-only version of the track. Taken from their concert at Eglishollin Stadium, Reykjavik, ONLY AVAILABLE HERE complete with some very special extras!
I don’t have a clue what the extras were supposed to be, all I got was the mp3. If there was anything exclusive such as artwork that was supposed to come with it, I’ve never found any evidence of it. I have to discount any rumours of artwork.
‘”The Trooper” – 2005 live version from the current Eddie Rips Up the World tour, Reykjavik, Iceland
This is a slightly more frantic version than the 2003 live take, and trying to find a copy online is futile today. I’ve had many people ask me to send them a copy. Sorry, that’s not what this blog is for. I don’t know what copyright laws regarding this are, but more to the point, I’m here to share my knowledge, not my music.
7″ Single (blue vinyl)
I love this one. Here’s the track list:
A. “The Trooper” – 2003 live version from Death on the Road
B. “Another Life” – 2005 live version from the current Eddie Rips Up the World tour
Again, another Di’Anno classic from the Eddie Rips Up the World tour, and a smokin’ one at that. The only other place you could hear Dickinson sing this song is a 1982 version, exclusive to the massive Eddie’s Archive box set, which we’ve already covered.
12″ Single (picture disc)
These 12″ picture discs are desired by collectors, but never sound as good as regular vinyl. Play it once, put it on your computer, and keep the record safe.
A1. “The Trooper” – 2003 live version from Death on the Road
A2. “The Trooper” – original album version from Piece of Mind
B. “Murders in the Rue Morgue” – 2005 live version from the current Eddie Rips Up the World tour
So again, a Di’Anno era classic, exclusive to this format. A couple earlier versions with Bruce singing are available on the Eddie’s Archive box set. This is the most current recording available of Maiden playing this song. Maiden generally don’t play a lot of the old Di’Anno’s anymore, excluding stuff like “Iron Maiden” and “Running Free”.
So, as a huge fan of Bruce singing Di-Anno era Maiden, and as a big fan of beautiful vinyl, gotta give this:
5/5 stars
Next time, we’ll talk about Death on the Road itself. Stay tuned.
Note: All comments regarding trades will be deleted.
During a trip to Encore Records in Kitchener, Ontario, I found some pretty cool stuff among their used discs. I used to work with the guy behind the counter, Chris — trained him in fact. We had a chance to catch up and discuss the difficulties of being a collector. Piles and piles of discs, an expanding collection and lack of space for it. Filing systems. How easy it is to get behind in your filing. Good to know there are still kindred spirits out there.
Thanks for the discs Chris, and without further delay…
1. VAN HALEN – In Concert
This double CD is at least partially taken from Live Without A Net, the old Van Halen home video. That’s cool to me — some of those versions, like “Love Walks In”, were the originals that I was first familiar with. It’s weird today hearing Sammy Hagar play guitar solos on Van Halen songs, but that’s how I first heard them. $9 used.
2. HELIX – Wild In The Streets (Rock Candy remaster)
PROS: These hard-to-find (in Canada) Rock Candy reissues have great liner notes and pictures. CONS: It lacks the lyric sheet from my old Capitol Records version. This one was expensive ($14 used) but the great Heavy Metal OverloRd tells me they are well worth it.
3. FISH – “Credo” CD single
Limited edition, #5945. Cool? Yeah, but how many copies did they make of a Fish single? Anyway, this has two non-album cuts, a 7″ remix of the title track and a song called “Poet’s Moon”. “Credo” itself is a great song from Internal Exile. Great cover art by Mark Wilkinson! $6 used.
4. IRON MAIDEN – Virtual XI with limited edition lenticular cover
This was a limited edition (expensive in Canada) that had a 3D cover similar to the current Kiss Monster CD. I tried to get an idea of this in the photos. Look at Eddie’s finger in relation to the boy’s headphones. You can see it’s not in the same place in the two photos. It’s much cooler in person. Now, I know Aaron is probably going to give me shit for buying a Blaze Bayley album — any Blaze Bayley album — twice. But it’s more about the Maiden collection than Blaze. This is one I’d wanted back in the day but completely forgotten about. $10 used.
REPORT CARD
Encore Records, 54 Queen St. South, Kitchener ON, (519) 744-1370
Encore is as good as as any of the stores that Aaron and I reported on in Toronto. Sure, I’m biased in that I did train the guy behind the counter, and it was great having a conversation with somebody who understands my point of view vis-à-vis collecting. But their selection is second-to-none in this town (rock, indi, roots, jazz, blues, vinyl), with fair prices, and excellent quality. Not one blemish on any of the discs that I purchased. As an added note I found a number of Guided By Voices singles for Aaron (some stealthily pictured below) — although he is apparently banned from purchasing them at this time, until he wins the lottery!
Part 33 of my series of Iron Maiden reviews!…and CONGRATS TO MAIDEN on your Grammy nomination!
