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IRON MAIDEN

Prog Related • United Kingdom


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Iron Maiden biography
One of the most influential bands to have ever graced the heavy metal genre, IRON MAIDEN have always been proud of their prog influences, which include Jethro Tull and Genesis. Their sound, at the same time heavy and intricate, is characterised by Steve Harris's thick, propulsive bass lines, and by fast, furious yet elegant guitar riffing. The band can also boast of some of the genre's most intelligent, articulate lyrics, which range way beyond the usual topics covered by the average heavy metal band.

Formed at the end of the Seventies in London's East End area by bassist and mastermind Steve Harris and guitarist Dave Murray, the band (whose name comes from a medieval torture device) released their first, self-titled album in 1980, at the height of the musical phenomenon known as New Wave of British Heavy Metal (NWOBHM for short), which IRON MAIDEN spearheaded together with the likes of Saxon and Diamond Head. At the time, their sound was still somewhat influenced by punk, especially due to lead singer Paul Di'Anno's raw, aggressive vocal style. Soon after their debut's release, second guitarist Dennis Stratton left, and was replaced by Adrian Smith, who was soon to become one of the foremost contributors to the band's musical output.

Di'Anno left the band after the release of their second album, "Killers": his replacement was one of the genre's most distinctive, influential voices, Samson's former singer Bruce Dickinson, nicknamed the "Air Raid Siren". The band's first album with Dickinson on board, 1982's "The Number of the Beast", still ranks among heavy metal's undisputed masterpieces. Drummer Clive Burr left after that album, to be replaced by seasoned drummer Nicko McBrain, who has been a member of the band ever since. It was the start of a very favourable period for IRON MAIDEN, which saw them become one of the hottest live acts around, as well as release a string of extremely successful albums, such as "Powerslave" (featuring a 13-minutes-plus take on ST Coleridge's "The Rhyme of the Ancient Mariner"), and the concept "Seventh Son of a Seventh Son", considered by many one of the seminal works of the Prog-Metal subgenre.

The release of "Seventh Son. " - which, incidentally, was their seventh studio album - coincided with the start of a difficult stage in the band's career. In fact, guitarist Adrian Smith left to pursue a solo career before the release of Maiden's eighth studio album, "No Prayer for the Dying". He was replaced...
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Piece Of Mind [Enhanced]Piece Of Mind [Enhanced]
Remastered
Sanctuary 2011
Audio CD$8.72
$7.26 (used)
Brave New WorldBrave New World
Sony 2000
Audio CD$5.97
$2.95 (used)
Dance of DeathDance of Death
Sony 2003
Audio CD$4.98
$2.37 (used)
Powerslave [Enhanced]Powerslave [Enhanced]
Remastered
Sanctuary 2011
Audio CD$8.72
$6.94 (used)
The Final FrontierThe Final Frontier
Sanctuary 2011
Audio CD$8.50
$6.95 (used)
The Number Of The Beast [Enhanced]The Number Of The Beast [Enhanced]
Remastered
Sanctuary 2011
Audio CD$9.37
$6.97 (used)
Seventh Son Of A Seventh Son [Enhanced]Seventh Son Of A Seventh Son [Enhanced]
Remastered
Sanctuary 2011
Audio CD$9.71
$6.53 (used)
A Matter Of Life And DeathA Matter Of Life And Death
Sanctuary 2011
Audio CD$7.50
$5.38 (used)
The Number Of The Beast [LP]The Number Of The Beast [LP]
Sanctuary 2014
Vinyl$16.86
$15.99 (used)
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IRON MAIDEN shows & tickets


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IRON MAIDEN discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

