steve harris

REVIEW: Iron Maiden – The X Factor (plus singles,1995)

Part 21 of my series of Iron Maiden reviews!

IRON MAIDEN – The X Factor (1995 EMI)

A lot of fans confidently proclaimed that you can’t replace Bruce Dicksinson.  To some degree, they were right, but Iron Maiden refused to pack it in.  Steve Harris was going through dark times, particularly a painful divorce.  It was Dave Murray who fired up the demoralized band:  “Why should we pack it in just because he quit?”

They began the audition process, eventually calling Wolfsbane vocalist Blaze Bayley.  Wolfsbane were once the new proteges of none other than Rick Rubin, who signed the band to Def American and produced their first album.  Regardless of Rubin’s involvement, Wolfsbane made little impact.

Bayley turned up at the audition and they played roughly seven numbers including “Hallowed” and “The Trooper”.  The personalities meshed and after listening back to the tapes, it was Nicko who declared, “There, now that sounds like Iron Maiden, dunnit?”

With the resulting album, The X Factor, as the only evidence before us, one might wonder just what Nicko was hearing.  I remember being quite surprised when I listened for the first time:  “This guy doesn’t have any range!”  His voice fit in better with the darker tone of the 1990’s than Bruce’s did, but would it work?

As an album – disregarding the live shows, stage presence, or what happens later – I think The X Factor is damn fine.   Perhaps it’s not a fine Iron Maiden album, although Steve ranks it among his top three.  It’s decidedly darker, softer & slower and sparse, but it is also deeply personal.  Characters on all songs are tortured souls, reflecting Steve’s inner torment.

Also important to note:  This is the first Iron Maiden album since the first one, not to be produced by Martin Birch.  Now, Steve Harris and Nigel Green were producing at Steve’s home studio.

The band made no bones about the new direction, starting off with the 11 minute epic “Sign of the Cross”.  A new sound, Gregorian chanting, begins this tale based on The Name of the Rose, specifically the torture part!  Blaze ominously warns that “Eleven saintly shrouded men have come to wash my sins away.”  The song was written solely by Steve Harris and it follows in the mold set by Fear of the Dark:  long, soft, bass-driven sections backed by soft keyboard beds.

It suddenly lurches into a slow march around the 2:45 mark, sounding much like Iron Maiden, but slowed down, more precise, and with a lower, rougher voice spitting out the words.  It is similar to past epics in that it goes through different sections and dynamics.  Although a soft epic, it is one of the best songs of the Blaze era.  Indeed, the band continued to perform it even on the Brave New World tour.

As if to allay your fears that Maiden has gone soft, “Lord of the Flies” is next, retelling the old story of the boys stranded on the jungle island .  It stutters forward at first before breaking into a solid groove.  This Harris/Gers winner was chosen as the second single.  Once again, Maiden continued to perform it even into the Dance of Death tour.  Blaze growls his way through the words, his solid baritone carrying the catchy verses and choruses.  Davey’s familiar guitar stylings in the solo are vintage Iron Maiden.

The third song on the album to be based on a book or movie is next, the manic “Man on the Edge”.   Blaze’s first writing credit with Steve, it’s based on the excellent (and my personal favourite) Michael Douglas film, Falling Down.  Lyrically though…this one is pretty poor:

The freeway is jammed and it’s backed up for miles
The car is an oven and baking is wild
Nothing is ever the way it should be
What we deserve we just don’t get you see

A briefcase, a lunch and a man on the edge
Each step gets closer to losing his head
Is someone in heaven are they looking down
‘Cause nothing is fair just you look around

Really guys?  “The car is an oven and baking is wild”?  What does that even mean?

Even though the band continued to play this one into the Ed Hunter tour, it’s not really a standout Maiden track to me.  While it serves as a fast manic number to bang your head to while singing along, it’s simply not that great a song.

Maiden wisely sequenced these three songs first, three songs that wouldn’t alienate fans or critics even with the change at the microphone.  It is only now that The X Factor begins to show its true dark face.

“Fortunes of War” is a slow, mournful ballad, a beautiful song, perhaps the sequel to “Afraid to Shoot Strangers” lyrically and musically.  There’s Steve’s bass, backing the soft sections with faint keyboards.  As if you couldn’t tell by the bass being one of the lead melodic instruments, this one was solely written by Steve.  I like this song.  Reading between the lines you can hear Steve’s pain, and you can definitely hear it musically, before the song kicks into a triumphant upbeat section with guitar harmonies at 4:35.

“Look For the Truth” is next, beginning ballad-like before going into a mid-tempo stomp.  This song featured the new writing triumvirate of Steve, Blaze and Janick.  Lyrically, it would be seem to be inspired by Steve’s personal struggles.  Musically, I think this is another strong number, and it has a great Davey solo.  If there is one thing that always grounds Iron Maiden to its roots on The X Factor, it is Davey’s solos.

This concluded the first side.  Side two begins  with another slow one, “The Aftermath”, written by the same triumvirate.  It is at this point that I began to tire of the slow pace.  Lyrically I don’t think this one stands up to anything on side one.  Another war song, it doesn’t really bring anything new to the table.  It was dropped from the live set after this tour.

Although it’s still the bass carrying the melody, “Judgement of Heaven” quickens the pace.   “I’ve been depressed so long, it’s hard to remember when I was happy,” sings Blaze on this obviously Steve-written piece.  Yet it’s a positive message, Steve trying to stay strong and look to the future.  Once it gets going, it’s a pretty good song, with the chorus being particularly catchy.  Blaze’s “yeah yeah’s!” are as close as we get to hearing Blaze trying to do anything in an upper range!

The worst song is up next, “Blood on the World’s Hands”.  A really dull Steve bass melody (guess who wrote this song!) takes a full 1:12 to introduce the damn song!  There’s nothing here that really makes the song memorable.

Although it starts very slow (again) with bass melodies carrying it (again), “The Edge of Darkness” is a much better song.  It follows the plot and quotes dialogue from Apocalypse Now:  “What I wanted a mission, and for my sins they gave me one.”  Musically, Nicko pounds this one into submission.  It stomps forward like a powerful beast, unstoppable, albeit slow and plodding.  But fear not, it picks up again at 2:55, going into a faster guitar-harmony based section.  Although the album certainly does not need more slower songs at this point, “The Edge of Darkness” is a win.

Less successful is the introspective “2 a.m.”.  It’s not dreadful, but it’s pretty pedestrian for Maiden, although I’m sure it was deeply personal to Steve.  It’s yet another slow song that goes into a powerful stomp, but that’s too many now.

The quirky “The Unbeliever” ends the album on a better note.  It has a neat slippery little riff, and it’s rhythmically very different. Written by Harris/Gers, it’s marked with a standout Janick solo.  Even though it’s fast paced, there’s no denying that “The Unbeliever” lacks the crunch and volume of Maiden songs of yore.