IRON MAIDEN – No More Lies EP (2004, enhanced)
Don’t ask me what qualifies this as an EP and not a single. I don’t know. Anyway, “No More Lies” was from the Dance of Death album, and this EP comes handsomely packed in a cool box with a Maiden wristband. Collectors will want to keep that clean — not for working out in!
The tunes, however, are why you should be buying this, and it is worth buying for the orchestral version of “Paschendale”. One of the best war epics ever written by Iron Maiden (please, bring it back live?), it paints a vivid picture of the trenches during WWI. Guitar melodies dance, and the song is in your head after only one listen. You also get an electric version of “Journeyman”, which was acoustic on the album. I’m not a huge fan of the song “No More Lies” itself. It’s fine but would have been better two minutes shorter.
But what’s this? A hidden track? Yes it is! Nicko McBrain takes lead vocals (!) on a comedic rendering of “Age of Innocence”! We all know Maiden enjoy their joke tunes (“Sheriff of Huddersfield”, “Black Bart Blues”) and it is great to see that they still have a sense of humour.
If you can find it at a decent price (might be hard today), do it.
Dance of Death (Iron Maiden’s 13th studio album and 2nd since the triumphant return of Bruce and Adrian) is yet another monster filled with dramatic metal. Yes, I do find it slightly inferior to the previous album, Brave New World, which was near-perfect for its time. However, Dance of Death should not be dismissed. There are Iron Maiden classics here to rival material from the glory days, plus deep album tracks worth listening to.
First I want to mention the album cover — for the second time, Iron Maiden have done what I consider to be a terrible cover! (I consider the original No Prayer cover to be almost as bad.) I’d never wear this on a T-shirt! This is awful, awful, awful! This is, by far, the worst album cover Maiden have ever used. If you look carefully there are mistakes all over the place, such as the baby’s foot going through the wolf! Fortunately, the inner booklet is much better. Like a ghostly version of the orgy scene in Kubrick’s Eyes Wide Shut, the indifferent band are surround by masked, topless, phantom women.
Onto the music!
I found Bruce Dickinson’s voice on this album to be weaker than Brave New World. My personal feeling at the time (and this is just my opinion) was that the band rushed into recording too soon after touring. As such, Bruce’s voice sounds more worn out, similar to the way it did on No Prayer. The rest of the band is as strong as ever, and all six members write. Even Nicko McBrain, who gets his first-ever writing credit…”Mission From ‘Arry” notwithstanding!
The album starts with the first single, and unfortunately one of the weakest songs. It is the brief Smith/Harris rocker, “Wildest Dreams”. This ain’t a “Wicker Man” nor a “Tailgunner”. It’s lacklustre, and I have no idea why it was chosen as the first single.
The second single “Rainmaker” follows, a much better song. Bruce’s voice seems stronger here. The vocal and guitar melodies are excellent and memorable. Great chorus, great guitar lines, good choice for a single.
“No More Lies” is next, and the only weak thing about the song is that it follows the same formula as the Brave New World tunes — too much repetition in the chorus. There’s only so many times you want to hear, “No more lies, no more lies, no more lies, no more lies!” Alright! I get it already! Bizarrely, this was the third single (technically an EP) even though it’s over 7 minutes long.
Next is the first historical epic of the album, “Montségur”. One of the fastest and heaviest songs on the album, it is lyrically better than it is musically. Musically, it stumbles a bit, with the vocal melodies not fitting quite right and the lyrics sung too fast.
Finally the album really picks up steam with the centerpiece, “Dance of Death”. Beginning slow with some nice clean picked guitar and ‘Arry’s bass, Bruce sings of a strange night when he’d “had one drink, but no more.” This is a classic, a fantastic song lyrically similar to “Number of the Beast” but musically a beast of its own. Some critics likened it a bit too much to “Stonehenge” by Spinal Tap. Well, fair enough. It does share some similarities, especially when the dwarves start dancing! But admit it to me: You liked “Stonehenge”, didn’t you? I did!
“Gates of Tomorrow” and “New Frontier” (co-written by McBrain) are up next. Both are strong rockers, typical Maiden album fare. Perhaps nothing that needs to be performed live when your canon is as strong as Maiden’s, but nothing skip-worthy.
“Paschendale” is arguably the best song on the entire album. Another historical war epic, this one was written by Adrian Smth and Steve Harris. It is pure, classic Iron Maiden. Clocking in at 8:28, there is not one dull moment in the entire song. Often I find myself skipping back to hear it again. Lyrically it is very powerful, bringing to mind the muddy stinking conditions of the trenches in World War I. Musically this is among the very best songs Maiden have ever composed. This was also released in an orchestral version but I’ll discuss that later on. (How did they do that eagle screaming sound? Is that a guitar?)
It’s hard to follow a song like that, but “Face In The Sand” is another great album track, memorable and heavy. Again, not really worthy of the live set, but certainly not a bad song by any stretch.