IRON MAIDEN top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.84 | 454 ratings
Iron Maiden
1980
3.60 | 416 ratings
Killers
1981
3.80 | 528 ratings
The Number Of The Beast
1982
3.72 | 455 ratings
Piece Of Mind
1983
4.14 | 569 ratings
Powerslave
1984
3.93 | 489 ratings
Somewhere In Time
1986
4.20 | 615 ratings
Seventh Son Of A Seventh Son
1988
2.52 | 290 ratings
No Prayer For The Dying
1990
2.96 | 336 ratings
Fear Of The Dark
1992
3.26 | 250 ratings
The X-Factor
1995
2.36 | 235 ratings
Virtual XI
1998
4.01 | 435 ratings
Brave New World
2000
3.59 | 289 ratings
Dance Of Death
2003
3.67 | 341 ratings
A Matter of Life and Death
2006
3.66 | 322 ratings
The Final Frontier
2010
5.00 | 3 ratings
The Book of Souls
2015

IRON MAIDEN Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.19 | 188 ratings
Live After Death
1985
2.92 | 66 ratings
A Real Live One
1993
2.66 | 62 ratings
A Real Dead One
1993
3.15 | 52 ratings
Live at Donington
1993
4.03 | 29 ratings
Maiden England
1994
2.96 | 45 ratings
A Real Live Dead One
1998
4.08 | 87 ratings
Rock in Rio
2002
4.11 | 27 ratings
BBC Archives
2002
3.52 | 33 ratings
Beast Over Hammersmith
2002
3.60 | 56 ratings
Death On The Road
2005
3.67 | 51 ratings
Flight 666 (The Original Soundtrack)
2009
3.38 | 30 ratings
En Vivo!
2012

IRON MAIDEN Videos (DVD, Blu-ray, VHS etc)

4.18 | 17 ratings
Maiden England
1989
4.02 | 67 ratings
Rock In Rio
2002
4.48 | 42 ratings
The History of Iron Maiden Part 1: The Early Days
2004
4.73 | 75 ratings
Live After Death
2008
4.30 | 68 ratings
Flight 666: The Film
2009
3.88 | 16 ratings
En Vivo!
2012

IRON MAIDEN Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.74 | 41 ratings
Best of the Beast
1996
2.89 | 18 ratings
Ed Hunter
1999
2.14 | 27 ratings
Edward the Great
2002
3.31 | 23 ratings
Best of the B'Sides
2002
3.33 | 12 ratings
Eddie's Archive
2002
2.79 | 20 ratings
The Essential Iron Maiden
2005
2.67 | 35 ratings
Somewhere Back in Time: The Best of 1980 - 1989
2008
3.47 | 27 ratings
From Fear to Eternity: The Best of 1990 - 2010
2011

IRON MAIDEN Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.08 | 29 ratings
The Soundhouse Tapes
1979
2.86 | 28 ratings
Women in Uniform
1980
2.89 | 19 ratings
Live!! +one
1980
2.72 | 27 ratings
Running Free
1980
2.76 | 27 ratings
Sanctuary
1980
2.72 | 20 ratings
Twilight Zone
1981
2.95 | 24 ratings
Purgatory
1981
3.16 | 36 ratings
Maiden Japan
1981
3.67 | 15 ratings
Wrathchild promo
1981
3.64 | 28 ratings
Run to the Hills
1982
3.95 | 30 ratings
The Number of the Beast
1982
3.06 | 28 ratings
Flight of Icarus
1983
3.52 | 30 ratings
The Trooper
1983
3.96 | 27 ratings
2 Minutes to Midnight
1984
4.39 | 28 ratings
Aces High
1984
3.83 | 12 ratings
Where Eagles Dare promo
1984
3.50 | 18 ratings
Running Free 1985 live
1985
3.85 | 18 ratings
Run to the Hills 1985 live
1985
4.39 | 28 ratings
Wasted Years
1986
4.09 | 25 ratings
Stranger in a Strange Land
1986
3.77 | 26 ratings
Can I Play with Madness
1988
4.23 | 26 ratings
The Evil That Men Do
1988
4.00 | 28 ratings
The Clairvoyant
1988
2.20 | 5 ratings
An Interview With Iron Maiden
1988
4.11 | 19 ratings
Infinite Dreams
1989
2.55 | 20 ratings
Holy Smoke
1990
2.87 | 23 ratings
Bring Your Daughter... to the Slaughter
1990
2.20 | 5 ratings
Talking To Iron Maiden
1990
3.32 | 22 ratings
Be Quick or Be Dead
1992
2.94 | 17 ratings
From Here to Eternity
1992
3.16 | 19 ratings
Wasting Love
1992
3.38 | 21 ratings
Fear of the Dark
1993
3.80 | 20 ratings
Hallowed Be Thy Name
1993
3.33 | 21 ratings
Man on the Edge
1995
3.53 | 19 ratings
Lord of the Flies
1996
2.37 | 19 ratings
The Angel and the Gambler
1998
3.65 | 20 ratings
Futureal
1998
3.95 | 22 ratings
The Wicker Man
2000
3.71 | 21 ratings
Out of the Silent Planet
2000
3.00 | 19 ratings
Wildest Dreams
2003
2.61 | 19 ratings
Rainmaker
2003
3.67 | 9 ratings
No More Lies
2004
3.33 | 24 ratings
The Reincarnation of Benjamin Breeg
2006
3.55 | 20 ratings
Different World
2006
3.04 | 26 ratings
El Dorado
2010

