Iron Maiden Song By Song Thread

Discussion in 'Music Corner' started by Zoot Marimba, Nov 8, 2017.

  1. SammyJoe

    SammyJoe Up The Irons!

    Location:
    Finland
    [​IMG]
    Happy 3rd Anniversary to the "Speed Of Light"-single, which was originally released on august 14th, 2015.
    This was only available as digital-download, as single-track cd (which was exclusively sold via BestBuy in the US) and promo-version aswell.
    Speed of Light (Iron Maiden song) - Wikipedia
     
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  2. SammyJoe

    SammyJoe Up The Irons!

    Location:
    Finland
    [​IMG]
    Happy 13th Anniversary to the "The Trooper"-single, which was re-released on august 15th, 2005.
    The re-released version contained new live-versions recorded in 2003 and 2005 and it was released in few different formats aswell (7", 12", cd-single and cd-maxi).
    The Trooper - Wikipedia
     
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  3. SammyJoe

    SammyJoe Up The Irons!

    Location:
    Finland
    Think Im gonna still catch up with you here laters discussing the albums/singles artworks and stuff like that.
    Feels like I have to comment, review and also rank those precious album artworks, interested to see how they go for me.
    I feel maybe I could start doing the proper albums ranking (without calculating the songs and arrange the albums as I feel about them really).
    And like I promised, I will start doing the song ranking again from 4-10 instead of 0-5 that I used through this thread.
    So, anyways, see you later here and have fun. :righton:
     
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  4. el supernautico

    el supernautico A traveller of both, time and space

    Location:
    Germany
    Piece Of Mind song by song:
    Where Eagles Dare
    :
    Oh, how I love that one! It's a perfect introduction for Nicko's skills, and it sets the tone for the whole album quite well.
    I think it's one of the more challenging songs in Iron Maiden's whole catalogue, but the band delivers it in the most convincing way - bombastic earthquake-like rhythm and top-notch-soloing. The soloing is close to the edge harmony-wise, what makes it even better! The machine gun-sounds during the solo are very subtle, and as a kid, I was sure I just had some faulty tape on my cassette... Later, with better English and listening to it on CD (one of my very first CDs, BTW), I finally got it right.
    It's somewhat of a departure from the fast rockers as first song, but this way you know you're getting into something really deep and heavy. Then, the only other song on POM I see as an possible opener is "The Trooper", which already introduces the B-side, so that's that. To me, it's an absolute highlight and one of my top 5 Maiden songs, so: 10/10
    It was fantastic to see the band play one of my favorite songs when I saw them 6 weeks ago on the Legacy Of The Beast Tour, what a Revelation!:drool:

    Revelations:
    The intro is a bit similar to the intro of "The Prisoner" in terms of feel and effect, but as far as I'm concerned, just give me more of that!:D
    The mysticism of the lyrics always fascinated me, you know, stuff like babies, serpent's kisses and hanged mans all in one song - wow, impressed me totally as a teenager, this just HAD to be something deep!
    The song features fantastic twin guitars, but I also must admit that exactly these could be a bit edited. The song has 6.50 minutes, but it indeed feels longer to me.
    Nonetheless, it has a convincing atmosphere taking you with it: 9,5/10

    Flight Of Icarus
    :
    As a youngster, I absolutely loved it. Nowadays, not so much... I think it's a mere predictable song, and the slow gallop makes me think they wanted to try to emulate Dio's "Holy Diver" - as everybody might know, this was their try at breaking US radio!
    Even though I say the slow gallop feels a bit calculated, I think it's fitting, the sped-up live version on LAD is much worse.
    What I might love best here is Steve's playing during the bridge and the solo. The lyrics also are well written, and it's a fitting topic with its ancient mysticism, a terrain Maiden handle quite well, don't they?;)
    The solos too are very good, I enjoy them every time I listen to them. Oh, and at the end, we get another of Bruce's trademark screams at the extreme, not to forget!
    The way of the harmonising in the vocals of the chorus is somewhat unique, I don't remember any other Maiden song where it's done like this, and it surely showed a new spectrum of the Maiden-sound, even if it wasn't expanded.;)
    See, I think the song is a real good one. Unfortunately, I'm just fed up with it: 9/10

    Die With Your Boots On:

    The album's easy rocker, quite catchy and with gang-vocals. In hindsight, the song's formula is somewhat of a forerunner of some reunion-era songs - and I don't think of "Death Or Glory" exclusively here!
    The 5.26 minutes fly by like nothing, without looking I'd never think of it as being that long!
    It's top-notch worked-out stuff in every damn detail, from the intro through the solos right until the end. This song to me is a prime example of the class Iron Maiden had even at something that could well have been filler stuff.
    It's really impressive how high the bar's set by the boys here, and to me a crucial fact just why Iron Maiden's classic era was (and still is) so well perceived: 8,5/10
    Oh, not to forget, the LAD version was the first time I heard somebody using the F-word on record. To my teenage being, this made Iron Maiden really cool in my eyes!:laugh:

    The Trooper:
    Well well, The Trooper... As much love this song gets, I must admit it took me REALLY long to get into it. In fact, I only got into it after the following story:
    I was on a fair with my father, and he -very surprising to me- asked me if I wouldn't like to have a backpatch. As I was already into metal and stuff, I said yes of course, and I chose "The Trooper" - one of the best Eddies ever! He tried to convince me to buy a backpatch of U2's "Joshua Tree" (so THAT was what he had in mind!;)), but he didn't have a chance!:D Now that I had that great backpatch, I needed to get into that song, of course!
    I see it as a very defining song of Iron Maiden, but also as a brutal tour-de-force. I surely never would have chosen it as a single, but I must be glad they did it because of its brilliant cover!!:D
    I know of course every single word and note of the song, and I join in full throttle when played live, but I still think it's cumbersome. Anyway, no other band ever could have come up with a thing like this and make it work. BIG thumbs up! 9/10

    Still Life:

