Iron Maiden
(1980) 9.5/10
This was Iron Maiden's first, and their
best. In fact, this is probably one of the 10 greatest metal albums of
all time. It's a perfect blend of melody and really heavy moments. Every
song is different from the last, but they all have the same atmosphere.
The songs on this album are based around the
twin guitars of Dave Murray and Dennis Stratton. They're constructed with
one part playing the melody or main riff, with the other playing high lead
parts over the top. This produces the ever recognisable Iron Maiden sound,
which has never been successfully replicated by another band. On bass is
Steve Harris, the genius who writes the songs. On drums is Clive Burr,
who is quite technical in style. The fifth member is Paul Di'Anno, the
vocalist, who is my favourite Iron Maiden vocalist.
The album itself has eight songs, all complete
heavy metal classics. The first is 'Prowler', with that awesome opening
guitar riff. The solo is also incredible. Then 'Remember Tomorrow', which
starts of soft, before getting heavy for the chorus. It's a winning formula
that makes for another great song. Then the more energetic 'Running Free',
with the classic bass intro and riff laden chorus. To finish off the first
side is 'Phantom Of The Opera', which is one of the greatest songs of all
time. It begins excellently, with nice fast guitars, but the best bit is
the two or three minute guitar solo/melody. Some of metal's best riffs
can be found in that song.
The second side starts with the only instrumental,
'Transylvania'. This is a three or so minute, guitar track with brilliant
dynamics and wonderful soloing. Then 'Strange World', the slowest on the
album. It has a lot of sad,
reminiscent lyrics, and soaring guitars over
the top. It's a good song to relax to, before 'Charlotte The Harlot', another
excellent metal song composed by Dave Murray (guitar). Finally, 'Iron Maiden',
the darkest song on the album. It has a sharp metal intro, and a tough,
heavy chorus. It's the perfect finish to an almost perfect album.
Obviously, I would recommend this to any metal
fan, although most of you have it anyway. Stunning.
Killers (1981) Rating:
7.5/10
This is the highly anticipated second Maiden
full length album and the only other Paul Di'Anno album. Between this and
Iron Maiden, they released the Maiden Japan EP (if you don't
get the pun, you should), which featured songs from both albums, but unfortunately
not including 'Phantom Of The Opera'. However, it was new material the
fans really wanted, and many would say the EP was a little premature. Anyway,
when the material finally arrived, it was obvious
it wasn't as good as the first. It was much in the same style, but a lot
less variety of material, and too many filler songs. Iron Maiden
was concise, with eight high quality songs. This has ten songs with a lot
of more boring moments, and bits you're convinced you've heard before.
That said, this still has some brilliant Maiden moments.
The Number Of The Beast (1982)
8.5/10
Bruce Dickinson has arrived! At first, I found
his style quite irritating, but I quickly got used to him and now love
the siren vocals. The Number Of The Beast is an album quite significantly
different from any albums before or after. Most of the songs are hit single
material with catchy choruses and roaring guitar solos. There are no extended
guitar solo/melodies like 'Phantom Of The Opera', or grand atmospheric
numbers like on later albums. However, this has no boring moments - there
is constant excitement and enthusiasm. Songs like 'Children Of The Damned',
'Prisoner', 'Number Of The Beast' and 'Hallowed Be Thy Name' will forever
remain classics in Maiden mythology, and none of the rest of the songs
are filler material. Sure, it lacks a huge concept or depth and meaning,
but who really cares?
This is still one of the most popular Maiden
albums, and for good reason. It would be foolish for a Maiden fan to ignore
it.
Powerslave (1984) Rating:
8.6/10
Powerslave is a sign of real maturity
for Iron Maiden. There aren't really any new concepts or ideas, but instead
a fine combination of past successes. It's like a reconciliation for Maiden
between the hit singles of Number..., and the more ambitious style
of the Paul Di'Anno era. There aren't any surprises, but it doesn't feel
repetitive either; it's a very consistent effort which retains all of their
old energy. I wouldn't call it their best (though many would), but I do
agree that it is a classic Maiden release.