IRON MAIDEN Reviews


Showing last 10 reviews only
 Seventh Son Of A Seventh Son by IRON MAIDEN album cover Studio Album, 1988
4.20 | 615 ratings

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Seventh Son Of A Seventh Son
Iron Maiden Prog Related

Review by ster

4 stars I am really happy to see such high reviews for such a great over-looked album. But to see the ratings this high is especially nice. The highest rafting for an Iron Maiden album? Wow.

When Iron Maiden released Seventh Son, it was at a much different time than when they released Powerslave four years prior. Metal was either commercial or thrash. Commercial metal was at its zenith with all the power ballads and 3-4 minute formula songs and the genre was flooded with artists. Thrash was really taking hold of the non commercial crowd becoming harder, heavier and faster. Iron Maiden was becoming yesterdays news. What move would they do for this release? Would they try to be commercial and write hit singles like Motley Crue or Poison etc. or would they try to get heavier in the vein of Metallica or Slayer?

Neither and thank God!! Although many people got the wrong idea about this album, at least in the US, when Can I play With Madness was released as a single.

Maiden still sounds like Maiden here and still did not abandon ideas from their past, like their dual guitar solos, harmonizing leads, galloping bass, operatic vocals and the same song structure for the long songs where there is always that quiet bass section in the middle. Still utilizing the guitar synths, Adrian Smith and Dave Murray experiment further by creating atmospheres and theatrical backgrounds. I prefer their rawer guitar tones of Powerslave and before but they never let it sound cheesy. Iron Maiden broadened their scope on their already successful foundation. They got a little heavier and darker in some spots (Moonchild, Seventh Son) and commercial (Can I Play With Madness, The Evil That Men Do) but they also succeed in uncommon time sigs like The Prophecy and dynamics like Infinite Dreams in others while keeping the Maiden spirit completely intact.

All in all Seventh Son is a fine album, I wouldn't put it up there with Powerslave but it is a very consistent collection that despite its variety maintains a nice dark feel throughout the album. Sadly Adrian Smith would leave after this album and they would go for a more commercial sound and keep on rehashing old ideas and after the departure of Bruce Dickinson, Iron Maiden would release a series of lackluster albums for over a decade.

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 No Prayer For The Dying by IRON MAIDEN album cover Studio Album, 1990
2.52 | 290 ratings

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No Prayer For The Dying
Iron Maiden Prog Related

Review by AndyJ

2 stars Iron Maiden's 'No Prayer For The Dying' is generally considered by fans to be one of the weaker outputs from The Beast. It's even worse when you put this record in its chronological context, coming off the back of the utterly sublime 1988 album 'Seventh Son of a Seventh Son'.

