With the addition of Bruce Dickinson in 1982, Maiden became MAIDEN. Drummer Clive Burr stayed for one album before giving up the kit to Nicko McBrain, who has remained with the band ever since.
See here for pt. 1. Let’s continue this journey through the Maiden discography with friend and fellow irons-upper Marshall Mason. First up:
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| 1982 |
Side One
Marshall: 3/5 Not exactly the perfect Maiden song, but it is the perfect opener to this album.
Bryan: 3.25/5 Yep, that makes sense to me. I always feel kind of bad for not liking it more than I do. As a kid, I always got it mixed up with “Warrior” by Saxon (which I thought was named “Invaders from Over the Sea.” And I like much better) I don’t know how this confusion persisted for as long as it did; misinformation that got in my head in the early 80s has had a long shelf life, even still.
Children of the Damned
Bryan: "If he had lived he would have crucified us all!"
Marshall: 4/5 This song is where the album declares that it is not fucking around.
Bryan: 4.25/5 If you listen to this song with the events of Children of the Corn in mind, it synchs up agreeably. You have to supply your own “corrrrrr-nnn!” to the chorus, though. Fantastic tune.
The Prisoner
Marshall: 3/5 I love the chorus for this song. I used to play the intro (the clip from the TV show) on my parents' answering machine at work. I was such a brat.
Bryan: 4/5 That’s awesome. I ended up a big Prisoner fan later in life, but for some reason I compartmentalize that experience from my fandom of this song. Ditto for “Back in the Village.”
22 Acacia Avenue
Bryan: 3/5 One that others like more than me. Repurposed from Urchin (Adrian's former band)'s "Countdown."
Marshall: 2/5 This one’s okay.
Side Two
The Number of the Beast
Marshall: 3/5 Am I fired for only giving "Number of the Beast" a 3? It's definitely a good song. That shriek at the beginning is pure gold. But it's not one of my favorite Maiden songs.
Bryan: 6(6!6!)/5 No way you’re fired, no, but I can’t agree. This one hits me like a plunger of adrenalin to the heart.
Run to the Hills
Marshall: 4/5 Of course this is the best song on the album, excluding B sides. It has one of the best choruses I've ever heard!
Bryan: 6/5 Hell yes it does. How can you go wrong with this one? I’ll never forget one particular VHS tape sent to me and my brother in Germany, 6 hours of random MTV programming (and all those American commercials). It had the videos for “Number of the Beast,” “The Trooper,” and this one all on it. Glorious moments for my ten year old self.
Marshall: 1/5 A low point for the band. I heard they sacrificed "Total Eclipse" for this song because the drummer wrote it. What a tragic decision.
Bryan: 3.5/5 See and I kind of love this song!
Marshall: I do like the part, "Once you were glad to be free for a while. The air tasted good and the world was your friend".
Bryan: 3.5/5 I only ever heard this one when I got the CD. The break/guitar solo section of this is pretty cool.
Marshall: 5/5 Easily one of the best Maiden songs of all time, and yet so few have heard of it! It's all "Gangland"'s fault. "Cold as steel, the darkness waits" is BAD ASS. This song shows Bruce doesn't just have a pretty operatic voice. He gets gritty here.
Bryan: Your enthusiasm for it definitely makes me reconsider this one. I dropped it on my dishwashing mix, which means I'll be hearing a lot more of it.
Hallowed Be Thy Name
Bryan: 6/5 Poor Marshall: when I sent him this spreadsheet at the beginning of our listen-through, I had only “six-six-six!” as my notes for this and side B’s other big ones. But what can be said? This is everything re: Maiden all in one song.
Marshall: 4/5 "The sands of time for me are running lowwwwwwwwwwwww" and then the band jumps in and he's still going, is one of the greatest heavy moments of all time. I remember when my brother pointed that part out to me.
Bryan: I always sing along with that part – it’s like the harmony to “Africa” by Toto or any number of other examples where I am physically incapable of not doing so whenever it's on – and am always thankful for that little pause for intake of breath Bruce takes before starting the stretch where he sends it all sailing up into “YEAAAAAAAHHH!”
Marshall: When I was a songwriter, I tried to mimic that effect in several of my songs. And the guitar solo is INSANE.
Bryan: Just start to finish perfect.