And that perhaps is one of the most surprising things about The X Factor.  Regardless of the change in direction, singer and artwork, it is the production that shocked me.  Clean, free of dirt and distortion, Iron Maiden had never sounded this clear on record.  But is that a good thing?  I desperately wanted a little more grit and grime in the guitars, not to mention volume.  The production is otherwise excellent.  The drums are like Bonham on steroids and the bass (of course) chimes perfectly on every cut.  I just wish there was more guitar.  It’s Iron Maiden, and I felt like I didn’t get enough guitar.

This being a new era for Iron Maiden, the band chose Hugh Syme (he of many Rush and Megadeth covers not to mention dozens more) for the new Eddie.  Going for a realistic look, the Eddie lobotomy cover was deemed too scary for some markets, and we received the less graphic electric chair cover facing front.

Now, onto the singles.

The first single, “Man on the Edge” had numerous B-sides.

“Justice of the Peace”:  A fast paced rocker about injustice in today’s “sick society”, again reflecting Maiden’s new darker, serious lyrical bent. This is Dave Murray’s only writing credit (with Steve). (Available on US CD single or UK CD single part 1.)

“Judgement Day”:  Manic and fast like “Man on the Edge”, relentless although not tremendously catchy.  (Available on US CD single, or UK CD single part 2.)

“I Live Way Way”:  Starts slow and chime-y like many of the album songs. Yet it launches up to speed after this intro.  Another fast B-side, I’m now wondering why Maiden chose to stack the album so heavy with slow songs and pseudo-ballads when they had all this stuff waiting in the wings?  Perhaps replacing two album songs with two of these could have changed the balance so much.   (Available only on 12″ single or Japanese 2 CD version of The X Factor.  The 12″ single comes with a massive poster.)

Parts 1 and 2 of the UK CD single also had a two part Blaze Bayley interview.   Essential only to the fan.

It also came with a box designed to house the album and future singles.  But even when I include my redundant US “Man On The Edge” CD in the box, there’s still room to spare.  This indicates to me that there were more singles planned but cancelled.

The second single, “Lord of the Flies” had two awesome B-sides!  Covers.  Covers of “My Generation” (The Who) and “Doctor Doctor” (UFO)!  And let me tell you, Maiden is one of a few bands that can do “My Generation” properly.  Steve ably handles the backing vocals while Blaze spits his way through the lead.  This sounds very live off the floor and perhaps it was.  “Doctor Doctor” is one that I actually prefer to the UFO original.  Blaze nails the vocal, the band are solidly in the groove, and Nicko nails it home.  Surely, this must be considered one of the best Maiden covers of all time!

Conclusion and final thoughts:

As always, context is very important.  When The X Factor came out, I was working at the store, and I had been waiting three long years to hear it.   It was the mid-90’s, and most bands chose to get “darker” or “more serious” or “modernize” in order to stay relevant.  It was true from Bon Jovi to Metallica with varying degrees of success.

For me, The X Factor was one of the few things that had come out worth listening to that fall, and I listened to it non-stop.  It was largely the novelty, and partly the lack of other new options, but I grew to really like most of The X Factor.  It took three listens, I do remember that much.  But in the 1990’s, all things considered, it really wasn’t that bad.

3.75/5 stars

REVIEW: Iron Maiden – Raising Hell (Bruce’s final show 1993) (DVD/VHS)

Part 19 of my series of Iron Maiden reviews!

IRON MAIDEN – Raising Hell (1995 BMG VHS)

28 August 1993:  Bruce’s final show.  And for the occasion, Maiden decided to team up with…a magic act?

I don’t know who this Simon Drake fellow is, but his “horror magic show” or whatever the hell you wanna call it is just plain awful!  Simon serves as a guest act during Iron Maiden’s final show, Raising Hell, available on VHS and DVD.  He does magic skits at various places during the show, sometimes interacting with the band, but always with this really bad cheesy metal music (not Maiden!) behind him.  And the bit where he kidnaps Dave Murray?  Awful!  D’y’think that the real Dave might actually be still behind the giant curtain they walked behind?  You can still hear his guitar even after he has it taken away from him, and has a hand chopped off!

Simon Drake sucked!  This is magic?  He pretty much ruined Raising Hell, for the most part.   Good thing VCR’s used to have “fast-forward” buttons!

Thankfully, Iron Maiden kick ass.  With a few Eddie’s and some big backdrops, they’re playing a smaller venue (a TV studio) and it feels really intimate.  Bruce is awesome, wailing and running around like a man possessed on opener “Be Quick Or Be Dead”.  He does “Hallowed” perfect…really, everybody in Maiden is flawless, on fire, possessed.  And by flawless, I don’t mean note perfect — there’s mistakes, but they make it perfect!

But you know who really stands out to me?  Janick Gers.  I don’t know if I’ve ever seen a more physical guitar player since Ritchie Blackmore!  So why the hell is the camera on Steve Harris during Janick’s manic “Afraid To Shoot Strangers” solo!?  There are quite a few missed money shots.  Why?

Because it wasn’t directed by Harris, that’s why, it was directed by somebody named Declan Lowney, I guess that’s the TV production type deal.  So beware:  Maiden England this is not!

One thing I find a little strange:  It’s Bruce’s final show, but they still played the instrumental, “Transylvania”.  Nothing against that song, but why not one more vocal number?  I know they were playing it live on that tour, but still.

Tracklist:

  1. “Be Quick or Be Dead”
  2. “The Trooper”
  3. “The Evil That Men Do”
  4. “The Clairvoyant”
  5. “Hallowed Be Thy Name”
  6. “Wrathchild”
  7. “Transylvania”
  8. “From Here to Eternity”
  9. “Fear of the Dark”
  10. “The Number of the Beast”
  11. “Bring Your Daughter… to the Slaughter”
  12. “2 Minutes to Midnight”
  13. “Afraid to Shoot Strangers”
  14. “Heaven Can Wait”
  15. “Sanctuary”
  16. “Run to the Hills”
  17. “Iron Maiden”

And of course, it is during “Iron Maiden” that Bruce finally meets his end.  One of the few highlights of the magic act is the end of Dickinson…

Rating for just the band, not the magician:

5/5 stars

Rating for the magician, not the band:

-1/5 stars

Rating for the overall video, setlist, stage show, direction, etc:

4/5 stars

Average rating:

2.666~/5 stars

What happens next?  Will the band carry on?  What will Bruce do?  Stay tuned…

VIDEO REVIEW: Iron Maiden – “Bring Your Daughter…To The Slaughter” etched 7″ single!

Part 13.5 of my series of Iron Maiden reviews!(?)  I just dug up this single from my collection, so this one actually falls right after No Prayer For The Dying!

IRON MAIDEN  – “Bring Your Daughter…To The Slaughter” (1990, etched 7″ single)

4/5 stars

REVIEW: Iron Maiden – A Real Dead One (1993, plus single)

Part 17 of my series of Iron Maiden reviews!  NOTE:  This album was later reissued as part of A Real Live Dead One.