After reviewing 'The X-Factor', perhaps my favourite Iron Maiden record (shock!), I thought it would be fun to re-visit 'No Prayer', which like many fans of The Beast I consider to be their worst record by a long way. Its not that the songs are bad, so much as a lot of them are utterly uninspired. This is a record from a band running on empty and struggling to find direction after having a hugely successful string of albums in the 1980's.

According to the band this record was an attempt to go back to the garage band sound found on their first albums, notably the self titled 'Iron Maiden' and second album 'Killers'. The problem with this approach is that regression isn't a great strategy for any band. I'd have preferred them to carry on their progressive metal styling from 'Seventh Son of a Seventh Son' rather than try to recapture something they did a full decade prior. I'm glad to say that the most recent incarnation of Iron Maiden, starting in 2000, does return to progressively influenced metal music.

But back to the album in question, there is no doubt about it, 'No Prayer For The Dying' has some pretty fun Maiden moments, there are lovely Steve Harris bass-lines, great twin guitar action and Nicko McBrain is as creative as ever behind the skins. Bruce Dickinson sounds in good, not great form in this album. There are some good progressive moments on here, but there is also a lot of filler as well, and some really insipid songs on this record like the painful 'Holy Smoke' or the even more painful 'Bring Your Daughter To The Slaughter'.

There are good songs on here though, its not all bad. 'Mother Russia' is perhaps the stand-out song. 'Tailgunner' is a very good song also, the bass-line in that song is a lot of fun! 'The Assassin' has some progressive moments. Like I say its not all bad. Ultimately you have to review an album within the context of what band has produced it. For some metal bands 'No Prayer For The Dying' would be considered a crowning achievement and a highlight of their discography. But this is Iron Maiden, a bunch of extremely talented musicians led by probably the best heavy metal bass player and composer, Steve Harris. For Maiden this album sounds ordinary and uninspired. And for that it deserves no more than 2-stars.

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 The X-Factor by IRON MAIDEN album cover Studio Album, 1995
3.26 | 250 ratings

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The X-Factor
Iron Maiden Prog Related

Review by AndyJ

4 stars Iron Maiden's 'The X-Factor' is certainly a contentious album amongst Iron Maiden fans, and is generally seen among metal-heads as one of their worst records. Luckily, I've never been one to be swayed by the opinions of others, nor do I really consider myself a metal-head these-days. I'm a prog fan first and foremost. And let me tell you something - this album is absolutely prog-tastic! 'The X-Factor' might just be the best thing The Beast has ever put out, and it pains me to see it get such a slating from all corners. This is an album I've defended since I first heard it some fifteen years ago, and I'll continue to defend it to my grave! I've gotten a lot of stick over the years for defending this album, people think I'm joking when I tell them this is my favourite Maiden record. But I don't care what anyone else thinks!

All of the things that the traditional metal-head disliked about this album are the things that I think make it so special and interesting. 'The X-Factor' was such a departure for Maiden, not least of all because long-time vocalist Bruce Dickinson had left the band and the relatively unheard of Blaze Bayley stepped in to takes his place. And they were big shoes to fill. But Bruce's departure gave Maiden a new opportunity to completely re-discover themselves and re-invent their image. Bruce Dickinson leaving was the best thing that could ever of happened to Maiden, not least of all because this album wouldn't have existed without him going.

Steve Harris was going through a divorce at the time of writing this, and the music on offer shows a much darker and moodier side of Maiden that we hadn't seen before. It also shows a real human side to Maiden, you can feel in the song writing, of which Steve Harris is the principle composer, the man's pain and anger at the time. The album cover for 'The X-Factor' is dark and gritty, and boy does it match the music contained within!

