IRON MAIDEN

After touring the London underground circuit, the band founded in 1975 by bassist Steve Harris, Iron Maiden, finally released their debut album in 1980, simply titled 'Iron Maiden'. The name was inspired by the torture device of the same name described by French novelist Alexandre Dumas in his 1867 work 'The Man in the Iron Mask' and brought to the big screen in 1929 by American director Allan Dwan.

Iron Maiden's successful breakthrough had a lot to do with the boldness and originality of their raw and vigorous sound, which they unashamedly and fearlessly displayed in direct songs charged with voltaic energy, such as the opening track "Prowler", the pseudo-punk "Sanctuary", the intense and lively instrumental "Transylvania", the stark "Charlotte The Harlot" and the eponymous and overflowing "Iron Maiden". Pure metal, where Steve Harris's relentless and aggressive bass and Dave Murray and Dennis Stratton's machine-gun guitars interact and complement each other perfectly, setting the stage for Paul Di'Anno's unique vocal range, a mixture of raspy street rage and clean melodic lines, to describe everyday situations of marginalised and displaced characters.

But it is in the middle of the album where Iron Maiden gives clear indications of their particular vision of the future, with sound structures that go beyond the traditional guidelines of the genre, incorporating not only electro-acoustic nuances into their powerful guitar riffs, as in the introspective "Remember Tomorrow" or the splendid "Strange World", but also melodies that encourage audience participation in live performances, as in the cheeky and lively "Running Free", and above all, elaborate instrumental displays and galloping rhythm changes very much in the progressive vein, as in the epic and dramatic "The Phantom of the Opera", surely the best track on the album and one of the earliest examples of the band's versatility and ability to explore and navigate the infinite paths of the rock universe.

"Iron Maiden", whose cover image features the faithful and anthropomorphic Eddie in punk mode, is now considered a cult album and a cornerstone of the New Wave of British Heavy Metal. Widely acclaimed, the album climbed to #4 in the UK charts and marked the beginning of the Maiden dynasty worldwide.

3.5/4 stars

Without losing the memory of their herculean and visceral past, still present, Iron Maiden nourishes "The Final Frontier" (2010), their fifteenth album, with elaborate structures with undisguised progressive components and nuances adapted to the new millennium, visually notorious from the cover where the anthropomorphic Eddie evolved in extraterrestrial predator mode inhabits a devastated and hostile futuristic space environment.

This sensation is reflected in the heavy and gloomy synthesizer-based atmosphere of the introductory "Satellite 15...", marking an unprecedented experimental facet of the English band, after which the most direct and effective tracks flow, impregnated with the band's primordial DNA, like its continuation, the avant-garde and homonymous "The Final Frontier', the galloping "El Dorado" and "The Alchemist", the plaintive "Mother of Mercy", and the splendorous half-time of the emotive "Coming Home".

And it's from there that the songs become especially polished, with the mystical "Isle of Avalon" where Steve Harris' infallible bass and Nicko McBrain's millimetric hi-hat mark the extensive introduction to a middle section starring the lucid riffs and solos of the trio Dave Murray, Adrian Smith and Janick Gers, as well as the convoluted and determined "Starblind", the tempestuous odyssey "The Talisman" and its crystalline acoustic intro accompanying the settled and impostured singing of the rejuvenated Bruce Dickinson before the instrumental display in which the three guitars flirt with each other, and the vigour of the introspective "The Man Who Would Be King", loaded with melancholic textures. Along the same route, the wind-blown 'When the Wild Wind Blows' kicks off a definitive epic in which Harris' bass and the trio's guitars advance slowly but surely, following Dickinson's vocal story, and then explode into a determined instrumentation that flows splendidly and infinitely until it returns to the same winds to conclude, in my opinion, the best track on the album.

The very good "The Final Frontier" is not so much more than "Brave New World", but not so much less than "Dance of Death" or "A Matter of Life and Death", and its success in the charts (#1 in the UK and in 27 other countries...) was a reaffirmation of the validity and popularity of one of the most emblematic Heavy Metal bands.