IRON MAIDEN – A Real Dead One (1993)

When Maiden hit the road for what was to be Bruce’s farewell tour, it did not go as the band intended.  There were some positives:   Because this was Bruce’s farewell, the band decided to pull certain older tracks out of the box, and record them for the next live album, A Real Dead One.  But three of the four other Iron Maiden members (Janick Gers being the sole holdout) have accused Bruce of sabotaging that last tour.  I’m sure this is all water under the bridge now, but Maiden were furious that Bruce seemingly stopped trying, barely sang, and underperformed on certain stops on the tour.  Only the big gigs, with the cameras and the press, did Bruce put any effort into singing, claimed the band.

Whatever the case may be, Bruce did turn up for the tracks on A Real Dead One.  And Maiden stacked the deck with great tracks, stretching from the first album to Powerslave.  And those older seldom heard tracks that Maiden pulled out of the box?  Yeah!  You get classics like “Remember Tomorrow”, “Where Eagles Dare”, and “Prowler”.  None of those songs were on the immortal Live After Death (neither was “Transylvania” or “Sanctuary”!) so that brings added value to this album, as a companion piece of sorts.

But it could never live up to the legacy set by Live After Death, and although it’s certainly better than A Real Live One, I can’t say I play this too frequently.   The band are on fire and playing as furiously as ever.  The solos are nothing if not sublime.  Steve and Nicko gallop forward driving the whole thing.  That’s all well and good.  The vocals don’t seem mixed high enough to me.  Bruce’s voice is also obviously wearing with age.  It happens.  I think the album has a better overall sound than A Real Live One however.

I don’t think “Remember Tomorrow” needed backing keyboards, although Dave and Janick’s guitar work is beautiful.  I love Janick’s noisy chaotic solo that still somehow fits the song.  I also love Nicko’s drum work and fills.

“Hallowed By Thy Name” appropriately closes the album, and was also the album’s single.  The fantastic cover art shows Bruce being killed by Eddie, a trick they would try live for their final gig (and more on that when I get to it).  “Hallowed” had two unique live B-sides:  “Wasted Years” and “Wrathchild”!  Both are worth having.  “Wrathchild” probably could have been on this album, and “Wasted Years” definitely should have been on A Real Live One.

Derek Riggs came back for the cover art.  DJ Eddie seems to be spinning discs in hell, at 666 FM!

Even though this was Maiden’s second live album of 1993, it was not their last!  Stay tuned…

3.5/5 stars

Below:  Note Bruce promoting his cousin Rob Dickinson’s new band, Catherine Wheel!  Also seen, the CD for the combined A Real Live Dead One release.

REVIEW: Iron Maiden – Fear of the Dark (1992, 1996 bonus disc)

Part 15 of my series of Iron Maiden reviews!

IRON MAIDEN – Fear of the Dark (1992, 1996 bonus disc)

I remember staying up late one night, listening to Q107, waiting to hear the new Maiden track.  They promised it, and after airing “Burn” by Deep Purple, they debuted “Be Quick Or Be Dead”.

Nice riff, I said.  The song took a while to grow on me, because Bruce was still growling a bit too much for my taste.  If there was one thing I disliked about Maiden’s previous, No Prayer for the Dying, it was Bruce’s growl.  I’d rather hear him sing.  He was growling the verses, and singing the choruses.  And Nicko was doing some serious steppin’!  It was the Maiden writing debut of Janick Gers (with Bruce), and it was a rant on big business.  Maiden were the 99% in 1992!  I thought it was one of the best songs from the new album, Fear of the Dark.

The second track, “From Here To Eternity” featured the return of Charlotte!  Harris wrote this one alone, and it too was a single.  It has a shout-along chorus, but too much rinky-dink bass way up high in the mix.  This song wouldn’t make my road tape, I never particularly cared for it.

Much, much better is “Afraid To Shoot Strangers”.  Steve wrote this one for the men and women who served in the Gulf War, who as Bruce said, “never wanted to kill anybody.”  I consider this song to be the birth of the “new” Iron Maiden.  The gentle guitar, with the melodic bass in the background, the keys…is it a ballad or an epic?  It’s both.   Then it picks up with some of the catchiest guitar parts Steve’s ever written.  There would be many many Maiden songs that followed this blueprint on albums to come, especially The X Factor.  (My friend Andy and I beat this song by a year.  In 1991 we wrote a Maiden-inspired tune called “Unleashed in the Middle East” about the Gulf War.  Fortunately, it remains unrecorded to this day.)

Did you also noticed Maiden getting more topical?  Big business…the Gulf War…it was the 90’s.

The Zeppish “Fear Is the Key” is next.  Bruce and Janick wrote this one, but again, I’m not too fond of it.  It has a great hook, and it’s technically accomplished, but Maiden and Zep don’t always mix.  I don’t think they ever played it live.  Do I hear a slide?

“Childhood’s End”, written by Steve, doesn’t seem to have anything to do with the Arthur C. Clarke novel.  It is rhythmically complex and melodic and powerful with a soaring guitar melody.  I don’t consider this one of Maiden’s greater songs in the canon, but it is one of the better songs on Fear of the Dark.

The triumphant ballad, “Wasting Love” closes side 1.  This one may have thrown people for a loop, both by the title and the music.  Maiden, singing about love?  More Scorpions sounding than Maiden, this one came from Bruce and Janick.

Maybe one day, I’ll be an honest man

Up til now I’m doing the best I can

Long roads, long days

of sunrise to sunset, sunrise to sunset

The song seems to be a reflection on infidelity on the road, but was there more between the lines?  “Maybe one day I’ll be an honest man…”

Yes, it’s a ballad, but it is not wimpy.  The guitar harmonies evoke mellow Thin Lizzy.  I think “Wasting Love” is among the three best songs on Fear of the Dark.  “Afraid to Shoot Strangers is another one, and we’ll get to the third in due time.

Side 2 opened with Steve’s “The Fugitive”.  It takes a long time to build.  It’s OK, nothing special.  Again, I doubt it was ever played live.  I don’t know if The Fugitive really needed to be made into a song, but Steve beat the movie adaptation by a year!

Bruce and Davey’s “Chains of Misery” follows.  I think it’s another OK song, again nothing special and again I doubt it was ever played live.  Nice shout-along chorus.

Another Zeppish song is next:  “The Apparition”.  Steve wrote this one with Janick.  See above comments:  OK song, never played live.  The lyrics start with promise, a ghost story perhaps, but then it turns into a series of pieces of advice from the apparition to the living.  Stuff like “You can make your own luck,” etc.  And Bruce is doing that annoying growl vocal!

Thankfully, “Judas Be My Guide” gets us out of this slump!  Ironically I always found this one to sound kind of Priest-like!  I like this tune.  Bruce wrote it with Davey, and to me this is the kind of song that Adrian Smith used to bring to the table.  Melodic, powerful, anthemic, sing-along metal.  I don’t think it was ever played live, but to me this one would have been single material.  I would have picked it over “From Here To Eternity”.