The short and punchy (and oh-so boring) mediocre metal songs of the previous two Maiden albums are mostly long gone, and make way on this album for longer, creative, more inspired, and most importantly, progressive pieces of music. From the opening opus, 'Sign Of The Cross', you know you are in for something glorious. The opening track is ten minutes of pure unadulterated prog-metal. Dynamic time changes, progressive and long instrumental passages, epic lyrics - its all here in the first track. But perhaps one of the most progressive songs comes with the album closer, 'The Unbeliever', which, along with the opening track, is the stand-out performance in this highly underrated album.

Of course it wouldn't be a Maiden album without a few shorter, punchier songs, but even those are tempered with progressive styling. Now, to try and be fair in reviewing this album there are some moments where it does feel a little bit drawn out. There is a little bit of flab around the edges, particularly in songs such as 'Judgement Of Heaven' and '2 A.M.'. With a running time of over 70 minutes Maiden could certainly have trimmed back a bit here and there which might have helped the ratings. Something I haven't touched on yet are the vocals of Blaze Bayley. This is where a lot of the criticism comes from, that Blaze doesn't sound like Bruce and just isn't as good. For the record I love Blaze Bayley's vocals - they fit the darker more sinister Maiden perfectly. I'm going out on a limb here to say this is the best record Maiden ever put out, with 'Seventh Son' a close second. I wouldn't change anything about this album - a very respectable 4-stars!

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 Live After Death by IRON MAIDEN album cover DVD/Video, 2008
4.73 | 75 ratings

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Live After Death
Iron Maiden Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

5 stars Universally cited as one of the absolute best live albums of all time, LIVE AFTER DEATH is the first live album / video release of IRON MAIDEN's classic early Bruce Dickinson years and was recorded during their "World Slavery Tour." Despite lasting a whopping 331 days, this double LP album only took two venues as their source for representing their electric live performances. The first 13 tracks were recorded at the Long Beach Arena in California, USA and the remaining five tracks were taken from a night at Hammersmith Odeon in London. While LIVE AFTER DEATH was released both as audio LP and video VHS in 1985, the two aren't exactly identical in content. The audio LP originally contained 18 tracks (one of which is "Intro: Churchill's Speech") but the VHS visual experience only had 14 tracks. Unfortunately when LIVE AFTER DEATH was originally released on CD it was too long for a single disc and instead of simply issuing a double disc, EMI unwisely decided to cut the last five tracks which included the Odeon performance, therefore it is highly advisable to obtain the Sanctuary remastered version which was released as a double disc and retains the entire run of one classic song after another.

LIVE AFTER DEATH is the absolute perfect live album. I very rarely put live albums high on my list of favorites because more often than not something or many things prevent them from capturing my attention and worthiness as essential. If it's not the weak production values then it is the inability of the band to capture the magic that is manufactured in the studio. That is not the case here. IRON MAIDEN was at the pinnacle of their creative prowess at this point and after several outstanding and classic albums to mine for material, they perfectly execute these live performances and offer every little ounce of excitement heard on the studio releases. Bruce Dickinson nails the vocals and the thundering trio of Steve Harris' bass and the guitar synergy of Dave Murray and Adrian Smith accompanied by Nikko McBrain's stellar drumming style doesn't get any better. While most of the tracks are performed rather faithfully to their studio versions, there is plenty of live improvisation taking places as well. Standout moments include Bruce's attempt to get audience participation on "Running Free" and another great difference can be heard on "Revelations" where the tempo is upped and Bruce changes the vocal phrasing to make the track sound different and refreshed.