    Atsenanu... heees gimmethem nuuus! No, of course, that's not what Nicko said, but what I understood (never thought of it as being something satanic, BTW).
    The song, written by Davey, is another highlight for me. Again, it's lyrics are quite mysterious, dealing with visions, madness and suicide - what a topic!
    The intro bears some similarity to the album's final track "To Tame A Land", maybe that's where it evolved from? Oh, and Steve's bass in the intro is something we hear quite often in reunion-era days.
    Well, from that, it builds and builds, I get sucked into its atmosphere every time i hear it, it gives me the chills! That part at around 1.30 with Bruce's phrasing mirroring the exact rhythm with the words: "I've no doubt that you think I'm off my head" is, at least to me, pure genius! Then, at around the 3 minute-mark, we get into the fantastic instrumental section - how can some music be so good!? I can't give enough praise for the production here, as it somehow must be the reason it all sounds so thick and creepy on one hand, while so smooth and easy on the other hand! It then segues into two crazy/borderline solos, from which I prefer the first one (I guess the second one's H's'?). After the solo, the last verse comes in in a much altered and highly dramatic fashion, a good opportunity to witness Maiden's technical skills.
    Yes, I dig Still Life, you got it!:D It's a special and inconvenient song, and it's proggy as it can be for a band that's not playing progressive metal: 10/10

    Quest For Fire:

    The "Meh" song on the album. Is it really that bad? I agree it's a step down songwise from this album full of skyscraping pinnacles, but the instrumental section and even more the solo is so spot-on, you must hear it to believe!
    Again, what could well be a throwaway, is turned into gold(plated, at least) by the boys. These must have been fascinating times to witness in the studio! 8/10

    Sun And Steel:
    Would it have been me, I'd have chosen this as the second single off the album instead of "The Trooper": it's melodic, it's got a really catchy chorus, and it also features the fast gallop the band wants to be known for (so it seems, doesn't it?;)). On top, it has a radio-friendly length with its 3.26 minutes. Hm. Thinking about it, I could well imagine that it was indeed intended to be a single, but then discarded in favor of "The Trooper". Who knows?
    I really like the song and see it as the "other" easy rocker on POM. While I really like the lyrically simple kept verses (easy to sing along with, and no "tongue-breaker", as we say in Germany), this time, the instrumental section and the solo to me are the weaker parts of the song - the end of the rather short solo is the best part of it: 8,5/10

    To Tame A Land:

    Great, absolutely great. With this, Maiden reached a new level. To me, they now revealed that "Hallowed Be Thy Name" or "Phantom Of The Opera" was just getting your feet wet.
    THIS is the first real epic that Maiden did: a thick, atmospheric, pictorial song, executed in Cinemascope-style, full of instrumental grandeur and technical finesse, all contributing to the victory of the song.
    While I prefer "Rime Of The Ancient Mariner" as the ultimate Maiden-epic, this must be seen as the door-opener for it. The boys must really have been on a self-conscious high, quickened with the extreme success of TNOTB to dare and move into such unknown territories of musical depth: 10/10

    Overall album thoughts:
    Wow, just wow. I'm surprised a little by myself how high I rate the songs, and how enthusiastic I still feel for this album. But I really feel this is a masterpiece. TNOTB is almost incomparable to this monster of an album, as it's so much easier, quicker and conventional compared to POM. I don't know how much I'm led to think of a dark atmosphere maybe just because of the cover, but it's what strikes me most here. The whole album feels like a deep, intense journey through dark, ancient ages. I see TNOTB as the ultimate Iron Maiden album (and nothing will ever change that) because of its three-to-four immortal evergreens, but POM simply takes things to another level. It is a key ingredient to the understanding of Maiden's legacy.
    Also, we finally get the classic line-up with POM. Of course, Nicko is a great and enriching addition, but through this thread, I became a big Clive Burr fan, and I'd really love to know what he would have done here and there...
    Or, put differently, is POM so great because of Nicko, or would it have been great anyway because the band was prepared to do it? No matter what, an absolute favorite of Iron Maiden's albums.

    Cross-Eyed Mary:
    The song benefits of the overall-sound they had on the POM-sessions, but I definitely prefer the original. This to me is much too close to Tull's version, albeit I admit Maiden do a fine job, and the guitars sound great while playing the flute motif in the intro. IMHO, it's Bruce who messes it up with his high-pitched screams, they feel uncomfortable: 7,5/10

    I've Got The Fire:
    Again, very close to Montrose's original version. I first knew the anarchic live-version with Paul from the "Sanctuary" B-side, which I prefer by far! Here, all is so much more controlled and streamlined. Not a bad listen, though: 7,5/10
     
  5. el supernautico

    el supernautico A traveller of both, time and space

    Location:
    Germany
    Powerslave song by song:
    Aces High
    :
    Splendid. The best Iron Maiden-opener ever!
    From the first stuttering chords into the frenzied and yet controlled attack of the main riff, it's easy to see why it has many fans in the speed and thrash metal scene. Of course, this is a stone cold classic, but now when reviewing it, I tend to get picky/more objective: Apart from the chorus, the song could also work very well as an instrumental piece, and the vocals sometimes sound a bit squeezed in. But that's really the ONLY thing I could say in an other than an overwhelmed way.:D
    The song illustrates the chaos of battling planes quite well, as do the solos. You hear how the shot planes fall from the sky, and the whole song really has this urgent "do or die" feel all over it: masculine, adrenaline-fueled and with the absolute will to be victorious or die trying. It works even better in concert, introduced by Churchill's immortal speech: 10/10

    2 Minutes To Midnight:

    Man, it's quite hard being objective with so many juvenile fascination inside!:pineapple:
    But let's try: "2 Minutes To Midnight" was one of the first Maiden songs I fell in love with, and there were times I ran the risk of being fed up with it. But no matter what, this song is... heavy metal. If I was to explain somebody what metal is (I mean classic heavy metal), this song would make a big part of it. The main riff is stainless steel (albeit copied from Mercyful Fate's "Curse Of The Pharaos" - but then there were and still are endless versions of this motif), the topic is dead-serious (and was even more by the time it came out), the chorus is one of the best the boys ever wrote, and the underlying rhythm is headbanger's paradise. On top, we get a fantastic bridge, and later on an even better solo (I mean the second one), seguing into an intriguing quiet part that's just marvelous. I don't have words beautiful enough to describe the guitar harmonies here... H's(?) guitar lick at 3.50 and 4.00 remind me of a screaming eagle, crying out its loneliness... (oops, I'm up to overstating things!)
    Back on track: Dave and H really gel one into the other here, they change from doubling lickery to soloist & rhythm player and back within seconds, making it all sound very easy to do - what it's not!
    Their playing reaches a new level here, a dreamteam of harmonising guitars with a unique sound. Sounds like they were really tight one to the other in those days, magic twins!
    Another prime example of their interplay during this era is their contribution to the Hear'n' Aid project, their underlying harmonies during the chorus ("We're staaaaaars!") elevate the song significantly:

    The names showed during the video are right, but neither Dave nor Adrian got solo spots, they enriched the song "only" with their masterly harmonies.
    So, "Aces High" and "2 Minutes To Midnight" is the second batch of unbeatable one-two-punches (the other one being "The Number Of The Beast" and "Run To The Hills") - stuff for eternity: 10/10

    Losfer Words (Big 'Orra):
    This to me doesn't really sound like a song, but more like a collection of unused instrumental interludes arranged together, with the best segment being the one at around 2.34. It all works well and fits the album (I like to call it the triplets-album) like a glove, but it's my lowpoint on the album. I call it filler - on such a mind blowing album, that's far from being bad!
    "Losfer Words" really feels like little pieces thrown together and nothing else. Of course, these are priceless Powerslave-pieces, so it's more like gold nuggets thrown together.;) 7/10

    Flash Of The Blade:

    I had this song better in memory than it is. Today, it reminds me too much of "Sun And Steel" concerning its execution and feel - melodic, easy lyrics, quick and to the point. That's not bad, it's just less genuine than I remembered - must attribute that to the production, which again drenches the songs in a unique atmosphere. Well, ultimately, I prefer "Sun And Steel" to "Flash Of The Blade".
    The instrumental section is something else, Dave'n'H let their musical muscles play and seem to have a hell of a good time. Their harmonies and tied-one-in-another licks are, as "usually" here, fantastic and top-notch: 8,5/10

    The Duellists:

    Ah, the triplets...:love:
    I always had a hard time differentiating "Flash Of The Blade" and "The Duellists", but by reviewing them individually it's hard forgiving myself for that, as they're indeed rather different! Again, I attribute that to the slip stream-like atmosphere of the album. Somewhere around this time, you're just "inside" it and don't care much where you are...
    Songwise, it's more of an "OK" song than a sublime one with its so-so verses and inconspicuous-but-quite-alright chorus, but it adds infinitely to the album! I also see it as a preparation/finger exercise/apetizer for "The Rime Of The Ancient Mariner".
    The focus here is clearly to find in the mighty, mighty instrumental section with it's exuberant 3 1/2 minutes, occupating more than half of the song's length. I don't want to go in detail here, but I love it all to death. Steve's dominating bass has been criticized among these pages in that era, but to me, it's not only absolutely great and fitting, but also definitely what set Maiden apart from everything else back then! It is some of the key ingredients why Maiden are so special: EXACTLY this combination of Nicko's complex and dramatic patterns, Steve's muscular and leading bass, Davey'n'H's complementing and intertwining, elegant guitar lines, and then, of course, being blessed with a singer capable of keeping up with all that virtuosity in the form of Bruce Dickinson - YES!!!
    So, for "The Duellists" as a song: 7/10, as a contributor to Powerslave: 9,5/10
    I know, that's a bit unfair, giving it two ratings, but then, my opinion about the song is just so tied-in with the context, I can't and don't want to take it out of it - sorry!

    Back In The Village:

    I always liked that one and was surprised some here weren't that fond of it.
    The intro is... bizarre, overwhelming, and then the rhythm comes in with the verse - fantastic stuff, songwise the best thing on the album since "2 Minutes To Midnight"! The lyrics are of course, only for the initiated (coming from the same TV series that inspired "The Prisoner"). The chorus is also really good, not a second I don't like! And then, we get even more of that unbelievable tight and perfectly worked-out instrumental sections. :drool:
    I won't repeat my worshipping by writing the same all over again, so just:[​IMG] 9,5/10

    Powerslave:

    This song has worn out on me, I must admit. Where it used to take me right into ancient Egypt and let me taste what it feels like being a Pharao, it today feels much cheesier. Hm. That's the cross of becoming adult...:sigh:
    Well, at least, I can remember how I felt about it back then!:)
    Songwise, I'd call it a typical Maiden-epic (those shorter ones, you know? ;)), as it features long verses, a long chorus and a rather simple structure. To me, the main riff and the verses are better than the chorus.
    And again, the instrumental section is the absolute highlight of it. Amazing idea to slow the whole thing down right after the chorus! From there, it builds up gently and blasts into a fast part with great soloing. The section beginning at around 4.24 is another perfect example of Maiden's magic combination mentioned in my review of "The Duellists" - in short: [​IMG] , and then: 9/10

    Rime Of The Ancient Mariner:
    I knew that one years before I got into metal or Maiden. Me and my family visited some friends, their son had a copy from Powerslave on tape (not that I knew what the album or the band's name was, but it must have been that way), and he let it play while we were playing around. What stuck in my mind was that creepy sound of the coffin in one particular song (yes, right, it wasn't a coffin, but a ship), and I recognized it immediately when I heard Powerslave again, this time on a mission to expand my musical likings.
    Opposite to some other songs on Powerslave, I initially didn't like the song very much and thought they were outplaying their gallop. Nowadays, I love that song. It's got really lots of verses and lyrical segments, but they divide them clever with interesting and sometimes repeated little interludes which all add to the feel of the topic (majestic beauty, ignorant pride, dramatic turns of things, ghostly lonelines, hope, return to life).
    The section where it builds up from the middle acoustic part and segues into full throttle triplets, gives me the thrills EVERY time. I don't hear guitars anymore here, it's all just waves and waterfalls of pure sound. To me, it's the most intense moment Maiden have ever reached musically, and one of my most intense moments in music at all (the other ones are more in jazz, or certain stuff by The Who) - so, thanks for that, boys! 10/10
    Oh, BTW, is that sound of the levee-breaking rain maybe exactly the same Slayer used on "Reign in Blood"? Who knows...