Final Thoughts
Marshall: Total 29 (Avg. 3.22) A high point in their career and one of the most classic of classics, but I actually believe their best days still lay ahead.
Bryan: Total 39.5 (Avg. 4.39) Few bands manage a side two as epic as the one offered up to the world here. And like you say, it’s not even their best work!
Side One
Where Eagles Dare
Bryan: 5/5 Sound effects so rarely work in songs. Exceptions definitely include when the band is recreating fx through their instruments, as Nicko does here with the rat-tat-tat of the machine guns on the cymbals. Or Iron Maiden in general - they get a permanent use-of-sound-fx waiver.
Marshall: 4/5 I LOVE that intro. I heard that intro was Nicko's audition. Harris heard it in his head, and he looked for a drummer that could do it exactly right.
Bryan: Definitely Nicko’s tune.
Bryan: 4.75/ 5 As textbook metal for me as Judas Priest’s “Victim of Changes” or Demon’s “One Helluva Night.” I think about this list (songs that define metal to me) often enough. Those three are definitely on it, but I go back and forth - over decades, now - on what else should be on it. ("Holy Diver" probably, too. And "Mister Scary." Project for a rainy day.) Anyway, I can't imagine my childhood without Piece of Mind in my walkman, and this song more than most.
Marshall: 4/5 Just as “Where Eagles Dare” is Nicko's spotlight, this one is Dickinson's spotlight. His voice is incredible on this song. I get chills every time I hear, "the eyes of the Nile are opening, you'll see".
Flight of Icarus
Bryan: 5/5 One of my faves.
Marshall: 3/5 I know this is a classic Maiden song, and it's definitely a good song, with a great chorus, but doesn't quite reach the level of "favorite Maiden song" for me. I think because it gets repetitive.
Die With Your Boots On
Bryan: 3/5 These guys really know how to end a side one.
Marshall: 2/5 I first heard this song on Live After Death and didn't like it at first. The chorus is stupid and repetitive. It's grown on me a little since then.
Bryan: You just gave me permission to knock my score down a bit to where I think is more honest with me. I remember when this one of their “biggest” songs, like pre-Powerslave. The band expanded beyond this one quite well.
Marshall: It's funny how many of your comments talk about "sides." What are these "sides" of which you speak? :) I hadn't dealt with sides since like 1991.
Bryan: Truth. But since they designed those early albums with sides in mind, so that’s part of the pleasure. Maiden's one of those bands, like Rush, that tended to follow a song-placement pattern, album to album. It's part of why Brave New World feels so much like classic Maiden: they followed the classic pattern! All in good time, though.
Side Two
The Trooper
Marshall: 3/5 This song is all about the instrumentation and vocals. The guitar riff is genius. The intro is bad ass. The instruments stop and he yells "he'll take my life but I'll take his too!" But the chorus is pretty lame: "Oh oh oh oh oh oh oh oh oh"
Bryan: 6/5 You've got the wrong pronoun there, but close enough. Here’s another one where I feel bad for Marshall getting my original notes, which were these: “What can you say. The scene in Free Enterprise where Robert answers the asteroid/ Alvarez question/ crossword downstreaming of being a Trek and Maiden fan. ” Those were just notes to myself to follow up on - but he must've thought I was writing in code.
Don't know who out there has seen Free Enterprise (1999) – it wasn’t a big hit, or a hit of any kind, really, but if you’re a first or second generation Trekkie, you probably know of it. It was (not including the SNL skit from the episode Shatner hosted) the first meta-Trek, something which later became a genre unto itself. There’s a scene in the movie where one of the leads receives a phone call from a contemptuous ex-girlfriend, who still, despite her ex-status and her contempt, contacts him for crossword answers, which he always knows, the joke being his geekery - particularly his Trek geekery - has instilled him with actual demonstrable knowledge (at least for crosswords). I can relate to this scene, not just for Trek but for Maiden. I was one of the kids whose first glimpse of so many things (the Crimean War here, the Blitz, hell Margaret Thatcher) came thanks to Maiden. People who came to Maiden (or Trek) early in life were familiar with many things discovered by others only in the classroom. Chuck Klosterman calls the band (derisively) "British-history-obsessed" in his otherwise excellent book Fargo Rock City. True but a narrow truth: their scope was history itself, not just British, and not really with any provincial airs. Hell, "Run to the Hills" is as anti-provincial as it comes, just one of many examples. Anyway, I'm grateful for the thousand ways Maiden (and Trek, again) prepared me at least for crossword puzzles.