The video release offers all the theatrical visuals of the tour. The "Powerslave" album was based on ancient Egypt and likewise the stage was Egyptified to the max with sarcophagi, hieroglyphs and a mummified Eddie embellished with ridiculous amounts of pyrotechnics. The tour was a smashing success and this release whether it be audio or video is the perfect testimony to the genius that went into every single detail. The sound and mixing is perfect as well as Martin Birch found the perfect balance of every cast member and delivered one of the most satisfying production jobs for a live release that i have ever heard. In the visual department Jim Yukich perfectly captured two nights in Long Beach showing a great band doing great things at the peak of their game. Another piece of perfection with this one is the brilliant cover art of Derek Riggs surpassing previous album themes of Eddie as the mascot by incorporating those themes of previous albums covers and then putting it all on steroids. The spread of the album is breathtaking in content and color with the boldness of the yellows and blues. Every aspect of talent on board with this release guarantees to wake the dead. I cannot find one negative thing to say about it. It is true that Bruce doesn't hit every note exactly as on the studio version every single time but when he doesn't he offers interesting new ways of interpreting the classics. This is simply one of the most perfect live releases i have ever encountered and even MAIDEN themselves haven't even come close to achieving similar results. Masterpiece.

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 Live After Death by IRON MAIDEN album cover Live, 1985
4.19 | 188 ratings

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Live After Death
Iron Maiden Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

5 stars Universally cited as one of the absolute best live albums of all time, LIVE AFTER DEATH is the first live album / video release of IRON MAIDEN's classic early Bruce Dickinson years and was recorded during their "World Slavery Tour." Despite lasting a whopping 331 days, this double LP album only took two venues as their source for representing their electric live performances. The first 13 tracks were recorded at the Long Beach Arena in California, USA and the remaining five tracks were taken from a night at Hammersmith Odeon in London. While LIVE AFTER DEATH was released both as audio LP and video VHS in 1985, the two aren't exactly identical in content. The audio LP originally contained 18 tracks (one of which is "Intro: Churchill's Speech") but the VHS visual experience only had 14 tracks. Unfortunately when LIVE AFTER DEATH was originally released on CD it was too long for a single disc and instead of simply issuing a double disc, EMI unwisely decided to cut the last five tracks which included the Odeon performance, therefore it is highly advisable to obtain the Sanctuary remastered version which was released as a double disc and retains the entire run of one classic song after another.

LIVE AFTER DEATH is the absolute perfect live album. I very rarely put live albums high on my list of favorites because more often than not something or many things prevent them from capturing my attention and worthiness as essential. If it's not the weak production values then it is the inability of the band to capture the magic that is manufactured in the studio. That is not the case here. IRON MAIDEN was at the pinnacle of their creative prowess at this point and after several outstanding and classic albums to mine for material, they perfectly execute these live performances and offer every little ounce of excitement heard on the studio releases. Bruce Dickinson nails the vocals and the thundering trio of Steve Harris' bass and the guitar synergy of Dave Murray and Adrian Smith accompanied by Nikko McBrain's stellar drumming style doesn't get any better. While most of the tracks are performed rather faithfully to their studio versions, there is plenty of live improvisation taking places as well. Standout moments include Bruce's attempt to get audience participation on "Running Free" and another great difference can be heard on "Revelations" where the tempo is upped and Bruce changes the vocal phrasing to make the track sound different and refreshed.

The video release offers all the theatrical visuals of the tour. The "Powerslave" album was based on ancient Egypt and likewise the stage was Egyptified to the max with sarcophagi, hieroglyphs and a mummified Eddie embellished with ridiculous amounts of pyrotechnics. The tour was a smashing success and this release whether it be audio or video is the perfect testimony to the genius that went into every single detail. The sound and mixing is perfect as well as Martin Birch found the perfect balance of every cast member and delivered one of the most satisfying production jobs for a live release that i have ever heard. In the visual department Jim Yukich perfectly captured two nights in Long Beach showing a great band doing great things at the peak of their game. Another piece of perfection with this one is the brilliant cover art of Derek Riggs surpassing previous album themes of Eddie as the mascot by incorporating those themes of previous albums covers and then putting it all on steroids. The spread of the album is breathtaking in content and color with the boldness of the yellows and blues. Every aspect of talent on board with this release guarantees to wake the dead. I cannot find one negative thing to say about it. It is true that Bruce doesn't hit every note exactly as on the studio version every single time but when he doesn't he offers interesting new ways of interpreting the classics. This is simply one of the most perfect live releases i have ever encountered and even MAIDEN themselves haven't even come close to achieving similar results. Masterpiece.