    Powerslave album overall thoughts:
    More or less like I had in mind, Powerslave is more than the sum of its parts. Martin Birch created an unbelievable convincing atmosphere and unifying sound/feel for it, Powerslave to me still feels more like an experience than a collection of songs, even more like a journey than POM. And since today, I know better why it does so. It is best consumed as a whole, but still, there are enough strong songs that work well on their own. Stuff like "Losfer Words" or "The Duellists" on the other hand sound like by-products of the sessions' spirit - fillers in the best meaning of the word, and lightyears away from being stinkers. Fantastic!
    The interplay of Dave Murray and Adrian Smith reaches a new level here, sadly something that's been lost in the reunion-era... well, they both had went separate ways, Davey had to define his own style, and when H came back, there was a third guitarist among them - enough stuff to explain that, I think. Still, this is brilliant and magical. Thank God for that!

    Mission From 'Arry:
    Cool thing to release something like this. Again, back then I thought "wow, they have the balls to show how they argue and THAT they argue". Nowadays, I see it less ballsy and more like "see how important it is for us to deliver a good show, see how important the fans are to us". Still, a genuine piece. Nonetheless, I won't rank it as it isn't music.

    "Rainbow's Gold" and "King Of Twilight":
    Finally, we arrive in the realms of the golden B-sides. POM-era B-sides are also top of the game, but I just prefer "Rainbow's Gold" and "King Of Twilight".
    You hear the boys are having fun, the originals are quite obscure, and the band make them totally their own - can't better that: 8,5/10
     
  6. el supernautico

    el supernautico A traveller of both, time and space

    Location:
    Germany
    I've been reading your regards towards Powerslave today, and I felt I should join in and enrich my praise:winkgrin::
    Powerslave to me is one fantastic rush. It differs from POM in that the compositions are more in one vain. It reminded me of the effect The Who's Tommy has on me: Sooner or later, you're in a maelstrom that only spits you out again when it's over.
    Where the production of POM was a bit similar to Sabbath's "Heaven And Hell", it is less "boom" here and more in the mids sonically. These are really something like... nuances and never ever bad or missing something.
    Martin Birch did indeed sprinkle some kind of magic onto the glorious run of TNOTB up to SSOASS, as he gave every album its own identity while maintaining AND expanding the sonic landscape of Iron Maiden - extraordinary superb powers this man has!
    As I'm not (yet) forced to choose a fave, I only can say that POM up to SIT is MY holy trinity of Iron Maiden, and it really depends on my mood what I prefer.
    Powerslave is really hypnotic and giant, but every time I begin to think it might well be my absolute favorite Maiden album, I start to long also for the other wondrous journeys Maiden has waiting for me...
    The cover artwork is overwhelming, but so is SIT's, and then again, Eddie in his cell is also masterly... No, they all three to me are part of one giant and immortal legacy, I wouldn't ever want one without the other![​IMG] [​IMG] [​IMG]
     
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  7. Cheevyjames

    Cheevyjames Forum Resident

    Location:
    Graham, NC
    @Supernautic I love your retro reviews. How many more do you have to do? I've been swamped with beginning of the semester work (I work at a University), but I still plan on doing some more writeups. I have a specific project in mind, but I didn't want to do it until you were finished with your reviews of albums you missed.
     
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  8. el supernautico

    el supernautico A traveller of both, time and space

    Location:
    Germany
    Thank you very much, I appreciate that!:cheers:
    As for how many more I have to do: I only joined in with "Brave New World", so there's quite some work ahead...
    I must admit that this is really consuming, as it takes me 1-2 hours to finish an album review, and that's the reason I'm on "pause" right now. I don't know if I will get to do the Blaze-albums, but at the moment, I'm willing to. We will see.:cool:
     
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  9. Cheevyjames

    Cheevyjames Forum Resident

    Location:
    Graham, NC
    We all suffered through them, you should too!

    Can't wait to read your thoughts on Somewhere in Time...it's my favorite as well.
     
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  10. el supernautico

    el supernautico A traveller of both, time and space

    Location:
    Germany
    Somewhere In Time song by song:
    Caught Somewhere In Time:
    Fantastic intro! Apart from being musically great, it sets the mood for the album and leaves no doubt we arrived to a new chapter in Iron Maiden's history. The synthesizers are not shamefully hidden, but dominantly upfront, carrying the unmistakable message of "love it or hate it"! As we know, most people hated it!;)
    After the slow galloping intro, the much faster main song begins, supported by Nicko's own technique of treating the bass drum - of whom not many may have heard of up until that point and took it simply as a double-bass.
    Well, in the end, it really doesn't matter how the beat was achieved, but knowing he does it with only one (bare!) foot surely embellishes Nicko's skills.
    The chorus, while being more on the "okay" than"good!"side, gives us an impressive display of Bruce's vocal powers. I'm not sure, but could it be this was -up until then- the most demanding thing he had to come up with?
    Then, at 3.22, the instrumental section is initiated by really fast runs on guitar, bass and drums, all is -as usual- highly worked out, with no note out of place, beautiful sections, great solos, and a reprise of the intro-figure before it goes back to the verse and the last chorus...
    To me, the opener is a strenuous tour-de-force.:sweating:
    The instrumental section is really good, but I think the song is too lengthy and tends to get tiresome, like it's too heavy to lift off.
    On the other hand, this underlies the vision of an arduous time-travel that takes you right to that scene on the front cover - at least, in my teenage-fantasies!:D 8/10

    Wasted Years:

    Oh boy, how would one in the early 80ties have thought Iron Maiden could one day sound like this? This is by far the closest thing to AOR Maiden ever did, and it's fully understandable that many fans were lost during this era (I'm talking metalfans here, not Maiden-fans) I mean, first they get a full punch of synthesizers, and then this poser-crap?!? Not for real metalheads, especially not after the rise of Metallica or Slayer or the establishing of a real Metal-scene!:mad:
    To those who were able to accept less hard-edged guitars and songs (that includes me), this was one hell of a catchy song with unusual introspective lyrics and one of the finest and instantly recognizable metal-riffs EVER!
    To me, "Wasted Years" is sheer pop-perfection, from the intro through the open (as opposed to crammed) verses and this giant chorus with its play of words, the spot-on solo and up until the ineluctable, consequent ending - genius!
    Its position after the plodding opener feels like a ray of light or a breath of fresh air and intensifies its impact. See, I love it, it's great, it's one of Maiden's immortal classics, and one of the main reasons I'm an Adrian Smith fan: 10/10