3.5/4 stars

The great compositional diversity and the overall sophistication of Iron Maiden's writing on their third studio album was perhaps inspired by the addition of the relentless metal vocalist Bruce Dickinson, making his impressive debut on 'The Number of the Beast' from 1982, one of the really important and influential heavy albums of the decade, and the release that became the British group's critical and commercial breakthrough. While Maiden's first two albums had been more straightforward, stomping and energetic, 'The Number of the Beast' finally sees the five-piece band exploring and developing their more adventurous, unpredictable and musically exciting pieces, on an album that introduces a myriad of bold sounds, excellent and iconic riffs, some ubiquitous choruses and several intriguing stories narrated by the powerful and operatic vocals of Dickinson.

'The Number of the Beast' takes equal amounts of inspiration from the classic rock acts of the 70s as it does from progressive rock, which bassist Steve Harris is especially partial to, and this definitely pushed the band to explore longer-format songs with more unusual structures (think of 'The Prisoner', '22 Acacia Avenue' or 'Hallowed Be Thy Name'). Of course, it is Dickinson's fabulous performance and capacities that really match the ambition of the instrumentalists in the band, resulting in a record that attempts to push the boundaries of the genre even further. Yet at the same time, 'The Number of the Beast' had great commercial potential and success, featuring several rock staples that have become some of the most recognizable Maiden songs - think of the entire side two. And while many critics and fans refer to this record as the most important metal album of the decade, a more moderate overview of it might consider how much more compelling and sophisticated it is compared to previous Maiden efforts, how consistent and melodic their music has become and how impactful Dickinson's addition is for the band; or in other words, 'The Number of the Beast' represents that "quantum leap forward" in terms of Iron Maiden developing their signature sound.

After the controversial "X Factor" in 1995 and "Virtual XI" in 1998 with Blaze Bayley replacing the irreplaceable Bruce Dickinson on vocals and Janick Gers replacing Adrian Smith since 1990's "No Prayer for the Dying", a troubled Iron Maiden shuffle again and summon their two prodigal sons to face the beginning of the new millennium, resulting in "Brave New World" (2000), their twelfth album. Inspired by the eponymous dystopian novel by British writer Aldous Huxley, "Brave New World" revitalised the English band's career, also bolstered by the incorporation of producer Kevin Shirley, who, from his place, would be in charge of reorienting the band's sonic proposals.

On the one hand, songs of immediate impact such as the direct "The Wicker Man" with powerful guitar riffs and Nick McBrain's unrelenting drumming, very appropriate to be chanted live, the fast and rhythmic "The Mercenary", or the galloping and snake-like "The Fallen Angel", overflow with an infectious energy reminiscent of the early days of the band led by Steve Harris.

And on the other hand, the developments of generous length and more elaborate and progressive structures so identifiable from albums like "Seventh Son of a Seventh Son" from 1988, take on particular relevance from the majestic "Ghost of Navigator" and Harris's piercing bass setting the cadence, continues with the restrained fury of "Brave New World" and the duel of the three guitarists, sustained again by Harris' porfiado bass, with the epic and orchestrated "Blood Brothers", another great song ideal to interact with the live audience, with the arabesque riffs of the enigmatic "The Nomad" and its atmospheric middle section, and finally with the introspective and dark epic of "The Thin Line Between Love & Hate".

The futuristic, purplish vision of the city of London cloaked by the image of a cloudy Eddie, beyond being the excellent cover of "Brave New World", symbolises the band's renewed look forward and reconciliation with their grateful and multitudinous fan base.

4 stars

After the return of Bruce Dickinson and Adrian Smith to Iron Maiden on the very good "Brave New World", the English band released their thirteenth album, "Dance of Death" (2003), three years later. Without being a concept album, the sombre scent of death is present throughout much of the album, from the title itself and reinforced by the disturbing, masked characters on the controversial and much-criticised cover art half-designed by David Patchett (UK graphic artist) and digitally completed by the band's communications team.