The mellow “Weekend Warrior” is one of the oddest on the album.  Bruce does his growl vocal (again!) but the song goes from acoustic section to electric section to acoustic again, and it’s quite unlike most Maiden songs.  The lyrics seem to be about football hooliganism.  I’m not sure if this was a topic that Iron Maiden needed to delve into, but there it is.

Finally, we have the Steve epic you have been waiting for:  “Fear of the Dark”.  It’s a little simple and repetitive compared to past epics, but it’s solid and has remained in the live set tour after tour after tour.  It is a fan favourite worldwide, and I think it’s great.  Although it’s simpler musically, I think in a lot of ways it’s one of Steve’s best epics.  It’s absolutely perfect live, it begs to be sung along with, and it goes from peak to valley so well!  I like big gothic opening riff.  The mellow sections, again, would serve as a blueprint for the next era of Iron Maiden.  Steve’s melodic bass, backed by quiet keys…

And that’s the album, a fat 12 songs, and although many are in the 3 minute range, there are several over 5 minutes this time.  It was a generous slice of studio music from Maiden, never before had they crammed so many songs onto a record.   It was also released on DAT, cassette, and CD.  The vinyl was a double, and very hard to find.  Vinyl was an import here in Canada:  Capitol stopped pressing vinyl here in early 1990.

As I mentioned, there are moments here that musically look into Maiden’s future.  But changes were already afoot, and in a real way, Fear of the Dark is the first album of the new Maiden.   For the first time ever, Derek Riggs’ artwork was absent.  Maiden instead chose a painting by Melvyn Grant.  Gone were the Riggs trademarks, and a lot of fans reacted negatively to the new art.  Eddie looked more Nosferatu than Eddie, and the idea of Eddie being reborn from a tree was…weird?

This was also to be Martin Birch’s final production effort.  He retired after Fear of the Dark.  Happy retirement, Martin!  What can you possibly say bad about the man who produced Machine Head?  Nothing.  I will say though that this album, recorded digitally for the first time, sounds very thin.  I think it was immediately noticeable and this was rectified on future albums.

My 1996 reissue has a bonus disc chock full of B-sides.

“Be Quick Or Be Dead” came with the piano-infused joke boogie tune, “Nodding Donkey Blues”, an ode to plus-sized ladies.  It’s actually really great fun.  “Ahh, there should be some kind of guitar solo here!” says Bruce before the piano kicks in.

Also from the same single is Montrose’s “Space Station #5” – Sammy Hagar’s first and only writing credit on an Iron Maiden disc!  Maiden of course kick this song in the nuts.  What an awesome riff.  But wait — don’t turn it off.  The hidden track “Bayswater Ain’t A Bad Place To Be” is yet another hilarious roast of manager Rod Smallwood!

Second single, “From Here To Eternity” was an oddity of sorts, one of the few Maiden singles to not feature Eddie on the cover.  It’s B-sides included a Chuck Berry cover/ode to roadie Vic Vella called “Roll Over Vic Vella”.  There were also two live tracks from the previous tour:  “Public Enema Number One”, and “No Prayer For the Dying”.  Nice to have live versions of these songs, as I doubt they were played again after that tour.

“From Here To Eternity” also supposedly featured a remixed A-side — a “Triumph Mix”.  (The name “Triumph Mix” is only printed on the disc itself and not the back cover.)  I can’t tell the difference, so don’t get excited.  I also haven’t attempted to do a detailed comparison, so if you know more than I do, please comment.

The third and final single was “Wasting Love” which unfortunately had a terribly boring music video.  It’s just too 90’s!  It had three more live tracks, all from the previous tour:  “Tailgunner”, “Holy Smoke”, and “The Assassin”.  Same comment as above:  Nice to have live versions.  But note, none of these songs are on the 1996 reissue with bonus disc!  Not one!  And this is one of the rarest of Maiden singles.  Took me a while to find a copy at a decent price.

There was one bonus included on the 2 CD edition of Fear of the Dark, in lieu of the above:  “Hooks In You”, also live from the previous tour.  Probably my most hated of all Maiden tunes.  It’s actually from a later single, and I’ll get to that when I get to that album.

This was the last of the ten Iron Maiden 2 CD reissues from 1996.

So there you have it:  Fear of the Dark.  It’s superior to No Prayer, I believe.  Both the good songs and the filler are superior.  It pointed the way to some interesting new directions, mixing light and shade, and it proved that Janick Gers was an able songwriter in Iron Maiden.  He had also begun to gel with Dave Murray as guitar player.  Yet the album also had much filler, it would have been stronger at a traditional 9 or 10 tracks.   I still have a fond place in my heart for Fear of the Dark, for it was one of many albums that helped me get through the 90’s.

But if you thought the last couple Maiden albums were controversial among fans, you ain’t seen nothin’ yet.

3.75/5 stars

REVIEW: Iron Maiden – No Prayer For the Dying (1990, 1996 bonus disc)

Part 13 of my series of Iron Maiden reviews!

IRON MAIDEN – No Prayer For the Dying (1990, 1996 bonus disc)

Regrouping after a six-month break, Maiden returned to writing mode a changed Beast.

The Seventh Son of a Seventh Son album was artistically rewarding but the band were eager to return to their stripped down heavy metal roots and make a live-sounding album more like Killers or The Number of the Beast, without the production values and ten minute songs that were becoming the norm.

Both Adrian Smith and Bruce Dickinson were coming off solo albums (A.S.a.P.’s Silver and Gold featuring Zak Starkey (Oasis, The Who), and Bruce’s Tattooed Millionaire).  Bruce’s was successful commercially and critically, Adrian’s less so.   Still, it came as a complete shock to the fans when it was announced that Adrian Smith had left Iron Maiden.

Or, perhaps, been nudged out.  Steve Harris was worried that Adrian was becoming unhappy, and it was especially obvious during the writing sessions for the next album.  While Steve, Dave and Bruce were contributing heavy songs, the usually prolific Adrian had nothing but a song called “Hooks In You” that he had written with Bruce.  He was clearly unhappy that Maiden were not progressing down the road pointed to by Seventh Son, and were going heavier.  Steve took him aside.

When asked how into it he was, the answer came “about 80%”.  Steve has always had a simple policy for membership in his band — you had to be into it 110%, or it wouldn’t work.  The fans wouldn’t buy it, and Steve couldn’t look them in the eye knowing somebody on stage wasn’t completely into it.  Adrian was out.

The band already knew Janick Gers, and he and Bruce had developed a successful writing partnership on his Tattooed Millionaire solo disc.  Janick was nevertheless shocked when Bruce phoned him up and asked him to learn some Iron Maiden numbers.  Janick initially said no, because he assumed Bruce was talking about his solo project, and they had already agreed to do no Maiden numbers.  When Bruce explained it wasn’t for the solo band, it was for Maiden, Janick was horrified.

Janick Gers was really the only guy I can think of that was right for Maiden, also being from the era of the NWOBHM bands (White Spirit).  He’d also been in Gillan (the incredible Magic album) and worked with Fish.  The songs for the album were already written, all Janick had to do was head over to Steve’s farm, where they were recording the album, and learn the songs.