    Sea Of Madness:

    This is the song I had the most problems getting into. I still find it hard, even though there's not a bad thing I can say about it. The difference is that meanwhile, I'm able to retrace and therefore appreciate its rather complex arrangements, albeit the lyrics keep being a mystery to me... The instrumental section is stellar again, with my favorite part coming in at 3.00 (the quiet part). Here, I see why there's a comparison to David Gilmour - great stuff!!
    So to say, "Sea Of Madness" is the wormhole of this Sci-Fi-journey of an album.;) 8,5/10

    Heaven Can Wait:

    Ah, Steve's having bad dreams again... "Heaven Can Wait" comes in perfectly with the last echoes of "Sea of Madness", fantastic sequencing! This was my favorite song on the album back then. Structure-wise, it has written "Steve Harris" all over it, with hasty verses, repeated one-liners as chorus, and intros samey to outros - but of course, no one knew back then how much of a trademark these ingredients would become later!:D
    As for me, I like the melody of the verses, and I have no problem with that repetitive chorus (but I prefer the live version from "Maiden England"). That whoa-part also was a definitive highlight, but that's because it was set different then they do it today:
    It carried the feel of the song and didn't scream "SING WITH US!". Also, I thought (and still think, BTW), that it was great to invite all the backstage-workers onto the stage and recreating the album's choir, like "We're all family, and we want to show that to you!".
    Oh, I almost forgot about those otherworldly amazing loose guitar chords and licks spread throughout that part - splendid!
    This time, the solos don't do much for me.
    This speedy approach was something new back then, at least in that epic form, and Nicko didn't just bang along with it (like he does today), but follows every note on the drums. By doing so, he much more "creates" a challenging rhythm and makes the fast main riff look far more interesting. BTW, I hear an ancestry of "Be Quick Or Be Dead" here. All in all, a solid song, but with something special I can't describe: 9/10

    The Loneliness Of The Long Distance Runner:

    Wonderful intro - quiet, epic and majestic. Again, It's easy for me to imagine how I'm floating through empty space and time, lonely and abandoned... ah, those juvenile escapisms...:)
    The song always sounded to me like an acknowledgement to the existence of thrash metal, and in that point of view, is a quite forced affair... On the other hand, the hard hitting beat fits the topic of the runner like a glove...
    That said, I think that the whole of the lyrics and the way they're recited make for a convincing treatment of the topic - it's Maiden painting pictures again with their music.
    On top, it's a personal favorite of mine on this album and features, again, those twin harmonies I could die for: 8,5/10

    Stranger In A Strange Land:

    Talking 'bout painting pictures: This one's overwhelming! It's absolutely awesome how Bruce takes us with him to listen and think about the tale of the unknown man while the whole band supports him in full storyteller-mode.
    To enforce the effect, Maiden even faded the song out instead of playing an end - a unique move in their whole career, or am I wrong here?
    Structure-wise, it's quite simple, but wonderfully worked out, full of heavenly little licks and harmonies to enhance the basics - love all of them! For the instrumental section, they used the same trick as on "Powerslave" (the song) and slow things significantly down after the chorus to build them up again. Fantastic how this mirrors the endless snow and loneliness in the account!
    What's odd to me is that the iconic cover has absolutely nothing to do with the lyrics (except for the title which is put into a complete different context)! That cover is so brilliant and detailed, I wish there would be an alternative set of lyrics telling me more of that Eastwood-lookalike and his outer-space-adventures (sorry, that's just me being 15 again)! For the song and its immense convincing pictorial quality: 10/10

    Déjà-Vu:

    To my knowledge, this is the albums' most unpopular track, and I fully agree: Indeed, I love all other tracks at least a tad more.;)
    "Déjà-Vu" features a brilliant and one of the best instrumental sections on the album, but it also hosts the most terrible verses AND chorus by far - well, IMHO, of course!:)
    Still, I won't call it bad, and it breathes and mirrors the feel of the album very well. Nonetheless, filler stuff: 7,5/10

    Alexander The Great:

    Here it is, the traditional epic closer. It's also traditional regarding its lyrics, which retell an historical or fictional event. I LOVE "Alexander The Great", point. I love it so much, there even was a phase in my life I was sure, if I'd ever had a son, I'd call him Alexander just because of this song! As I'm getting really tired by now, I try to quicken things up: The build-up has again cinematic qualities, and usually, I became one of Alexander's soldiers, standing on the dusty battlefield and dressed in blood-soaked leather, waiting for the enemy to come... oh boy, I just can't stop those juvenile sentiments when I come to write about all this stuff I listened to day and night back then...
    What is really unique here is the instrumental section starting at around 4.00. The first part sounds elevating, performed with a grace reminiscent of "Stairway To Heaven". Then, at 4.45, that riff with Nicko's china, sounds like a wake up-call for all to fear the coming of the warlord beneath the lion-head, it has such a convincing ancient atmosphere, so epic and mercyless - I'm going nuts! Next at 5.07, that otherworldly, overwhelming, ethereal guitar harmonies, my personal highlight of the album and one of the most beautiful things a rock band was ever able to put on record - magnificent!! The solos therein are also great, not to forget, before the song ends after another verse/chorus routine. Out of words: 10/10

    Overall album thoughts:

    This is where many Maiden fans left the ship, and I already gave my explanation for this on the "Caught Somewhere In Time" and "Wasted Years" reviews. But after listening to the album this analytical way, I think I found another reason:
    Opinion always is that Bruce was burned out and H got his chance which he grabbed with both hands. Meanwhile, I think the whole band was pretty burned out, because this is more or less the only Iron Maiden album where they tried to follow trends (being the new-found reason for disappointed fans) - at least, it seems so, with these atypical thrash beats on one hand and the Bon Jovi/Europe handsome melodic tunes on the other one (I'm exaggerating, it's just to get through what I want to say).
    Neither before or after Maiden sounded so "trendy", Maiden always sounded more like themselves (see 7th son). I think that sense of wanting to be trendy might well be because of being burned out and listening more to the producer and label than they normally would have done. SIT is in total opposite to its predecessor's in-one-vein attitude, It's easy to dismiss it for being rather unbalanced.
    Another thing I noticed is the extreme similarity in the sequencing of each side's songs:

    slow intro with fast paced main song: Caught Somewhere In Time - The Loneliness Of The Long Distance Runner
    melodic and catchy tune: Wasted Years - Stranger In A Strange Land
    bizarre/weird tune: Sea Of Madness - Déjà-Vu
    epic closer: Heaven Can Wait - Alexander The Great