Beyond the tracks that correctly meet the band's recognisable standards, such as the fast-paced "Rainmaker", the dark and raw "Montsegur", and the simple "New Frontier" and "Gates of Tomorrow" (the latter closer to digestible hard rock), there are a handful of powerful and highly accomplished developments on "Dance of Death". Carefully elaborated structures and virtuoso instrumental displays with the inclusion of synthesizers to enrich the atmospheres in the style of "Somewhere in Time", stand out clearly in songs like the intense "No More Lies" and the similar bass lines of Steve Harris to "The Clansman" ("Virtual XI" album), the haunting encounter with death in the spectral and medieval "Dance of Death", the progressive epic referencing the horrors of the First World War in "Paschendale" dominated by the guitar trio's enormous showmanship and Nicko Mc Brain's persistent hi hat, and the tempestuous and soaring "Face in the Sun" where McBrain shows off an infinite double bass drum accompanying Dickinson's strained singing, could be part of the best of Iron Maiden's discography without a doubt.

And to round off the album, the band captained by Harris surprises by completely leaving aside the distorted guitars and thousands of volts so that the peaceful "Journeyman", an unplugged and orchestrated melody adds an additional nuance to the sonic universe of the maiden.

Weighed down in part by the controversial cover, given the important role that aesthetics always played in the band's overall approach, "Dance of Death" may not have transcended as much as, in my opinion, it deserved to.

4 stars

It has become apparent on the last two Maiden offerings that the band is at the very least, trying to find some new tricks to spruce up its bombastic prog-metal approach. On this double disc, there is a respectful display of bluesier guitar solos and other musical interludes and motifs which certainly help keep things fresh. The continuing problem since 2006's 'matter of life and death' however, seems to be the lack of self-editing in the music itself. On classic albums like 'Powerslave', and 'Seventh Son', short, punchy numbers would dominate proceedings, making the listener appreciate the 2 or 3 epics on display. This balance was lost somewhat with a 'back to basics' approach in the early 90s. Fortunately, the approach was found again on 'Dance of Death' (Not coincidentally the group's finest album since 'Seventh Son'). While there is much to recommend on this double album, particularly Bruce's triumphant vocals, it appears that the band has al but lost it's ability to craft trailblazing 3-4 minute anthems in the 'Piece of Mind' tradition and is now in somewhat of a rut of excess despite it's commendable efforts to deviate from the formula.

This would probably be the greatest metal album ever made...for a fresh pair of ears. Unfortunately we live in a generation now where things are forgotten not much sooner than they arrive. Iron Maiden hit the jackpot with the near excellent previous album 'Dance of Death', which can quite easily be ranked among the group's best but this follow-up has darkened the tone a little and retreated back to the sheer tedium of protracted concept songs, with little variation. Having said that, there is certainly much to recommend. 'Brighter Than a Thousand Suns' is one of the heaviest songs the group has recorded and recalls the aggression and dynamics of Piece of Mind. Elsewhere it is business as usual and that business has become bogged down a little.

This latest Sun Tzu-themed blockbuster (albeit loosely themed) doesn't reach the peaks of their 82-88 glory era (except for perhaps 'The Time Machine' which is one of the highlights of the album's 82 minute record-shattering running time).

Elsewhere, 'Death Of The Celts' aims for an 'Infinite Dreams' level of epic grandeur and bombast while the 8 minute title track (a quickie for Maiden) is an uplifting, minimal fuss anthem that oddly doesn't seem to outstay its welcome. Traces of epics like 'To Tame a Land' can be heard in 'The Parchment' and there is a somewhat mid-tempo plodding to the proceedings which can test the patience a little- although this charge can be laid at ANY millennial Maiden release.

Overall, what you get is the same as always since their reformation with Bruce- a solid, sprawling experience where the motto seems to be 'more is more'. Some self-editing wouldn't exactly harm them next time because (and this should be noted) this music doesn't do anything that the band haven't done in a much shorter, more concise format anyway. Why waste the format if there is nothing new happening? Perhaps it's their age or the mileage but I do wish Iron Maiden would get to the point quicker like they used to!

