(1984)
Steve, Dave, Bruce, Adrian and Nicko
2. 2 Minutes To Midnight (Smith/Dickinson)
3. Losfer Words (Big 'Orra) (Harris)
4. Flash of the Blade (Dickinson)
5. The Duelists (Harris)
6. Back in the Village (Smith/Dickinson)
7. Powerslave (Dickinson)
8. Rime of the Ancient Mariner (Harris)
Since then, I've realised it's neither their best nor my favourite, but it is one of their best and one of my favourites. Truth be told, Powerslave is a masterpiece in the same way that NotB and PoM were masterpieces (as were the two studio albums following PS). It is unusual in that it has four absoluteley classic songs on the album, which is more than most Maiden albums, however, only one of these songs is only played live with almost the same regularity as Hallowed and The Trooper.
Yet, this hasn't stopped those other three songs from being classic, nor does it stop the middle four songs on the album from being, while perhaps no classic, absolutely fantastic in their own right.
Just as Piece of Mind was almost perfect, Powerslave falls similarly short of perfection; the weak link being the third track.
The album begins with Aces High, a song with one of the greatest sing-along chorus' ever written, despite the majority of the populace probably not being able to sing it properly. And with the 'intro' to the chorus (that would be the "rolling, turning" bit) Bruce's accent is hilariously obvious. 'Tis an excellent album opener indeed.
Next up is the song which will always have a special place in my heart, because it's the song that got me into Maiden. It also happens to feature in most live sets. 2 Minutes To Midnight is, despite it's frighteninly quick pace, a little over six minutes long, something which may seem unusual given the song was released as a single. It's Bruce and Adrian at their absolute best together. It's a song about war and politicians and the doomsday clock, and it's excellent. The opening riffs are great and the lyrics and both smart and fun, plus there's a awesome instrumental section followed by a mighty "fuck yeah!" by the listener as that section kicks back into the main riff. Plus it beat Spandau Ballet's Gold as best song on Grand Theft Auto: Vice City, and believe me, that isn't an easy task.
Track three is the weak link (and the start of the point some people feel as the drop in quality of the album until track seven), although that's being unfair, because it's an instrumental, and a marvelous one at that. Still, it's the reason the album isn't perfect, but don't tale that as a reason to skip to the next song when it comes on, because taken on its own, it's fantastic.
Next is a pure Bruce song, no doubt inspired from his love of fencing. It's a excellent song, I think, although it may have benefitted from having an extra verse. But whatever, because the chorus is astounding, and reaches the same sing-alongness of Aces High.
Then there's a rather unusual song, yet a great one. The Duelists is a rather long track, which may seem odd when you hear how fast the long verse's are hammered out. But as good as they are, as well as the chorus (which I maintain would be great crown interaction material live), the reason this song is so good is the astonshing instrumental section that utterly dominates more than half of the song. The solo's are truly excellent, and I really don't know why this hasn't been played live. The only reason you could complain is that this song about sword fighting followed a song about...sword fighting. Eh, doesn't bother me.
Next up is Back in the Village (inspired by the same tv show that The Prisoner is based on). It's a very good song, and I especially love the intro, and the amusing "six six six" 'hidden' in the second verse. Ultimately though, it is the weakest track with vocals on the album, and some may say that it only serves as an extended introduction to the following track. I would disagree.
In any case, the closing moment of Back in the Village sets-up the title track perfectly, and I do think this is Maiden's best titles track. It's another almost seven minutes Bruce epic (Revelations is a little better), and there's a distinct chugging riff throughout the song. The solo is beautiful and builds up superbly to the long instrumental section, and then it kicks right back into the main riff. The ancient Egypt-style pre-chorus riff is also a wonder, as is the chorus itself, especially the final time as Bruce screams us out and into the final, album closing epc.
And if the term epic had previously been used to descrivbe songs over seven minutes, then Rime of the Ancient Mariner is above epic. It's over thirteen and a half minutes long, and is without a doubt the best song on the album. You'll drawn-in by the way it bears a similarity to Powrslave in terms of opening riff, then changes into a riff all its won, then changes into another one. And it just keeps going and going until we reach the break and the quiet part. "This bit's too long and boring" - that's the fucking point. Some-three minutes later and we're back into the action, and just as you're feeling all nice and comfortable with the soothing lyrics and guitar, Bruce hits us with a scream that easily rivals that of Number of the Beast and, in terms of sheer suprise, bests it. While NotB's scream is just completely insane, here it comes out of nowhere and litteraly smacks you in the face. After that, it's back into that main riff until the long finally comes to an end. In terms of sheer technicality, it is easily Maiden's best song, and it also enables you to quote two whole verse's from Samuel Taylor Coleridge, a feat which most English teachers would be jealous of.
So there you have it. Powerslave is perhaps Maiden at their most popular (although these days, maybe not) and quite possibly at their best. It's the perfect introduction to Iron Maiden, and it remains in their top three abums ever.