    Is that very structured pattern another hint for a bit perplexed/helpless band?
    No matter what, it was again a step into unknown territory, a step further in their development, even more expanded possibilities, and another incomparable high-quality watermark for all other metal bands on the planet.
    All that drenched again in yet another sonic world, enriched with synthesizers, vocals a bit into the back and a very warm overall-sound. Oh yes, and the cover is more than stunning. I first had to study it on Cassette, which is even smaller than CD, because nobody had it on vinyl, and I couldn't afford it either, but that didn't stop me. :D

    Reach Out:
    I love it. H's voice sounds extra-cool here, one of my favorite B-sides because of its special nature: 9/10

    Sheriff Of Huddersfield:
    What did Nicko say in the "First Ten years"? A birthday song? I never took it serious. It's good for a laugh, but it wears out frightening quick: 4/10

    That Girl:
    Ok, this is my favorite Iron Maiden B-side hands down. Beautifully melodic and melancholic, and a rare occasion where Bruce has enough air to breath and gets to sing with more emotion. The chorus runs risk of being too repetitive, but it works.
    The harmonies and the solo are also worth of notion: 9.5/10

    Juanita:

    And right after "That Girl", this mess called "Juanita"..."Juanita" to me is a sub-standard casual rocker, absolutely unnecessary in every possible way!
    As much as I love "That Girl", I equally dislike "Juanita" - hopefully, the two are not the same person!:D 5/10
     
  11. SammyJoe

    SammyJoe Up The Irons!

    Location:
    Finland
    [​IMG]
    Happy 12th Anniversary to the "A Matter Of Life And Death"-album, which was originally released on august 25, 2006.
    For this album there was some differences on which date is was released. As it says on the wikipedia concerning the release-dates: released on 25 August 2006 in Italy and Finland, and 28 August worldwide, excluding the US, Canada and Japan on 5 September.
    A Matter of Life and Death (album) - Wikipedia
     
  12. Slice

    Slice Fan Of Rock

    Location:
    Keller, TX
    For Wasted Years, I’ll admit that it’s never done much for me. It sounds like a basic rock song with a good intro.
    Am I the only one? :confused:
     
  13. el supernautico

    el supernautico A traveller of both, time and space

    Location:
    Germany
    Well, among this thread.... MOST DEFINITIVELY!:cop::D
     
  14. rubberhead

    rubberhead I've never made a bad record

    Location:
    NYS
    No, I don't like it much either. Nor the rest of that album, I think it's pretty poor.
     
  15. el supernautico

    el supernautico A traveller of both, time and space

    Location:
    Germany
    Seventh Son Of A Seventh Son song by song:
    Moonchild:
    The acoustic intro (maybe a dismissed leftover from Bruce's ideas for SIT?) is quite fine, I like it much better than those obtrusive synthesizers that haven't aged well IMHO.
    Apart from that weird synthesizers, the starting of the proper song is really well done, it has an announcing quality, so to say, you know there's something coming!:righton:
    I like how the band goes more or less unisono into the verse, accentuating the lyrics "I am he, the born-less one!" and taking us full throttle into the song's apocalyptic realms.
    I wish the guitars would be more prominent in the mix, but that's the sound of the album - more on this later!
    The band plays wild throughout the song, and, at least to me, sounds less controlled than I'm accustomed to - but this fits the feeling of the song and its doomsday-message.
    The lyrics are a bit over the top for me, but that's more because of the source-material, I guess... ;)
    Really good opener as both a song and as stage-setter for the, IMHO, crashed concept-album: 9/10

    Infinite Dreams:

    This is a real favorite here in this thread, but I can't count me in as one of them - it's a good song, and it's also an outstanding song (because of its complex structure), but to me, there's too much in it to be handled appropriate. All the different segments segue rather well one into the other, and there also are repeated sections to enhance a corporate feeling, but somehow, I was never able to "grab" the song, it always "escapes" me.
    The intro is perfectly dreamy and a musical piece that I rank among my favorite top 10 Maiden moments. It's all fine for me until that "Revelations"-rip-off coming in at around 1.50. Don't get me wrong, it's not that I don't like it because it's a rip-off (unbelievably, I detected the extreme similarities only right now!o_O). It's just that the figure doesn't do it for me this time, and I also think that it's totally overplayed throughout the song.
    The instrumental section then again is flat-out fantastic and highly memorable: 8,5/10

    Can I Play With Madness:

    The pre-released single and the first thing I heard from the album - by luck, on an afternoon on the radio! I knew nothing about it back then, and so, as the announcer revealed the album's release date and its name, I instantly wrote both of it down to remember it - in lack of paper, on my left arm with a ballpoint!:D
    As for me, I like the song, and I'm really far from hating it. Still, I must admit that I think it's too much of a studio-song, as I don't know of any acceptable live version.
    Yes, it's commercial, but I never had problems with commercial songs as long as they're good - and "Can I Play With Madness" IS good!
    It has a great chorus, beautifully underlied with those melodies on guitar and synth, the verses are top-notch (one of the rare occasions where Bruce has some air to enhance or accentuate certain parts), and the solo is spot-on.
    The whole song is, IMHO, like "Wasted Years", arranged very tight, effective and poignant: 9/10

    The Evil That Men Do:

    To me, the sleeper on the album. I never gave it much attention at first, but through the years, it grew on me. I'm still not super-thrilled by it, but I really came to appreciate the song for its fluency given its (subtle) complexity. I prefer the song in a live situation, as the chorus works better with the audience participation.
    The way Bruce sings "and I will pray for you, some day I may return - don't you cry for my, beyond is where I learn" needs special notion, as he sings them emotionally laden like he never did before - great!!:righton:
    Lyrically, it's really hard to decypher... To me, it's about the loss of love and the loss of innocence itself, somehow... I did a bit of a research, but didn't find satisfying answers... some try to put it in the 7th Son concept (I don't), other interpretations go as far as raping and/or killing the beloved one (WHAT!?:eek:)... then, the title is derived from Shakespeare's "Julius Caesar"... I could well imagine that the boys simply went over the top with their demands for a surreal lyric. Any opinions out there?
    Well, nonetheless, a really good song with astounding interplay and a nice chorus: 8,5/10