But that’s all just background, just context.  That’s all important, especially to this album, but what is also important is the bottom line.  And the bottom line is that this is the first time Maiden turned in something that was almost universally received as a disappointment.

While some fans were clamoring for a return to basic heavy metal songs, short and bangin’ and to the point, others preferred the epic scale of Seventh Son.  And it was clear that you can’t just replace Adrian Smith.  The songs on the new album, titled No Prayer For the Dying, seemed less finished and not quite up to standard.  Not to mention Janick and Dave hadn’t had time to properly gel together, and never quite sync up on this album the way Dave did with Adrian.

The opening song “Tailgunner” is good enough though, not quite an “Aces High” but certainly adequate.  Being tailgunner might have been the worst job on the Lancaster bomber, since it didn’t have a belly gunner! (Neither did Enola Gay, tailgunner was certainly the worst job on a B-29)!  But Steve and Bruce failed to really nail it lyrically, with lines such as “nail that Fokker, kill that son, gunna blow your guts out with my gun” not living up to past Maiden historic glories.

Steve and Bruce also wrote “Holy Smoke”, the first single.  This reckless fast number showcased a manic Janick Gers solo, demonstrating how different he was from Adrian.  Where Adrian used to compose solos with beginnings, middles and endings, Janick just went for it!  Dave was also somewhere between the two approaches.  Now, without Adrian’s melodic touch, the band were moving sharply to a more live and spontaneous guitar style.

“Holy Smoke” is about TV preachers, and while they always make a good target in heavy metal songs (I prefer Ozzy’s “Miracle Man”) this one also fails to excite.  As a song it doesn’t have much in terms of melody.  On No Prayer, Bruce is shouting as often as he’s singing, and with the songs’ new emphasis on raw power, there’s less memorable melody to go around.  Janick’s manic gonzo solo does fit the vibe of the song!

The title track is third, a number that tries to be an epic in under 5 minutes.  It does indeed have all of the trademark qualities of a Maiden epic except the length:  Multiple parts, multiple tempos, soul-searching Steve lyrics, and ample anthemic guitar melody.  Yet the song fails to nail it home like, say, “Hallowed Be Thy Name” did.

Better is the badly titled “Public Enema Number One”.  This Dickinson/Murray rocker is riffy, straightforward with some decent melodic bits.  But again Bruce is hoarsely shouting the verses, and the song careens from section to section that don’t feel like they quite all fit together probably.  Like other songs on No Prayer, the song sounds slightly unfinished.

And better again is “Fates Warning”, this time written by Steve and Dave.  The opening soft guitar part is a nice change of pace, and a great example of Dave Murray’s tremendous feel.  Perhaps in a past life he was a bluesman.  Nicko then kicks the song into gear while Steve’s lyrics question the seemingly random nature of life and death.  In the middle, is an old-school dual Maiden guitar lead, before Dave nails another perfect one of his own.

Side two begins with the stuttery “The Assassin”.  Written solo by Steve, it is rhythmically complex as it is propelled forward.  It has a fairly decent chorus but it doesn’t quite resolve itself nicely.  Some of the guitar and bass melodies are reminiscent of “To Tame A Land” from Piece of Mind.

This is followed by the superior “Run Silent Run Deep”  Submarine warfare is a good topic for a Maiden song, and the song chugs forward like those big diesel engines.  This is one of the better songs on No Prayer.  Steve and Bruce wrote it together, and Nicko’s precise drum fills accent the song perfectly.

Next is the worst song on the album:  Bruce and Adrian’s “Hooks In You”.  Lyrically this is one of the worst things ever on a Maiden album. Judging by the opening line, “Got the keys to view at number 22,” it sounds like Charlotte is back to her old tricks.  Unfortunately, the band subjected people to this song live.  I’ll admit it’s got a great little riff, but Bruce’s shout-growl vocals, lack of melody, and lack of any lyrical intelligence just sinks this one.

And then the baffling #1 single, “Bring Your Daughter…to the Slaughter”.  This Bruce song is actually an outtake from his solo project.  He recorded and released the original version with Janick Gers on the soundtrack to A Nightmare on Elm Street 5.  I seem to remember that soundtrack being panned as “the worst soundtrack of all time” at one point.  Steve heard the song, went nuts, and said, “Don’t put it on your solo album:  I want to save this one for Maiden.”

Somehow, Steve was right, as it went straight to #1 in the UK, the first and only time this has happened to Iron Maiden.  I don’t get it.  I don’t get what people like about this song.

“Mother Russia” ends the album on a sour note.  Lyrically simple, musically pretty good, “Mother Russia” is certainly not up to the standards of past Maiden album closers.  Although it tries to be an epic along the lines of “Seventh Son of a Seventh Son” (featuring a similar keyboard section in the middle), it’s just not as great as past epics.  At five and a half minutes, “Mother Russia” is the longest song on No Prayer.  It is made up of excellent components; I like the melody and the solos big time, but it’s just…not comparable in quality.

Nicko McBrain said on MuchMusic that No Prayer was “the best Iron Maiden yet.”  Steve said that the album’s biggest problem is that it didn’t sound live enough without an audience track.  I disagree with both.  I think the album has an abnormally high quantity of unfinished songs and filler.

Even the cover art was substandard.  To go with the live, stripped down sound, Riggs too stripped his artwork of the symbolism and fantasy.  Instead, Eddie goes for the throat of a groundskeeper as he emerges (once again) from the grave.  All hints to continuity are gone, as Eddie’s lost his lobotomy scar, cybernetic implants, and that bolt that kept his skull on!  He even has his hair back.  I guess somebody wasn’t happy with the artwork, because it was heavily tweaked for the 1998 remaster, repainting much of it and removing the groundskeeper.

The B-sides to the first single, “Holy Smoke” were the excellent “All In Your Mind” (a cover from somebody called Stray) and Golden Earring’s “Kill Me Ce Soir”.  Both songs are pretty damn good.  I prefer both to some of the album tracks!

“Bring Your Daughter” had two of its own B-sides:  “Communication Breakdown” and “I’m A Mover”.  Maiden tackle Led Zeppelin and Free less successfully than they did they other two B-sides.  “I’m A Mover” ain’t bad as it allows Maiden to get into a groove they normally wouldn’t, and Bruce seems to have fun with the vocal.

3.5/5 stars

REVIEW: Iron Maiden – Maiden England (1989 VHS, 1994 CD)

Part 12 of my series of Iron Maiden reviews!

IRON MAIDEN – Maiden England (PAL VHS/CD set)

Maiden’s spectacular Seventh Tour of a Seventh Tour seemed the perfect time to do another live home video.   Future Maiden tours were to be toned down stageshow-wise for quite a few years.  It also enabled Maiden to take a break while Steve Harris took 6 months to edit the video himself.  In the meantime, Adrian and Bruce were able to write solo albums.  We’ll get into that.