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 The Soundhouse Tapes by IRON MAIDEN album cover Singles/EPs/Fan Club/Promo, 1979
3.08 | 29 ratings

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The Soundhouse Tapes
Iron Maiden Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars THE SOUNDHOUSE TAPES is an EP and very first release by IRON MAIDEN which came out in 1979 before their eponymous debut was released the following year. This is basically a bunch of demos that were recorded in one 24-hour session on December 31st, 1978 and recorded on that particular day because of the recording studio's discount prices over the New Year's holiday. Only 5000 copies of the original 7" vinyl LP were manufactured and the original pressing has become one pricey collectible for completists. This EP is notable as well for being the only release that features MAIDEN's first drummer Doug Sampson who was replaced by Clive Burr due to health problems.

The original release contains only three tracks. Two primitive versions of "Iron Maiden" and "Prowler" which would be re-recorded in better forms and appear on the full debut album. The third track "Invasion" is a song about a Viking invasion and never found a home on any future IRON MAIDEN album but was released as the b-side on the "Women In Uniform" single. The track would be reworked and eventually become "Invaders" on "The Number Of The Beast."

This short but sweet EP is by no means essential but it does show a glimpse into the nascency of one of the greatest and best selling metal bands in history. These rough and raw demo quality tracks are inferior to the re-recorded versions but even here they sound like the first version of the band with Paul Di'Anno as vocalist. The punk influences are more obvious on these tracks but this is clearly within the realms of fully formed NWOBHM. This EP was also pivotable for the band in that it got the attention of EMI records who snatched them up and offered a contract.

We all know what happens next. While these tracks are all early kick ass metal i find no need to shell out the dough to find this because all of these tracks would eventually find themselves on various compilations. Musically, however, despite the primitive feel heard here, this is quality IRON MAIDEN material and i love hearing these rough drafts in their hasty lo-fi splendor. While the band would go on to greatness it is a fun little dip into their early years to hear that they were masters of their game even at this early stage. 3.5 rounded down

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 Sanctuary by IRON MAIDEN album cover Singles/EPs/Fan Club/Promo, 1980
2.76 | 27 ratings

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Sanctuary
Iron Maiden Prog Related

Review by thwok

2 stars The primary concern for rating music here at Prog Archives is, of course, its "progressiveness". This "Sanctuary" single by Iron Maiden, one of the most innovative bands in metal history, ranks fairly low on the progressive scale. This is pretty straightforward metal. I like Paul Di'Anno's singing, even though he is a very different singer from Bruce Dickinson. As others have said, Paul's voice fits Iron Maiden's musical style at this point.

This collection of primarily live music really demonstrates the talents of Clive Burr and Steve Harris. The guitarists, on the other hand, don't seem to be in sync. A listener would certainly expect better from Dave Murray. Of the three songs on this single, the title track would be my favorite. The sound quality is adequate. In conclusion, this is a decent listen if you're already a fan of Iron Maiden. If I wasn't, this wouldn't convince me.

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 Iron Maiden by IRON MAIDEN album cover Studio Album, 1980
3.84 | 454 ratings

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Iron Maiden
Iron Maiden Prog Related

Review by HunterD

4 stars Atomic metal punks! Steve Harris can disavow the UK punk scene all he wants, but there is a punk steam wafting up from the metal grates in the dank alleys of Iron Maiden's memorable debut. It may even be the earliest ancestor of crossover, alongside the road dogs in Motorhead.