To your point on the chorus, here’s one where I kind of agree. I’d argue that it works – and maybe even works gloriously - but it’s a pretty lame choice for a chorus. This is a rare agreement with you on such things; your anti-soccer-chant remarks never land with me.
Here, by the by, is where the tradition of starting off side two with a "The (occupation)" song begins. For anyone paying attention to such things.
Bryan: 5/5 One of my favorite "deep tracks". I love when songs say the album name in the lyrics. The opening backwards-masking is (apparently) "Don't be fiddlin' with things you don't understand."
Marshall: 4/5 Of all the songs on this album, this one got into my head the most. The intro is gorgeous. The chorus grabbed me: "Night-mares!" I really love the part, "can't you see, not just me they want you too!" I actually did have a nightmare that somewhat resembled this song. And Star Wars. It was weird. I wrote a song about it called "Blue Nightmare", and I tried to make it sound a bit like this song.
Bryan: Oh I can totally remember hearing that “Nightmaa-aares!” in the Walkman – you just brought me back to that. This was, again, a big Walkman album in my life. I seem to not be able to stop bringing that up.
Quest for Fire
Bryan: 3.5/5 You ever see this movie? I've always wanted to do a marathon of movies that inspired Maiden songs. They get it wrong here, though ("in a time when dinosaurs walked the earth…!") but hey, good line, and Bruce belts it out well. Ditto for the chorus. Some great bass in here, throughout.
Marshall: 3/5 Never saw the movie, no. This is a good song, I like it, tempted to give it a 4, but I don't like it as much as "Revelations" and "Still Life". I like it as much as "The Trooper" and "Flight of Icarus".
Sun and Steel
Marshall: 4/5 I love all the fencing songs. This song is so fun, and so catchy.
Bryan: 4/5 The opening line (“You killed your first man at 13…”) and the chorus will always stay with me, they’re just imprinted on my brain. Between this and “Holy Diver” I really had Boethius’ wheel re-enforced as a philosophical constant. And yeah, any fencing song works for me. Another way Maiden helped me out with crosswords forever after. (Epee, foil, etc.)
To Tame a Land
Bryan: 4.25/5 I don't know how many times I've heard this over the years, but it's possible this last listen for this project was the most enjoyable. What I said about ending Side Ones goes for Side Twos, too. The last few minutes are as protoypically Maiden as anything I can think of (bass propelling things, twin leads, Nicko galloping along) and then the winding it down to a quiet finish.
Marshall: 5/5 Back when Steve Harris knew how to tell a story in a grand finish to an album. He started doing these epic masterpieces on this album and the following two albums. I just love all the places this song goes instrumentally, starting with the bass solo at 2:50. My favorite part is the guitar solo over one of the coolest bass riffs EVER, starting at 4:40. And that bass riff just keeps chugging along as the guitars battle it out, back and forth before finally joining together behind that bass riff. GENIUS!
Final Thoughts
Marshall: Total 32 (Avg. 3.56) Is it just me, or did the production value drop on this album after Number of the Beast? Anyway, this album was when Dickinson's voice was at its peak. He'd really mastered his voice and was in tip top shape. So many good songs on this album.
Bryan: Total 41.5 (Avg. 4.61) If you’d asked me prior to this what I thought of the production, I’d have praised it. Because I think of the mix as meeting in the middle of my ten year old head on the Walkman. Still do, really, but I think there’s a tininess to some tracks.
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| (1984) |
Aces High
Marshall: 5/5 I LOVE this song. This was the first Iron Maiden song I ever heard. I remember that line, "got to get airborne before it's too late!" It was intense, and then the chorus hit. "run, live to fly, fly to live" and I was already singing along.
Bryan: 6/5 I can still remember the impact the arrival of this album had on all the D&D sessions of my youth. What can you say? It’s iconic, it’s perfect, it should be re-scheduled as a Class One narcotic. As should the side two opener. But we’ll get there!
Two Minutes to Midnight
Bryan: 4.5/5 The lyrics on this song were written on the back of my sixth grade notebook. I remember reciting them in my best Sean Connery impression "And the jellied brains of those who remain..." to my tablemates. Any other band this would be their signature tune. With Maiden, it's almost crowded out by other, better anthems. Almost. Still anthemic, still awesome.