Most of the tracks on Powerslave are excellent,
although some disappoint. It opens with 'Aces High', a hit with a great
little guitar thing happening. Then 'Two Minutes To Midnight' - more of
the same. 'Losfer Words (Big 'orra)' is an instrumental which I quite enjoyed
the first time, and has a few really brilliant bits, but drags on a little
too long. 'Flash Of The Blade' has a wonderful opening with a very unique
sounds, which makes it one of the best on the album. 'The Duellists' is
also very good, with an extended guitar rhythm/solo in the middle.
The second side opens with 'Back In The Village',
which is one of the worst Maiden songs I have heard. It is only made tolerable
by the genius of 'Powerslave', which is by far one of Maiden's best. It
has huge, chunky riffs, with a slightly Egyptian feel, before the stunning
chorus. The solo is even more glorious, and leaves me in utter awe of Maiden's
talent. Finally on the album, the 12-minute-something 'The Rime Of The
Ancient Mariner'. Unfortunately, Maiden cannot
maintain interest that long in the same way Pink Floyd or Opeth
can, but it's still a classic track, with some very impressive moments.
This album is very listenable. It's the kind
of thing you can hear over and over again until all the songs blend into
one long Maiden masterpiece. However, it isn't their greatest masterpiece,
and should be seen more as a consolidation before the introduction of synthesizers
into their sound.
Live After Death (1985)
9/10
This doesn't need much reviewing. Just looking
at the track list, this was garunteed to be a winner. After a few listens,
I am convinced that this is one of the best two or three live albums ever.
It's a collection of nearly all their best songs up until 1985, all played
better than the originals. Every song is a thrill, with Bruce Dickinson
managing to sing the old Di'Anno tunes without difficulty (although perhaps
not as good). There's also a bit in the middle of 'Running Free' which
makes you wish you had been at that concert! Anyway, if you have
to hear one Iron Maiden release, make it this one, because it's the best
band of the eighties at their absolute peak.
[Note: There has been some problems
regarding the old CD edition of Live After Death which didn't include
the last five tracks. Fortunately, they have done a huge reissue of all
the old albums, with multimedia etc. and, of course, the last five tracks.
Pity it's so expensive. So, if you don't have all the albums and don't
want to pay $40 (Aus) for the live album, finish off your studio collection.
You should be able to find it on vinyl anyway.]
Seventh Son of a Seventh Son
(1988) 8.7/10
After being informed that Seventh Son used synthesisers,
I was reluctant to buy it. However, after hearing it, I'm starting
to change my mind. I haven't gone soft - synthesizers still make me sick
and bore me beyond comprehension, but Seventh Son uses them brilliantly.
They never feature prominantly, and there are still just as many guitars
as there always were, but occassionally keyboard harmonies roll over the
music bringing intense atmosphere, much like the more recent Black Metal
movements. The title track, especially, uses this to great effect, with
some chilling moments and thilling solos.
But what about the substance? In my opinion,
Seventh Son is the most original Iron Maiden album. It's their first
concept album, and one to be very proud of. Every song varies from the
last, with long atmospheric numbers mixed in with radio hits. The lyrics
are a lot like they always were, but the unity of the 'wizard' concept
makes them meaningful, which is something new for Maiden. As usual, one
or two songs are worse than the rest, but the highlights far outweight
them. The opener, 'Moonchild', is a gem in Maiden's crown of good songs,
with a lovely sing-a-long-but-kinda-heavy chorus. 'Can I Play With Madness'
was way too poppy for me at first, but it's a grower, and is some light
relief from the seriousness of Seventh Son. 'The Prophecy' is another
good rock song, with a great chorus happening. However, there are three
significant highlights. 'The Evil That Men Do' is one of Maiden's most
popular songs, and deservedly. The guitar melodies and powerful chorus
combine for an unforgettable experience. The title track is another standout
on the album. It's the longest, with some solos that will blow you away,
and atmospherics that would stop most metal bands in their tracks. It's
almost certainly as good as Number's 'Hallowed Be
Thy Name'. 'Infinate Dreams' is perhaps the most surprising. It's utilizes
a style Iron Maiden don't use much; a kind of CoF/Opeth style melody epic,
constantly progressing into new harmonies and rhythm patterns.