In the meantime, “Moonchild” opens the set.  Sadly the acoustic part is just a pre-recorded tape, but Bruce just howls his way through this one.  As Bruce welcomes the Birmingham crowd to the show, the band break into “The Evil That Men Do”, probably the best live version of this song available.  Steve charges into it and the rest of the band keep up.

This is followed by a deuce of classic Maiden tunes that were-not-but-should-been-on Live After Death!  These would be “The Prisoner” and “Still Life”, also available on the single for “Infinite Dreams”.  “Still Life” is a rarity to hear live so this is a nice treat; I think it’s an excellent song.  One of my all time favourites.

“Die With Your Boots On” was included on Live After Death but I ain’t complaining!  You can hear that Bruce has lost a little bit of his range on some of the high notes; it is what it is.  It’s an awesome tune and this version has a certain reckless abandon.

The single, “Infinite Dreams” follows, and I always felt it was one of the better Seventh Sontunes.   It works live, especially once the band kick it into gear halfway.  And if you somehow managed to fall asleep, an especially screamy “Killers” will wake you up.

That’s it for classic Maiden for a while.  The next four numbers are all from the most recent two albums: “Heaven Can Wait” (with singalong), “Wasted Years” (which Bruce seems to struggle with), “The Clairvoyant” and the epic “Seventh Son of a Seventh Son”.  At 10 minutes long, Bruce makes sure the crowd doesn’t fall asleep, getting them to sing along.

The CD closes with a double whammy of classic Maiden:  “The Number of the Beast” and “Iron Maiden”.  Bruce implores the Birmingham NEC to scream for him, and scream they do.

The VHS version had two extra songs, lopped off the CD for time reasons.  They are, unfortunately, an amazing “Hallowed Be Thy Name” and the single “Can I Play With Madness”.

A DVD version of Maiden England with a remastered and complete CD was confirmed by Maiden manager Rod Smallwood to be forthcoming on March 25, 2013.

Maiden England was a good package, and it’s cool to have the Seventh Tour documented on video, with that cool arctic stage set and crystal balls, and all that.  Comparing it to Live After Death is just…well…you can’t.   Live After Death was 25 minutes longer therefore more comprehensive, and perfectly mixed.  Maiden England sounds a little more…I dunno…muddy, maybe?

Who cares.  It’s Maiden.

4/5 stars

REVIEW: Iron Maiden – Seventh Son of a Seventh Son (1988, 1996 bonus CD)

Part 11 of my series of Iron Maiden reviews!

Seven deadly sins…

Seven ways to win…

Seven holy paths to Hell and your trip begins…

IRON MAIDEN – Seventh Son of a Seventh Son (1988, 1996 bonus CD)

Maiden finally did it.  After years of denying that their albums had been concept albums, Maiden went ahead and wrote a concept album!  The circumstances were coincidental. The album was to be their seventh.  Steve Harris had already written his album epic, the title track “Seventh Son of Seventh Son”.  Meanwhile, Bruce had written down lyrics such as “Seven deadly sins, seven ways to win…”  Seizing this serendipitous moment, Maiden plunged forward with the tale of a boy born with healing powers and the ability to see the future…everyone’s but his own.

A boy born as the seventh son to a seventh son, in some folklore, was prophesied to have such powers.  But the inability to foresee his own fate was a cruel joke by none other than Lucifer himself.  In the story, the sides of good and evil battle for the soon-to-be-man’s soul, hoping to bend his powers to their will.

If Bruce was a basket case on the prior album, Somewhere In Time, he had bounced back by Seventh Son.  With no less than four writing credits out of eight songs, Bruce must have been satisfied that Maiden were incorporating acoustics, and keyboards.  It was all in the name of texture and light & shade.  Bruce had hoped that one day Maiden would make their Physical Graffiti and perhaps this is it.

I recall when it came out that there was some backlash:  Some Maiden fans did not take too kindly to the obtuse lyrics, acoustic guitars, and softer more progressive direction.  When you listen to both albums back to back, on a whole I think Seventh Son is heavier than Somewhere In Time, by a hair.  Yet compared to Powerslave or Killers, clearly this was new and different.  Some didn’t like that, while others took the time to get to know and love Seventh Son.  I can recall being perplexed by the lyrics, struggling to figure them out, and wondering if the symbols written on the lyric sheet were clues.

At the same time that Maiden were exploring new directions, so was cover artist Derek Riggs.  No longer wishing to draw Eddies with axes in people’s heads, he came up with something very different that suited Maiden’s more mystical musical direction.   Here’s another one I wish I had on vinyl!  Clearly no longer on our plane of reality, but still with his cybernetic implants, Eddie seems to be giving birth to a new generation of Eddies!  On the back, the Arctic ice forms seem to represent past Eddies.  Altogether, seven of them…

The acoustics and keyboards are evident right from the get go as they form a major part of “Moonchild”, written by Bruce and Adrian.  It’s a strong opener, quickly getting up to speed, with lyrical angels and demons swooping upon you as Bruce spits out the words.  I recall Bruce saying in a Canadian interview that he enjoyed playing multiple characters on the album, and when singing as the Devil, he drank “a couple cups of tea.”

Steve’s “Infinite Dreams” begins slow, in line with past Maiden ballads, the sound of precious Fenders caressing your ears as our protagonist emerges from a nightmare.  Soon the tempos change (more than once!) and Bruce lets loose a scream from hell.  (As kids, this is the first time we noticed Bruce losing some of the smoothness and range of his high voice.)

The first single, “Can I Play With Madness” is third.  It too was controversial in a way:  The music video didn’t have Iron Maiden in it!  Aside from some Powerslave footage playing on a TV in a catacomb, the video starred Monty Python’s Graham Chapman and a certain Mr. Eddie.  The mystical video did little to enlighten us kids on the meaning of the lyrics!  Musically, it’s another anthemic Maiden hard rock single, but perhaps the most commercial one yet.

The second single, “The Evil That Men Do” closed side one.  Like the previous song it was written by the triumvirate of Steve, Bruce and Adrian.  It boasts a powerful singalong chorus and some great guitar melodies.  Lyrically, our protagonist has now “slept in the dust with his daughter,” and I think you can guess who’s daughter he’s referring to.  This song represents one of the very few times Maiden sing about love, albeit in this case it’s a sub-plot of a concept album.

Side two opened with Steve’s 10 minute epic, “Seventh Son of a Seventh Son” which essentially sums up the plot so far.  It’s not as dynamic as some past epics as “Rime of the Ancient Mariner”, nor as riffy.  It is still quite an excellent epic, slow and meandering but of course with ample changes and parts to keep your attention.  Like “Rime” it has a slow spoken word section in the middle.