Marshall: 4/5 That guitar riff intro!! That was the first signal that this song was going to be intense. The lyrics of this song are absolutely amazing. "The body bags and little rags of children torn in two" is something you'd expect to be dropped casually by a death metal band, but Maiden had already built up a lot of credibility as not being hyperbolic, so this becomes a dead serious (pun intended) anti-war anthem.
Bryan: I have a friend who doesn't get metal and his go-to thing whenever the topic comes up is to mimic "To kill! The un-born in the woo-OOMB!" He doesn't understand he's just making the object of his confusion all the more awesome.
Losfer for Words
Marshall: 4/5 The best heavy metal instrumental ever written. The dueling guitars on this song are just exquisite. I wondered for decades what "Big 'Orra" meant, and it wasn't until the internet that I could find out. I searched for it, and Nicko said it's kind of poking fun at the way he talks, and means "big horror"
Bryan: 4.5/5 That is the kind of thing the internet should have stayed invented for, right there.
I can respect and even metal-salute nominating this for best metal instrumental, though Faith No More’s “Woodpeckers from Mars” is a respectable alternate. Undoubtedly, though, like Maiden's own "Transylvania" or portions of Megadeth's "Into the Lungs of Hell," this is Headbanging 101.
Flash of the Blade
Bryan: 4.75/5 Same as "Two Minutes," any other band this'd be their signature tune. There should be a Guitar Hero Maiden song where you're just on horseback, vaunting various things. I forget the Argento movie that uses this one – Phenomenon, maybe? I’m acting like I can’t just google it, but I’ll save it for later, but I’ll add it to my one-day Maiden-movie marathon.
Marshall: 5/5 Another insanely bad ass guitar riff intro. I love the chorus of this song, "you'll die as you lived in a flash of the blade." Then it goes back to that insane guitar riff. THAT GUITAR RIFF!!! There's also a part in the guitar solo where the guitars are doing these two different melodies on top of each other and it is just mind boggling to listen to.
The Duelists
Marshall: 5/5 This song's music really evokes the image of two people intensely fencing. It just feels like fencing theme music. The guitars, again, do some amazing magic on this song. It even feels like the guitars are fencing! And again, the chorus is incredibly catchy.
Bryan: 3.5/5 It is indeed great cinema of the mind. Not so much evocative of the (great) Ridley Scott movie, and I don’t know if it was even meant to be. Anyway, as side closers go for me it’s not great, but it gets the job done and then some.
Side Two
Marshall: 4/5 Another amazing guitar riff intro. The guitar work on this song is amazing. This is one of my favorite songs of all time, and yet it's my LEAST favorite song on this album. That's how absolutely mind boggling this album is.
Bryan: 5/5 Right there with you – not a fave as a kid, a “Holy shit, how did I not love this?” fave as an adult. And you’re so right about that guitar riff! Just terrific – this song is everything metal needs to be. As is:
Powerslave
Bryan: 5/5 As is the next one too. What can you say about this? Freaking Powerslave.
Marshall: 5/5 One of the coolest things about this song is the vocals. Makes sense since it's Bruce's tune. It really evokes the feeling the song is about. The background vocals during the chorus are incredibly spooky. But the best part of this song is the guitar solo beginning at 3:00, with the bass almost doing its own solo underneath. It's exquisite. Then they really get down to business at 3:50! They just keep trading off, even the bass and drums each sort of get their own solos. Then the jump back in is absolutely seamless.
Bryan: There's nothing quite like "Powerslave". Well, not counting "Creeping Death," I guess, both conceptually and metal-masterpiece-ly. it'd be fun to put together a playlist of only Egypt-inspired metal. Those two, plus Blue Murder's "Valley of the Kings" and "Ptolemy." What else? Leave your suggestions in the comments.
That brings up something I wanted to take note of: the controlled-POV of Maiden songs. They're like little movies where both band and Bruce play different parts. It's not an approach every band takes, and of the ones who do, it's not an approach every band actually does successfully. It's never a problem with Maiden, though - you never think Bruce is singing about himself or Steve writing about himself. They're selling concepts, plays of the mind, etc. The "are they Satanists?" confusion from American audiences was always funny to me even as a kid; clearly they're describing a scenario like a book/ movie and not actually promoting anything. Who couldn't see that? This changes a bit down the road when the band incorporates more personal lyrics into the songs, but at this stage, at least. Maiden is pure theater.