As a final word, I'd like to give some advice
- don't be put off by synthesizers! This is an undeniable success
that is surely one Iron Maiden's most extraordinary achievements.
No Prayer For The Dying (1990)
8.3/10
Oh my God! How does an aging metal band like
Maiden make an album as good as this???? This is brilliant, this is fantastic,
this is everything we could have dreamt for in a Maiden comback album!
No, it's not Iron Maiden all over again. It isn't perfect, or even
entirely original. But it's just so good!
The new style is like a tougher, darker, heavier
version of Number Of The Beast. All the songs could be number one
hit singles, with catchy choruses and loaded with classic riffs. There
aren't any duds or moments of boredom; this is an album of constant excitement
and change. Forget bloody Guns 'n Roses - Iron Maiden are the kings of
hard rock for 1990.
The easiest way to convey the excellence of NPFTD
is by going through the album song by song. The first, 'Tailgunner', is
by far the weakest. It has a great riff, and the solo rocks on, but it's
just too long. The fun really starts with 'Holy Smoke' with a nice enthusiastic
riff during the verses, a great chorus, and an amazing melody that finds
it's way into the music with the greatest of ease. It's a short song, but
one of their most exhilerating. Then the title track, which is very much
in the style of 'Children Of The Damned'. However, it's slightly more complex,
with a much better solo and more mood and contrast between heavy and soft
bits. It reminds you that Maiden aren't just a one dimensional metal band
(as many non-believers would have you think). 'Public Enema Number One'
sounds like a Blink 182 track, but is actually a very serious Maiden song
with another excellent riff backing it up, and a classic sound on the chorus.
The first side is finished with 'Fates Warning' (I don't know if it has
any relevance to the band of the same name), which has a lovely melodic
intro before the heaviness begins, with some very moody guitar riffs and
striking melodies. Side two opens with the strangest song on the album;
'The Assassin'. For some reason, it sounds a lot (to me) like Control Denied,
with those weird guitar leads all over the place and the bass soloing.
However, it works really well, and creates variety (and, of course, has
a rock out tune. Does that go without saying?). After 'The Assassin' is
'Running Silent Running Deep', which has yet another great intro, and a
very heavy-but-melodic guitar rhythm, and a wild chorus. This is followed
by 'Hooks On You', which for some odd reason, I absolutely love. It doesn't
have the best riff in the world, but the chorus is addictive, with that
'well hung feeling'! The bridge part is also very good, with some hint
of the early NWOBHM sound. 'Bring Your Daughter... To The Slaughter' is
the hit single, despite the bad taste. The lyrics are patronizing and quite
repelling, but this is made up for by great music, and as few classic Iron
Maiden melodies thrown in at all the right moments. Finally, as is tradition
with Iron Maiden, is the 'epic' song of the album - this time it's 'Mother
Russia'. This is shorter than most, but has a lot of different moods and
qualities that make it quite outstanding. It is opened and closed by a
melody that appears based on the Spanish traditional tune 'Asturias' (one
of my favourites). It then goes into the bit about Russia, before a series
of guitar melodies and solos, one of which sounds an awful lot like the
central melody of Agathodaimon's 'Ribbons/Requiem', recorded later in the
decade.
I guess there is not much more to say
- this is an exceptional release that ddeserves a place somewhere in your
home, preferably on vinyl so that you get the full impact of the front
cover. This is my second favourite release of 1990 (first being Rust
In Peace), because frankly, I enjoy it even more than Painkiller
or Seasons In The Abyss. Ignore the picky bastards who don't like
this, because this is a very good album, even by Maiden standards.