“The Prophecy”, written by Dave Murray and Steve Harris, continues the story.  The seventh son has foretold a disaster and the village is doomed.  The townspeople do not believe him.   Yet disaster does strike while “Lucifer smiles, looks on and waits,” and the town blames him for bringing a curse!  Musically this is not the best song on the album, and it comes close to filler territory.  Yet the end of it is an intricate medley of sad acoustic guitars, weaving an ancient-sounding melody.  It is moments like this that are a great example of Maiden and acoustic guitars working together appropriately. The third single, “The Clairvoyant” begins with some of Steve’s patented rinky-dinky bass melodies before the dual guitars crash in.  This melodic winner, written alone by Steve, is one of the best.  Not only are the verses soaring, but it is taken to a whole higher level when Bruce digs into the choruses. Nicko’s drum fills are exactly perfect (as they always are) punctuating the right moments with thunderclaps and rain.  It ends with a bright note though:  “As soon as you’re born, you’re dying…to be reborn again!”

Does that happier fate befall our protagonist?  Spitting out disgust at the society that rejected him, he indicts them for their crimes.  “So I think I’ll leave you, with your bishops and your guilt.  So until the next time…have a good sin.”   Yet he finds that to be reborn again might not be a good thing after all, Bruce throwing in a hinting snicker at the end…The name of the song is “Only the Good Die Young”, and it is a great Maiden closer.  One of the best.  And you just have to love that ending!

Yes, Seventh Son is indeed a triumph.  I think the reaction to it at the time was more indicative of the times.  People feared for Maiden losing their edge, as Priest seemed to do (Turbo), while newer heavier bands citing Maiden as an influence gained some traction.  If Maiden had gone even softer after Seventh Son, then I think that a portion (a minority) of fans would have given up on them.  Maiden seemed to be aware of this, though…

I find Martin Birch’s production to be a tad muddy…just by a hair though.  I’d like it a little brighter personally.  Minor nitpick.

For the first time, fans had four singles to collect!  “Infinite Dreams” was thrown out there as a single at the end, right around the time of release for the new live video, Maiden England!

Singles breakdown is below.  For whatever reason, although the other nine songs are included, the 1996 2 CD reissue of the album excluded “Heaven Can Wait”.  Too bad.  There was room on the disc.

“Can I Play With Madness” included the comedy song “Black Bart Blues”.  Please allow Bruce to introduce you to Black Bart, a suit of armor that rode on the back of their tour bus!  On the heavier side, Maiden throw in an authentic cover of “Massacre” by Thin Lizzy.  As I kid I was amazed it was  cover, because it seems custom made for Maiden once you hear this version!

“The Evil That Men Do” (besides having the best cover art, that folded out into a Monsters of Rock poster) had two great B-sides:  Re-recordings of old Maiden classics, with Bruce singing!  In fact neither Bruce, nor Adrian, nor Nicko were in the band when “Prowler” and “Charlotte The Harlot” were originally done.  The new versions, dubbed “Prowler ’88” and “Charlotte The Harlot” ’88 are captured nice and raw, much like the originals but with better production values.  Bruce really nails it on “Prowler ’88”

“The Clairvoyant” was released a a live single surprisingly, in gatefold sleeve no less.  It contained live versions of “The Prisoner” (finally, since it wasn’t on Live After Death!) and the aforementioned “Heaven Can Wait”, complete with “whoah-oh-oh” singalong.

“Infinite Dreams”, which coincided with the new live video, was also live.  It was backed by awesome live versions of “Killers” and “Still Life”, two more songs that weren’t on Live After Death.  A CD version of this video didn’t come out until 1994 so for a while this was the only place you could get them.

The Seventh Tour of a Seventh Tour portended some changes.  The stage productions had gotten so large that the band were afraid of being lost in it all.  Bruce complained on Canadian TV that he’d sweat buckets on stage only to have a fan approach him and ask him something about the “fucking crystal ball”.  But deeper problems were afoot.  Bruce seemed creatively revitalized, but Adrian was clearly unhappy on stage.  The band knew it.  But in the meantime, Steve Harris had a live video to edit, and Bruce had plenty of time off for solo activities…

5/5 stars

1996 2 CD reissue:  4/5 stars – knocking off a point for excluding “Heaven Can Wait” live.

BOOK REVIEW: Paul Di’Anno – The Beast (2010)

Part 10 of my series of Iron Maiden reviews! Although this book came out in 2010, I decided to talk about Paul Di’Anno during the 1987 period, when Paul released his Paul Di’Anno’s Battlezone album, Children of Madness. This was the first time I heard any of Paul’s post-Maiden music.

PAUL DI’ANNO – The Beast (2010 John Black Publishing)

Paul Di’Anno, when not in jail for assault or disability fraud, is in a state of perpetual arrested development. Scattered among the cool rock stories about touring with Kiss and rocking the stage aside Steve Harris, Di’Anno is like a little boy who will never learn his lesson. Girlfriend after girlfriend, fight after fight, arrest after arrest, Di’Anno never seems to grow up. As if an apology makes up for it, he says he is “deeply ashamed of” a drunken incident when he repeatedly pummeled a woman half his size in the face. Di’Anno states that ,”if I could turn back the clock, I would,” but he also admits that it wasn’t the first time it happened.

Paul continues to snort and drink everything that passes his way, while bedding every “bird” and smashing every bloke that gets in his way. In the meantime, there’s this story in the background about this band he was in called Iron Maiden. He talks about singing Deep Purple’s “Dealer” and “All Right Now” by Free at his audition. He describes the feeling of helping to build this band, and it sounds like being in the center of a tornado. It doesn’t take long for fame to have its effect in a negative way.

Only two albums in, Paul sheds some light on his departure. There were musical differences as he did not like the polished, more progressive direction that the band was seeking. His heart was no longer in it, and he knew it. This seems to have manifested itself in bad behaviour, and deteriorating relationships. After a final gig in Copenhagen, Paul handed in his resignation. While he has nothing bad to say about the guy who replaced him, he has special praise for Adrian Smith, “the best all around guitarist that Maiden have had.”

I just wish this book was more about the music and less about the drinking, drugs, and fighting. It doesn’t take too long to realize that Paul Di’Anno isn’t much for self-improvement. He tells his story with several winks and smiles, and lots of laughs too. At this same time this there’s dark undercurrent of violence and underachievement.

The Beast isn’t what I’d call an inspiring read, but it’s raw and real. The man has loads of stories. Whether they’re your cup of tea is really up to you!

2.5/5 stars

REVIEW: Iron Maiden – Somewhere In Time (1986, 1996 bonus CD)

Part 9 of my series of Iron Maiden reviews!

IRON MAIDEN – Somewhere In Time (1986, 1996 bonus CD)

After the yearlong World Slavery Tour, to hear it told by Steve Harris, lead singer Bruce Dickinson had “lost the plot”.  Bruce on the other hand felt that the next album should be a game changer:  their Physical Graffiti.  But burned out from the road, all he brought to the table were some acoustic tunes which were all rejected. According Steve Harris, it wasn’t so much that the songs were acoustic.  It was because they weren’t very good.  This was the first time Bruce didn’t get a writing credit since The Number of the Beast!  And instead of Physical Graffiti, Bruce said that they “just made another Iron Maiden album.”