Rime of the Ancient Mariner
Marshall: 5/5 And now. Now comes the epic album finisher. The only song that could possibly top every single song on this amazing album. This is the best song ever written. My favorite instrument in this song actually is the drums. Nicko is absolutely genius on this song. My favorite part is the break where it's just the bass guitar and spooky vocals, then that lead up back into the song is incredible.
Bryan: 5/5 What can you say. Perfection. "The chosen on-n-n-ne!" This is the "chosen-one"-iest of all Maiden's "chosen one" songs.
Final Thoughts
Marshall: Total 37 (avg 4.62) This was the best Iron Maiden album ever recorded. No, this was the best heavy metal album ever recorded. No, this was the best album ever recorded. The instrumentation on this is absolutely incredible. It almost seems superhuman.
Bryan: Total 38 (avg 4.75) So say we all!
We're just reviewing the studio albums in this listen-through, but a quick word on:
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| (1985) |
- the document of at least two nights in Long Beach, California from The World Slavery Tour, (if you could even imagine such a thing today. I hope no one ever cancels Maiden. It's likelier now than it was at the peak of the PMRC.) in support of Powerslave.
Marshall: My favorite live Maiden and basically the perfect live album. These guys are masters at the live show, and all their techniques were on full display on that album. I didn't think they could get that good until Rock in Rio, which I'd say is a close second to Live After Death.
Bryan: A lot of my friends say Alive (Kiss) is the best metal live album, but that's nuts and I tell them so whenever it comes up. I'm a Kiss fan and I get that it had a big impact when it came out, but it’s nowhere close. Live After Freaking Death all the way.
Marshall: I just don't get Kiss. They are really bad. Like, not even a little bad, but really bad. It's not that they don't have their moments, they do, but, just not very much talent in that band. They're performers far more than they are musicians, and I care about music a lot more than performance. That said, I owe them a great debt for the influence they've had on all of my favorite music that came later.
Bryan: I only got into them in the late 90s, and that was mainly because my friend and old bandmate didn't stop bugging me about them for years and he's a pretty funny guy, and his energy eventually infected me. That and I genuinely love Ace Frehley's 1978 solo record. My timeline was: not liking them so much in the hair metal era or after, not caring about their reunion tour, rediscovering my love for Ace Frehley (1978), saying "I only like Ace's Kiss songs" for 2-4 months, then finally succumbing to the full-on collect-it-all madness. Definitely more performers than musicians, more spectacle/ style than substance, more fun to collect/ be a fan of than perhaps listen to.
Anyway, back to Maiden. I like a few of the later vault releases like Live in England. While we’re here, when I was growing up I always wanted Maiden Japan, which was a white whale of my vinyl-hunting youth. I just never could find it anywhere and mail order was unknown to me then. I was disappointed, though, when I finally got it as an adult. Maiden's got a lot of live stuff, but the casual fan can make do with just Live After Death.
And that cover! I remember my brother explaining that this H.P. Lovecraft guy quoted on it was the same guy who invented the gods in that one chapter (since removed) of my copy of Deities and Demigods (D&D manual).
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| (1986) |
Side One
Caught Somewhere in Time
Marshall: 3/5 I like this song, it's a good opener. But a tad repetitive, a sign of things to come. Let me guess, time is always on your side, and you're caught somewhere in time? Got it. No, I insist, I really did hear you the first time!
Bryan: 4.75/5 I totally respect that. It’s true, I can’t deny it. But there’s a 12 year old in my head on a BMX standing in front of an imaginary posse of monsters and Marvel comics who is stuck in time, or rather is glaring at me from it, who is refusing to let me go any lower than 4.75. This - and most especially the next one - is the sound of returning to the States after five years in West Germany, of junior high, of a reunion with America. I realize this can't be anyone else's association with this song / album in general, but it's inseparable from my feelings on it.