Virtual XI (1998)
Rating: 7/10
If this was a debut by a band called Dragon Fire
or Sword Destiny or something else power metal sounding, then I would be
very impressed. "This shows talent," I would say, "and promises
great things for the future." But it is the future! This is where
18 years of songwriting have got Iron Maiden. It's not all that bad - there
are some good riffs and melodies contained within these 8 songs. But it's
just not energetic, original or exciting enough - the riffs may be good,
but they're stretched too long and sound like re-writes of previous Maiden
classics. During songs like 'The Angel and the Gambler' or 'The Clansman'
(both of which could have been 5 minutes shorter!) they spend too much
time recovering ground they covered early in the song (or early in their
career!), without developing the tune beyond that original riff. After
nine minutes, there is still no exciting climax or general change of pace.
It seems like they're just filling in time, and it lacks all the charm
and songs bristling with ideas that could be found on the eighties releases.
Blaze Bayley also contributes to the problem.
His voice is not bad, but singing 'don't you think I'm a savior' a hundred
times exactly the same way does tend to make me dislike him. Perhaps
this is the fault of Steve Harris who, as usual, handles all the songwriting
for half of the album, and collaborates on the other half. If I hadn't
heard Brave New World, I would say that Harris has run out of ideas.
Luckily, there are good moments which
hold this album afloat. 'Futureal' is good, and the solo for 'The Angel
and the Gambler' is nice and bluesy, just the way I like it. 'The Educated
Fool' is also entertaining, although drags a little.
As I said at the beginning, if this were another
band this would be a fine album. But it's biggest problem is that this
is an album by the biggest power metal band of all time (=Iron Maiden,
just in case you're confused), and they've failed to deliver the brilliance
which we have learnt to expect. But if you've got everything else, grab
a copy - it's an Iron Maiden album, after all.
Brave New World (2000)
8.6/10 [reviewed 30/12/00]
I had high expectations
pinned on this one. Any album involving the writing talents of Steve Harris
has the potential to be an absolute masterpiece, and although this isn't
quite that, it's still a very fulfilling album and a great return
for Bruce Dickinson.
Although a lot of reviewers
have commented on the 'new sound', to me this is very much what one would
expect. It's a combination of the Number of the Beast melodic choruses
and the Seventh Son keyboards sound. There's a lot of melody, and
epic sounds, deliberately avoiding any association with the No Prayer
era. Occassionally we are treated to contemporary influences but to be
honest, this is just trying to capture the old magic, with no real risks.
I was never a big Bruce
Dickinson fan, until I heard this. He's no different now than he was in
the 80s, but after almost a decade without him, I can hear just how important
he is to the sound. He has Iron Maiden written all over him, and brings
instant comfort and confidence to the album. Adrian Smith has also returned,
but no one wanted to leave, so there's three lead guitarists. Strangely,
it only ever sounds like there's two, but I'm still glad he's back.
Well, what about the songs?
They're a bit longer, often a little drawn out, all containing a fun sing-a-long
chorus, with the occasional atmospheric passage. It's not heavy; the guitars
are lighter but energetic, with a lot of high pitched harmonies and intros.
There aren't any 'stompers' (i.e. 'Powerslave') in which headbanging can
be done; in that respect, it's much more like Seventh Son. Unlike
most Maiden albums (excluding Iron Maiden), though, there aren't
any dud tracks - some are weaker than others, but they all have their great
moments.
There are four tracks that
really stand out. 'The Wicker Man' is the most popular single taken from
the album (the other being the good, if soft rocking, 'Out of the Silent
Planet'), and was the most obvious choice, being instantly accessible and
having a classic chorus. The other three tracks are longer. 'Dream of Mirrors'
drags on way too long, but features a lot of subtleties and clever bits,
which set it apart from other 'epic' Maiden tracks. 'The Nomad' is really
boring at the beginning, with a guitar solo bit that reminds me of 'Hangar
18' (God, no!), but then it gets into some really forceful, Therion style
stuff which is the most powerful part of the album. The final track is
'The Thin Line Between Love and Hate' which shows that Maiden can still
clock out 8 minutes of great music without once getting boring.
This should be treated
as a comeback album. Don't go looking for some new breakthrough or musical
innovation; it won't be thought of as the best by fans, and isn't one of
the greatest releases this year. But there's still a big thumbs up from
me!
Coming soon...
Piece of Mind (Rating: 9/10)
Somewhere in Time (Rating: 9/10)