Iron Maiden quickly followed-up their self-titled debut album with 1981's 'Killers', an album compiled of various recordings either left over from the previous sessions of the band or songs already performed live and further honed in the studio. Not only this but this is a record that, above all else, explores more in depth the group's punk rock influences, which definitely help in rendering this LP a catchy, rough and hook-driven one. Famously, this is the final studio recording with vocalist Paul Di'Anno and the first appearance of guitarist Adrian Smith, although this minute lineup change is yet to become effective stylistically for what concerns Maiden's very own brand of heavy metal. 'Killers' is generally in line with the debut album and is quite similar to it in terms of scope, production, and songwriting, and while 'Iron Maiden' had several really melodic (and even softer) spots, this album is a more combatant and upbeat one.

Once again the music is riff- and hook-driven, with occasional glimpses of more technical playing, despite the fact that Maiden seem to have focused exclusively on writing shorter songs here. There is a sense of tension within the music and a broad lack of incredibly exciting ideas, and to put it plainly, 'Killers' does not even dare to overachieve what the debut album had already achieved and introduced as a stylistic trope, as musical vision and as a general progression within the world of heavy rock. Just a pretty good album that is rather similar to its predecessor, giving us interesting songs like the opening instrumental 'The Ides of March', the extremely catchy (and overly punky) 'Wrathchild' and 'Murders in the Rue Morgue', as well as the strong title track with its fine riffs and generous bass sounds. 'Prodigal Son' offers a counterforce to the overall heaviness but then come putrid songs like 'Purgatory' and 'Drifter', completely ruining the ending of an otherwise imperfect studio album. Perhaps 'Killers' was never meant to be as good, despite the occasional glimpses of fine writing and inspired playing, this is the album showing the signs of why this iteration of Maiden could not have lived on.

'Iron Maiden' is the 1980 eponymous debut album by the legendary British heavy metal band, a record that proclaims the initiation of the NWOBHM movement in many ways, and displaying the ferocity and aggressive approach of those very early metal albums from the beginning of the decade, being informed by and combining elements of both punk and progressive rock, it has since been received as a critical success, having also brought significant amounts of attention to the then-young metal band upon its release, lauded by both fans and critics as a "cult classic". The music on this very first Maiden album is indeed quite heavy but also very rough and unpolished, with difficult-to-appreciate production values, occasional muddy riffs and silly choruses, it is an imperfectly perfect debut album, if that makes any sense. Featuring a unique early lineup with Steve Harris, Dave Murray, and vocalist Paul Di'Anno, Maiden was also then-composed of Dennis Stratton, a guitar player who would leave the band afterwards, and drummer Clive Burr.

What is there to say about the music on here except the fact that this is an early heavy metal music that introduces a variety of interesting influences to the world of heavy rock, serving as somewhat of a blueprint for an entire movement to come. Still, as influential as 'Iron Maiden' may be, this album is definitely not universally appealing, having significant problems in the production and songwriting departments. It opens with 'Prowler', a ballsy and fast-paced number, one of the better songs off the album, followed by the catchy 'Sanctuary', a fine homage to Judas Priest (or even Motorhead) and just a tad bit banal for what concerns its contents. 'Remember Tomorrow' is where we hear the Rainbow lesson on full display, a decent number with great guitar work that anticipates a lot of what the band would go on to explore in the future. 'Running Free', or the revved up R'n'B song of Iron Maiden, is followed by the most far-reaching piece on the album, the 7-minute 'Phantom of the Opera', a more complex and dramatic entry, still played live by the band. 'Transylvania' is a great instrumental arranged by Harris, 'Strange World' is the album's ballad, a good piece of metal music. 'Charlotte the Harlot' is indeed a bit silly, also the riffs here are not as pungent as on other places of the album, and the closing title track is more forgettable than it is impressive, despite the fabulous and ferocious bass playing. A really fine and important metal album from the early 80s that has not necessarily aged too well, 'Iron Maiden' is the first step towards the crafting of the band's signature style of heavy and technical arena rock.