Bruce and Janick Gers acoustic, 1990

In spite of the lack of Bruce songs,  Steve, Adrian Smith and even Dave Murray came in with enough songs for an album.  They also came in with synthesizers for the first time.   All three were credited with guitar or bass synth on Somewhere In Time, a sound that threw some of us for a loop.  Also for the first time, Adrian would take sole writing credits on several Maiden songs (lyrics, music and all) which lent his more melodic bent to the resulting album.

The production, again by Martin Birch, was paradoxically both cold, and warm.  It’s a chilly sounding album, but the synths actually bring some warmth back to it.  Unfortunately there isn’t as much guitar grit as before, everything sounding smoothed out.

“Caught Somewhere In Time”, the excellent opener, starts right off the bat with synth; Maiden were laying their cards on the table.  The gallop is still there and Steve still drives the Beast forward withi his bass.  The synth doesn’t really detract from it.  It is plenty riffy, and Bruce’s voice soars with the excellent chorus.  This is a Maiden rocker to sing along to.

Adrian contributed the first of the two singles:  “Wasted Years”.  This classic song was my introduction to the new Maiden sound, since it came out a bit before the album was available.  Not only was the video great (black and white footage of the band rehearsing with collages of Eddies and tour photos) but the song was also great.  This is definitely hard rock Maiden, the kind of thing that made good Maiden singles, like “Flight of Icarus”.  The lyrics, also by Adrian, are clearly about the road life and I’m sure Bruce could pour his heart into the words.

Two lacklustre songs follow:  “Sea Of Madness” and “Heaven Can Wait”.  Neither song have ever really blown me away, but at the same time “Heaven Can Wait” turned into a tour classic for many years so what do I know?  It was the traditional concert spot for the crowd to sing along.  Smith contributed “Sea of Madness”, while Steve wrote “Heaven Can Wait”.  I do like the slow part in the middle of “Sea of Madness”, with its nice solo.

That ended side one.  Side two started with “The Loneliness of the Long Distance Runner”, one of Steve’s longer songs.  It was based on a short story of the same name, and I have to admit that lyrically it’s not one of those Maiden songs that really has me waiting to sing the next line.  The choruses are pretty straightforward:  “Run, on and on.  Ru-uu-un, on and on.  The loneliness of the long distance runner.”  The synth in this song is effective although the song is arguably filler.

(Of note:  The intro portion of this song would really serve as a blueprint for many many Maiden songs to come.  You know the kind:  Steve’s rinky-dinky-rink bass, backing a mellow guitar melody, with mild synth in the background.  “Fear of the Dark”, starting 30 seconds in, is similar.  “Mother Russia”, 30 seconds in.  Most of  The X Factor.  And so on.)

The excellent “Stranger In A Strange Land” follows, the third of Adrian’s writing contributions.  This was the second single, and a good choice it was.  A catchy mid-tempo song, it took advantage of the textures of the new synths effectively.  I’ve read in the past that it’s based on Stranger In A Strange Land by Heinlein, but I fail to see the connection.  I always felt it may as well be about the 1984 film, Iceman.  The lyrics fit.

“Stranger” was also host to another excellent Adrian guitar solo.  It was around this time that I bought a white guitar simply because Adrian played one in the video!  And yes, the video was an excellent summation of their stage show, with giant inflatable Eddie coming out of the stage!

Steve and Davey’s “Deja-Vu” is up next, and I have always loved this one.  It’s the only song under five minutes, and it has a furiously fast pace.  The synths take a bit of the edge off, but this one is irresistible

But alas, we are now at the end:  The 8th and final song is yet another Steve Harris epic album closer.  This time the topic he chose was “Alexander the Great”.  Another historical topic for me to devour!  I later majored in history.  I wonder how much of that was due to my two greatest influences?  My dad, and Iron Maiden?

“Alexander the Great” has been criticized by some as being a lesser epic.  I really don’t know.  At this point you’re into splitting hairs.  Who cares?  It’s still awesome.  Maybe you don’t like it as much as “Ancient Mariner”; maybe you prefer “Fear Of the Dark”.  It doesn’t matter:  It’s a Steve epic and that means fast parts, slow parts, different tempos and riffs.  And through it all Bruce manages to spit out the tricky lyrics:

A Phrygian king had bound a chariot yoke
And Alexander cut the ‘Gordian Knot’
And the legend said that who untied the knot
He would become the master of Asia

The choruses are awesome, and I consider this to be one of Maiden’s lesser-known triumphs.

And what about that album cover?  Absolutely my favourite Maiden cover of all time, look for all kinds of hidden messages.  What time is it again?  Oh yeah…

I imagined that after Eddie’s resurrection on Live After Death, he had emerged some time in the future (around the time period of Blade Runner, it appears) and gotten himself some cybernetic enhancements.  The cover is, in essence, an updated take on Killers.  Emerging from his Spinner, Eddie’s traded in his hatchet for a laser.  On the back, you can see the members of Maiden themselves witnessing Eddie’s deed.  Notice Nicko’s goggles?  He’d just got his pilot’s license!

The artwork for the singles were equally awesome:  On “Wasted Years”, we see Eddie travelling back in time to 1986…chasing the T.A.R.D.I.S.?  Its B-sides were excellent!  As far as B-side material goes, these were two of the best.  “Reach Out” was a rare thing:  A song written by an outside writer, Adrian’s buddy Dave “Bucket” Colwell who would later end up in Bad Company.  Perhaps even more astonishing was the lead vocalist:  Adrian Smith!  Martin Birch compared it to Bryan Adams-type rock, but fear not! Bruce shows up by chorus-time to blow you away with his wail, as he answers Adrian’s lines.  Pure awesome in a nice sweet hard rock package.

Then there was “The Sheriff of Huddersfield”, a not-very-complimentary roast of Maiden manager Rod Smallwood!  “‘Rufus the Red’ has a crane by his bed, to wrench himself up in morn’, but if you dare to tread at the foot of his bed, you’ll wish you’d never been born!”  Not a great song, it’s still pretty damn funny.  Rodney, it seems, had fallen for the L.A. lifestyle and the band were not beyond giving him a hard time about it!

The “Stranger In A Strange Land” single had even cooler artwork:  Eddie entering a space bar full of space-scum and villainy!  Looking like a cross between Harrison Ford’s Deckard, and Clint Eastwood’s “Man With No Name”, Eddie ignores their stares.  This might be my favourite Maiden single art of all time.  (Of ALL time, Kanye!)

Its B-sides were two covers:  “That Girl” (FM) and “Juanita” (Marshall Fury).  “That Girl” is a pretty good hard rock song, very much in line with a song like “Reach Out”.  I never liked “Juanita” much though.

Don’t worry – Maiden’s arrangement is nothing like this!  Makes you wonder why they covered it though.

I have a real soft spot in my metal heart for Somewhere In Time.   Although it sags a bit in the middle, and it’s toned-down Maiden, this is still one of my personal favourites.  It came out when I first started high school, and you can’t compete with nostalgia.  Although today many consider inferior to the albums that came before and the album that came after, I have to rate it pretty high.

4/5 stars