Marshall: 5/5 One of my favorite Maiden songs. That guitar intro is so cool! Such a catchy chorus, and great lyrics. It's also definitely my favorite Maiden video. I remember watching that on Headbanger's Ball and being floored by all the images being flashed at me. So much history!, I thought. Decades went by, I'd since bought every album, seen all the Eddies and photos of the band, heard every story. Then I went back and watched this video on YouTube, and recognized every single image being flashed at me, AND I knew the back story for much of it. It felt like the reward for all my hard work!
Bryan: 5/5 Amen to that. Imagine being twelve and having drawn all of those covers over and over again for years and then seeing the video in 1986! It made me feel like a vet, and the video was the parade.
I mentioned Wayne's World last time, and it's weird to reference that movie twice in two posts, but there's that scene where Wayne picks up the guitar at the guitar shop and starts in on "Stairway to Heaven" and they point to that sign 'NO 'STAIRWAY TO HEAVEN'". For years whenever I'd walk into a Guitar Center the "Wasted Years" riff was the one I'd always play on whatever demo guitar was plugged in. My version of that sign would read 'NO 'WASTED YEARS.'"
Sea of Madness
Bryan: 4.75/5 I keep expecting to listen to this and think oh, okay, I've overrated it. And it never happens.
Marshall: 2/5 It's a decent song, nothing much to write home about. Filler.
Bryan: I have written home about it – literally! True story.
Bryan: 4.75/5 That riff is such dynamite, and the soccer chant stuff in the middle is the best.
Marshall: 1/5 This song is exhausting. The lyrics are stupid. It's like 7.5 minutes of yelling "heaven can wait" 32 times (yes I counted), and "oh oh oh" over and over again. Talk about phoning it in.
Bryan: Wow, we split hard on this one! I find it neither exhausting nor stupid and no more repetitive than any other Maiden classic. And I love soccer chant Maiden – the strategic use of “whoah oh oh”s! is a column on my mental spreadsheet of appreciation for the band.
(There was a lot more back and forth here but it boils down to I love it, Marshall doesn't.)
Side Two:
Loneliness of the Long Distance Runner
Bryan: 4.25/5 I go up and down with this one over the years, all these years later still. I read the book it’s based on once and liked it.
Marshall: 3/5 This song is so upbeat, which seems appropriate for its subject. The whole thing is about perseverance. And the drums just pounding away consistently throughout the song mimics the feeling of running.
Stranger in a Strange Land
Marshall: 3/5 I like the bass intro, which stays constant throughout the verse. I like this song. I relate to the lyrics a lot. My favorite part is the middle guitar solo. There's a sort of bass solo underneath it going at the same time. I love it when they do that sort of thing.
Bryan: 3.25/5 Not a bad song at all. Not a fave.
Bryan: 4.5/5 For me one of the great underrated tunes of Maiden's career. I love when this one gallops off from the slow beginning. Irresistible riff/ chorus. Just a great idea for a song, particularly a Maiden song.
Marshall: 3/5 I like this song, but I tend to tune out by this point in the album.
Alexander the Great
Bryan: 4/5 Okay I was looking fwd to listening to this one again given your high opinion of it. I can safely say I enjoyed it more this past listen than any time before. The middle instrumental stuff is awesome, no doubt - full-on 5 stars. I still think the verses are kinda crowded, though, cramming words in, kinda info-dumpy. ("He paved the way for Chris-ti-an-i-ty!") This is not something I hate about Maiden; I find it kind of adorable, actually.
Marshall: 5/5 Another one of their epic album finishers. I really love the intro and chorus. I love the changes in this song, right around the middle, heading into the solo. The guitar melody there is so good, then they double it with both guitars before launching into an even grander solo. I totally agree about how crowded the verses are. That's sort of Harris' style. And I agree that it's cute.
Final Thoughts
Marshall: Total 25 (avg 3.12) This was clearly a massive step down from Powerslave. The band was starting to experiment with new sounds and styles. Unfortunately, the members were in disagreement about the new direction, which ultimately led to the loss of two of their most important members over the next few years. Dickinson was so disillusioned with this album that he contributed nothing to it except his vocals.
Bryan: Total 35.25 (avg 4.4) I remember reading the Mick Wall book and discovering how unhappy Bruce was with this direction this one took. It surprised me, but then it made sense. I can see how Bruce phoned it in with this one, and how the band more or less repeated a formula, the beginning of a pattern which would be repeated a few more times in the years to come. Not immediately, though, as we will see next time.
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| Hope to see you then! |