    Seventh Son Of A Seventh Son:

    Okay, here it is, the overture to the story of the life and death of the seventh son of a seventh son. Hands down, the best song on the album, and one of Iron Maiden's best songs at all. It starts thunderous with an angelic choir and segues into a grim, majestic and slow gallop. It's genius how this sequence is played a bit longer to set the stage in the right mood before the vocals come in. Bruce delivers them in such an attention-grabbing way, it feels like you're about to hear the single most important thing in the world world - NOW I'm overwhelmed!:agree:
    It's a pitty the chorus is so weak, the song definitely deserves better. The instrumental section is otherworldly great, another prime example of Maiden painting pictures. It consumes more than half of the song's length and goes up and down all the time - you know, all those angels and demons battling for his soul! I won't go into superlatives now, it's a cornucopia (I love this word) of musical treasures, and that's it: 10/10

    The Prophecy:

    Dave Murray's contribution to the album. As often is the case with his compositions, "The Prophecy" has lots of intertwining musical segments at different velocities and avoids more conventional structures. I never realized that, but it's a bit samey to "Still Life" arrangement-wise. The vocal melody in the verses is mediocre to bad, I must say, and it only gets salvaged by its story-carrying lyrics. The instrumental ingredients again are all fantastic and fit the vein of superior mystic like a glove. A filler because it barely can't stand on his own, but an important and adding cornerstone of the 7th-Son story.
    Lyrically, it tells the story of his doomed village. Knowing what's coming, he tells the people about it in the hope to save them, but nobody believes him until the disaster actually happens. Before the population faces its end, it now accuses him of being guilty of it. When all is over, he's left, alone with his powers which he now sees as a curse, not a blessing...
    Oh yes, there's of course that elegant and beautiful middle age-sounding acoustic outro I could hear forever. It's sounding so resting in itself, gives me the feel of "that's what it is, my boy, and there's nothing you can do..." - perfect ending! 8/10

    The Clairvoyant:

    Hehe, now finally, here's a good SONG again after all that pretentious stuff!;)
    "The Clairvoyant" was an instant favorite of mine on the album, and one of the first things I wanted to play when I learned to play the bass.:D
    It features the same subtle complexity like "The Evil That Men Do", but is far more catchy. Listening to it closely, I must admit I find the lyrics quite unfitting. Indeed, I even think it's a shame how throwaway-like the words are crammed into the music:
    The music itself feels uptempo, somewhat elevating, like (in context) "I'm about to die, and I'm happy to do so - I know I'm getting to a much better place very soon!"
    But the lyrics don't reflect that positivity. They speak of fear and insecurity, of the inability to control the ever-growing power the seventh son has, and the (if consequent in itself) fatal prospect of his rebirth.
    I could imagine that they wrote the song with more of an idea what it should be about than having concrete lyrics, and then not having enough time to develop them to their full potential.
    But if you put all that aside, it's still great to sing along "there's a time to live, and a time to die!" when played live, so, for a quite good song: 9/10

    Only The Good Die Young:

    An untypical Maiden-closer, as it's short and to the point. It again has this subtle complexity beneath the surface like "The Evil That Men Do" and "The Clairvoyant". Bruce sounds convincing sinister here, like in "Moonchild", something he does quite good and fits him well, I think. While the solo isn't that spectacular, Steve's bass at around 2.00 is the clear highlight, so quick and hasty, where does he gets the ideas for such little tricky things? The song as a whole is okay, but most of the times I'm a bit fed-up when I reach this final chapter of SSOASS, I must say...
    Lyrically, it's about our protagonist on his deathbed. Is it? The writing is so cryptic again: it touches the concept with lines like "Mystery madman a victim of cruel charade", but could mostly also seen as universal thoughts about life and death.
    The title also puzzles me: I don't think it is he who says the words, but who ever would, if everybody feared or hated him?
    It could well be seen as a loose statement, or as a variation of "The Evil That Men Do"'s chorus...Hm. Let's just rate it: 8/10

    Overall album thoughts:
    The end of an era. Would the band have disbanded after SSOASS, it would have been a perfect swan-song of an album. I say so because SSOASS to me doesn't really walk new ground like its predecessors did. To me, it's more of a resuming and refining of already known qualities than expanding them, all delivered on a fairly even high level song-wise - like a swan-song should be, shouldn't it?;)
    Sonically, it has yet another "color" than the other Martin Birch-produced albums, but I won't join the praises for it. IMHO, it mostly sounds slick and streamlined. It misses the oomph! of POM, the clarity of PS, and the thick warmth of SIT. I'm using the word "missing" here because I feel it does so. Everything sounds more equally, almost flat somehow, with the drums and the vocals being in the forefront, though Nicko's drums sound very tamed here. The sound is still good, of course, and I think most people who admire it do so because it's a very balanced sound. But as for me, it sounds just too polished for my Maiden-tastes.
    As for the concept... well, as much as people interpret into the album's songs, here's what I think about it:
    None of side A fits the concept. I know of all that talk about "Moonchild" being about the conception, "Infinite Dreams" about the pregnancy and so on...
    Not for me. It's all much too abstract. The only songs I clearly see in the 7th Son story are "Seventh Son Of A Seventh Son", "The Prophecy" and "The Clairvoyant" - birth, life and death, so to say.
    The rest, and that means the whole A-side and also side B's last song, I see as conceptual - but not as part of the 7th-son-concept! I see them as abstract reflections about - yes- birth, life, death, love, sex, religion and madness.
    That 7th son-story itself is barely scratching the surface, I think, and I'm quite unsatisfied how it's been implemented. With more time, maybe there would be a much more gratifying Seventh Son Of A Seventh Son?
    Coming to its rtwork, I think it's great and one in a row with all the other classics - albeit I must admit that I prefer the others a tad more!
    With all that, I still rate the album quite high in the Maiden canon, and I'm also not willing to give it the last place within the 80ties albums. I like it, and especially the title track is worth of getting the whole album.