Of course, this is due to a few elements, one being that the musicianship of the band had yet to reach that level of refinement that they would further hone on "Killers," before bringing Bruce Dickinson into the mix and elevating Eddie from a street punk with eggs in his hair, to a figure bigger than the Devil. The other element is Paul Di'Anno, who brought a grungy element to Maiden's sound during their first two albums. This punky tone Di"Anno brought to the game felt a bit out of place once Adrian Smith joined and the band could really wail those guitars to perfection on "Killers," but he's the right guy for this record. It's not the Iron Maiden we came to know and love, but it's a great album, listening to it is like watching an Enzo G. Castellari movie where scary punks rule the streets, with a gothic edge.

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 Rock in Rio by IRON MAIDEN album cover Live, 2002
4.08 | 87 ratings

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Rock in Rio
Iron Maiden Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars Rekindling their classic juju, IRON MAIDEN deliveries an impressive comeback with their album "Brave New World" and the tour of the same name which produced this excellent live album ROCK IN RIO which finds the band in a sea of 250,000 head banging Brazilians who just can't get enough of the huge sampling of this classic British band's entire discography. Surprisingly there is at least one track from each album with only "Somewhere In Time" and "No Prayer For The Dying" being shunned. This is shocking since there is one track from both Bailey albums here as well. I always thought "Virtual XI" and "The X-Factor" could have been great albums if only Bruce Dickinson was on singing duties and in a way this tour is a celebration of his comeback along with Adrian Smith back on guitars reuniting the classic MAIDEN lineup and to show how nice these guys are they didn't even kick Janick Gers out but found a way to include him in the mix.

This is a wonderful live double album. Although it's not as perfect as "Live After Death" which found IRON MAIDEN at the absolute pinnacle of their game, this is my pick for best live album after that one. While Bruce's vocal abilities are clearly in tact, there are times when it is a bit obvious that he is not totally what he once was such as on "The Number Of The Beast." The energy of this performance is outstanding with the Brazilians becoming one with the band as heard on the audience participation. The production is stunningly beautifully perfected and the band sounds like they never parted ways after "Seventh Son?" Although i find live albums more of miss thing than a hit i am happy to report that this one is very satisfying. I didn't exactly rush to track this down since i was hugely disappointed in the double fiascos of "A Real Live / Dead Ones" but i find ROCK IN RIO to be the perfect comeback live album to complement their rekindled career. This wonderful performance is available on both audio CD as well as DVD.

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 Somewhere In Time by IRON MAIDEN album cover Studio Album, 1986
3.93 | 489 ratings

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Somewhere In Time
Iron Maiden Prog Related

Review by Losimba

5 stars This is definitely my favourite Iron Maiden album and one of my favourite albums in general, and there are exactly eight reasons for it. But it would be boring to list them, because the tracklist can be found above the reviews.

I've tried hard to find an oh so slight weakness, and failed miserably. Well, not miserably, as I don't want to find one, but you get what I mean. Somewhere In Time is a powerful album from the first to the last chord, the perfection of the famous Iron Maiden sound, and manages the near impossible: it is even stronger than its already great predecessor Powerslave. It doesn't matter whether a song is fast or a bit slower, Steve Harris' bass guitar saunters through it, supported by the ever precise drumming of Nicko McBrain. Dave Murray and Adrian Smith perform twin guitars at its best, Wishbone Ash never reached that level. Above all flies Bruce Dickinson's voice, fed by lyrics that really suit him.

As I said, every single one of the eight songs is simply great and worth 5 stars. Though, this is not completely true, because there is one song that is even better and worth 6 stars. Which one? The one where all those wonderful things I mentioned about the musicians are featured strongest: the most galopping bass beat, the twinniest twin guitars and the deepest, possibly darkest lyrics. In short, Stranger In A Strange Land. The song's only weakness (ha, I've found one in the end!) is that it is only 5 minutes and 43 seconds. 10 minutes would do it more justice.

5.17 stars for the whole album. As this site limits ratings to 5 stars, I'll go with those.

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