Priest did before in Sin After Sin with Let Us prey /Call for the Priest... ( I don´t want to mention Prelude / Tyrant as the first one is not a ''Rock song'')
Was the guy the killer in the song? In the beginning he clearly states that he isn't, but I never understood the ending, where the doctor has told him he's "done it before". Done what? Did he do it after all? Did he forget about it, is he crazy, or is he just lying about it all along, like Nick Cave in Mercy Seat? I'm perplexed. Anyway, as I mentioned earlier, this song was most likely my first introduction to Di'anno era Maiden, as it's on the Axe Attack vol. II compilation LP from K-Tel (it also has "Earth Mother" from Dickinson era Samson). I still have it. That may be a part of why this is my number one favourite song on the album. The intro is great, the way it kicks off with the drum roll is awesome, the story is cool, and the mood is perfect for the story. Running from the arms of law, am I ever going to be free? The verses just keep coming. There's always one more after you thought it was over. This is the first time I hear it's based on a Poe story. Live and learn. But did he do it, or was it the ape?
Burning Ambition I guess I'll be a dissenting voice on this one. There is nothing that grabs me about this - I find the melody, singing and playing pretty mediocre. Definitely B-side material, and not worthy of the album. Funny that Maiden would very soon be cranking out some AMAZING B-sides but this one is nothing great. 5.3 out of 10.
Gonna completely disagree on this one. In my opinion, this Di'anno version is a mess. Paul needs a cough drop and Clive is rushing this song - no groove, no swagger at all. You're letting your Sammy hate cloud your ears here, I think.
This version is good, but not as good as the original. This is good, though, more like a 7.0 compared to Montrose's, which is like an 8.5 for me. The guitar solo is good but not great, and Bruce's singing is solid.
Invasion Good energy, great drumming, but this is so rushed I really can't sink my teeth into anything here. Just decent rockage.
“I can’t speak French so I couldn’t explain ...” Other people characterized Murders as one of songs that plays like an epic in sound, but simply isn’t in length. This is rare, but such is a song of this caliber. And as others stated, Clive’s drums are effing sick, from the snare roll to the open high-hat hits and his clear crescendo and decrescendos all throughout the song; just a creative, brilliant effort. Not to be predictable, but the exact opposite of Nicko in every way. Wow, I really don’t like the lad! The dual guitars blast through perfectly, the harmonies in the solo are sonically beautiful to listen to, and Steve once again plays JUST enough to not overplay his role. ... And Paul nails it. For whatever reason, I love that he enunciates “Paris” as “Paree.” I just want to take this time to say since listening to these albums and dissecting the songs in this thread, I VASTLY underrated Paul’s contribution to Maiden. So, thank YOU everyone, for helping me appreciate this man and his time in Maiden the way I should have. I was wrong, but now, I’m right! 10/10
Murders In The Rue Morgue: The slow section that kicks this song off sets everything up for the onslaught that is to follow. After over thirty years, most of the lyrics are undecipherable to me.
Di’Anno’s vocals are a big reason why I like the early period of Iron Maiden so much. I think he was perfect for the material. Bruce Bruce’s entrance changed the band for better or worse.
I love Murders in the Rue Morgue. The intro is pure Maiden. Such atmosphere. It still gets me after all these years. Wrathchild and Murders are a great one-two punch.
The Ides of March (Harris) Love the drums, interesting that The Ides of March would get a marching drum style. (i see what you did there, Clive) Love both guitar solos - it's a great intro to Wrathchild. 8.8 out of 10. Wrathchild (Harris) 2:54 of punchy metal near-perfection. Great bass riff, Paul's yeah, sounds kinds kinda like his "Okay" start to Running Free. Vocal performance works very well, I love the guitars throughout, sometimes growling, sometimes crying. Guitar solo is good, but I wish there had been an Adrian solo. And in under three minutes, they told the story without unneeded wankery. 9.8 out of 10.
I wouldn't call it pointless, because I love hearing this song. But the Di'Anno version is stamped into our mind, and it's hard to compare. Bruce sings well, but his voice doesn't fit well on the "dominance and persecution" part at the beginning. Still a great song.
You think that's bad - today is the first day I found out what that line was! I thought it was "someone killed these young girls". Never knew what Gendarmes was.
With Dave Murray its Jimi Hendrix, Robin Trower, and Paul Kossoff. I've read Blackmore as well. I have read that Adrian's influences are more Bluesy - note all the bends he does: Johnny Winter, Ritchie Blackmore, Pat Travers. As a band, the idea of the two lead guitar players does owe a lot to Thin Lizzy. I'm curious if the musicians among us can hear those influences.
Murders in the Rue Morgue (Harris) I like the slow building intro, and Steve's bass harmonics are part of what really drove me to this song. The song itself is a little fast for me, but Clive's drumming and the use of cymbals do keep this from running away from itself. It was always hard to catch the lyrics with the machine gun pace of the lyrics, but one part I did understand right away, and didn't care for, is the "where the two young b**ches died". Seemed unnecessary. Love the harmony guitar solo. 8.7 out of 10.
The actual line is "Where the two young victims died." Although, it certainly sounds like b**ches on many live recordings.
Yes, I wet with "two young victims" when I wrote down the lyrics (before the internet!), but only by a 51% to 49% -- 49% being the B word lol
Murders In The Rue Morgue. Great intro to another gem... showcasing what Clive Burr brought to the band. The tempo changes on the early songs are almost seamless. Later they are at times, clumsy...almost mechanical in feel.