I have always been partial to the rare songs that Dave Murray writes, such as “Deja Vu” or “Still Life”. “Age of Innocence” has a powerful memorable chorus and is a personal favourite. If I had been in charge at EMI, this would have been a single instead of “No More Lies”. After hearing it once, you cannot get the chorus out of your head.
So we only get one chance, can we take it?
And we only get one life, can’t exchange it
Can we hold on to what we have? Don’t replace it
The age of innocence is fading…Like an old dream
The album ends with one of most unique Iron Maiden songs ever written. “Journeyman”, which sounds to me like a Dickinson baby, is a quiet acoustic number with orchestral backing. Don’t call it a ballad! This is a quiet epic, a new kind of Maiden sound that they were able to expand upon in later albums. The choruses are powerfully sung by Bruce. It’s certainly one of the most adventurous tunes Maiden have done, simply because it is so different from anything in their past.
And that’s the album. It is easy to see why Dance of Death does not sit will with some fans. Some of the early songs suffer from repetition again. Bruce’s voice is not as strong as the previous album (to my ears). You have to listen to it multiple times to get into some of the tracks. I can see some fans, whose tastes are more narrow and specific, not wanting to give Dance of Death another chance. That’s a shame because this is a good Iron Maiden album. Not among their top three, or even the top five, but Iron Maiden do not have very many weak albums.
I mentioned the orchestral version of “Paschendale”. There are three singles to be collected from this album:
1. “Wildest Dreams”: B-side was a very funny and rare jam session by Iron Maiden called (ha ha!) “Pass the Jam”. There are also other tunes on the different editions. The CD has an orchestral mix of “Blood Brothers” from Brave New World, while the DVD has a “rock mix” of both “The Nomad” and “Blood Brothers” from the same album. I do not have the DVD single, and Christmas is coming if you feel generous! The orchestral version has, unsurprisingly, more orchestration. The rock mixes are very similar to the album versions, perhaps the rhythm guitars are louder in the mix.
2. “Rainmaker” contained a dramatic orchestral version of “Dance of Death” and a second jam session called “More Tea Vicar”. This is another jokey tune featuring Bruce rapping! The Japanese single, which I recently acquired from eBay (so recently that it actually arrived TODAY) at an excellent price has two exclusive live tracks! It even had the obi strip intact.
The live tracks are 2002 live recordings of “The Wicker Man” and “Children of the Damned” at Brixton, but the vocals on “Wicker Man” aren’t mixed high enough. “Children of the Damned” is in the only live version available featuring the six-man lineup, and my God does it smoke! It really benefits from the three guitars, and Bruce nails that scream at the end. The domestic single lacks these two live tracks. Who wants my old copy of the domestic? Speak now or forever hold your peace.
3. No More Lies: Technically an EP, I’ll do a full review of this one next.
“If you have purchased this then you have no doubt heard of Iron Maiden at some point during the band’s career over the last two-and-a-half decades.” – from the liner notes by Steve Harris
Clearly this CD (released simultaneous with the Eddie’s Archive box set) was not designed for the existing Iron Maiden fans. The die hards were not the intended target market, they got the box set to satisfy them.
In fact, Maiden wisely made the cover art (a ho-hum piece by someone named Tom Adams) available for free download. They knew some fans would just want it, and didn’t to force them to shell out for an album full of songs they already had. Again.
Yes, this was Maiden’s third compilation CD since 1996’s Best of the Beast. To keep things interesting, at least they shook up the format a bit. Unlike Beast, this is not a career spanning anthology. Unlike Ed Hunter, the fans did not vote on the tracks. Edward the Great was a simple chronological compilation of singles from 1982 to Brave To World. It ends with a recent track, a live version of “Fear of the Dark” from 2001’s Rock In Rio disc. I don’t understand the lack of Di’Anno tracks while still including two Bayley songs.
(NOTE: Maiden have also re-released the disc with an updated tracklist. I don’t have that, so I can’t really talk about it. Except to say it still has Blaze stuff on it!)
There’s an attractive booklet but not enough pictures. For a CD called Edward the Great, I think a few Eddies from the past would be in order. Oh well.
With the exception of the Blaze material, which simply breaks up the flow of the disc, every song belongs here. You could argue about exclusions, certainly. Most conspicuous by its absence is “Aces High”. You could also make a case for including the original studio version of “Fear of the Dark”. Playing Devil’s advocate, perhaps Maiden included the live version to demonstrate the power of an Iron Maiden concert to the initiated.
Whatever the case may be, as a greatest hits set I find this one lacking a bit. Considering the format, I would have chosen to call it the “Bruce years” and remove the Blaze tracks. Then you’d have room for two more classic singles (perhaps “Aces High”, “Tailgunner”, or “Be Quick of Be Dead”. As it stands I don’t understand excluding Di’Anno classics in favour of more recent Blaze material (two songs that they weren’t playing live anymore anyway).
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