    Black Bart Blues:
    Is this an original riff? I don't know if I heard it elsewhere or if I simply remember it from that B-side, as I haven't heard the song for ages... Ah, it's a "little brother" from Maiden's take of "Rainbow's Gold".:p
    Well, it's the band having fun and not much else: 5/10

    Massacre:

    This version was the first time I heard the song, and I thought it was a really good - it made me buy a Thin Lizzy compilation!
    Meanwhile, I became a Lizzy-addict and say this cover is much too close to the original, as many pronunciations in the vocals and in the drums are exactly the same.
    It's a bit faster than Lizzy's version, and it somehow sounds like they're on autopilot: 6/10

    Charlot The Harlot '88 / Prowler '88:

    On paper, this looks interesting enough to give it a listen. After hearing it (back in 1988), it made me go for the originals. I consider these worse than unnecessary and a really bad idea, kind of hurting.
    Must be Steve's eternal complains about how bad the debut's production is. I won't repeat the Bruce vs. Paul debate, but the material from the Di'Anno era just works infinitely better with an aggressive approach, and that's simply not Bruce: 0/10
     
  16. el supernautico

    el supernautico A traveller of both, time and space

    Location:
    Germany
    Just read through your posts for SSOASS, and I won't hold back and do my duty by ranking the classic albums.:D
    Never did that before! As I think they're all rather equal in quality and/or importance, I will just be 100% subjective:

    1- Piece Of Mind: I always prefered Powersalve, but now I converted to POM as it simply is more varied. I also love the sound.
    2- Powerslave: Yep, of course it comes second then. Total, total killer album!
    3- Somewhere In Time: I'm always taken with its atmospere, ALWAYS!
    4- Iron Maiden: raw as can be, exciting energetic and Di'Anno's ticket to eternity.
    5- The Number Of The Beast: full of classics, but more a collection of songs than an album like my top three
    6- Seventh Son Of A Seventh Son: No matter how good it is, I simply like the other ones better.
    7- Killers: Never got into it. Many glimpses of genius, but too patchy and carelessly.

    The first three places are quite interchangeable, they're my "holy trinity" of Iron Maiden - but after these, I'll stand by my votes.
     
  17. SammyJoe

    SammyJoe Up The Irons!

    Location:
    Finland
    [​IMG]
    Happy 13th Anniversary to the "Death On The Road" live-album (on CD and LP), which was originally released on august 29, 2005. The dvd-version of the concert was released a bit later on February 6, 2006.
    The album was recorded at Westfalenhalle in Dortmund, Germany on 24th of November 2003 and so this album/video important document of their 2003-2004 "Dance Of Death World Tour (2003-2004).
    Death on the Road - Wikipedia
    Anyways, it's been a bit quiet on this front, but Im so looking forward to posting some stuff or perhaps refreshing some memories or writing further little review for some song.
    I might post some of these little anniversaries here now and then..if I remember something I will post and add it here.

    Up The Irons!
     
  18. SammyJoe

    SammyJoe Up The Irons!

    Location:
    Finland
    This was actually yesterday and of course I forgot to add it then, so here it goes anyways:
    [​IMG]
    Happy 26th Anniversary to the "Wasting Love"-single, which was originally released on september 1, 1992.
    The single was only released officially in the Netherlands and there's few different editions of the radio-promos aswell.
    It's the third single from the album "Fear Of The Dark" and what's sort of interesting and new, is that it's actually ballad.
    And also, as it says on the wikipedia-page, it's actually third release so far without the band mascot Eddie on the cover.
     
    MusicMatt likes this.
  19. SammyJoe

    SammyJoe Up The Irons!

    Location:
    Finland
    Also this was yesterday:
    [​IMG]
    Happy 15th Anniversary to the "Widest Dreams"-single, which was originally released on september 1, 2003.
    The uplifting, rocking song was the first single from the album (Dance Of Death) and also it opens the album.
     
    MusicMatt likes this.
  20. SammyJoe

    SammyJoe Up The Irons!

    Location:
    Finland
    This is actually today:
    [​IMG]
    Happy 22nd Anniversary to the "Virus"-single which was originally released on semtember 2, 1996.
    This was non-album single, promoting Maiden's (then) new compilation "Best Of The Beast" and this was the only new song on it.
    Some of the cd-single/maxis contained different artwork but this one will do fine for this release and I won't be posting other covers.
     
    serj and MusicMatt like this.
  21. SammyJoe

    SammyJoe Up The Irons!

    Location:
    Finland
    [​IMG]
    Happy 34th Anniversary to the "Powerslave"-album, which was originally released on september 3rd, 1984. Wow, time goes so fast when you think about it.
    Really important album and this is one of their best albums, absolute masterpiece and I surely love it. It's one of the albums that I have played most through the years.
    Also worth noting that the album cover is among their finest, it's really great on the vinyl as you can see how detailed it really is (I have the original textured sleeve in my collections).
    Anyways, I might post couple of these important dates, anniversaries or other important events but Im not gonna keep checking these daily.
    Once in a while if I remember some important one, I will post here it here if needed.
    Powerslave - Wikipedia
    Powerslave - Iron Maiden
    Powerslave – Commentary
     
  22. SammyJoe

    SammyJoe Up The Irons!

    Location:
    Finland
    [​IMG]
    Happy 3rd Anniversary to the latest studio-album from Maiden, "The Book Of Souls" which was released on september 4th, 2015.
    Great album, I still love and dig it and for sure, I have to say that I wouldn't change a thing here, it's great journey all the way.
    I will be waiting and looking forward of what the next album will be and when it will be out. Bruce's solo-album aswell should be coming out sometime.
    Atleast from those, any little bit of news and bits will be exciting and interesting to find out. Looking forward to hearing any news..
    Now, in the later part of their career, Im so grateful that we still have Maiden here with us, the day when they will call it quits will be truly sad one..
    Hope that there's still atleast few albums and tours left before that happens, though.
    The Book of Souls - Wikipedia
    The Book of Souls - Iron Maiden
     
    Almost Simon and MusicMatt like this.
  23. SammyJoe

    SammyJoe Up The Irons!

    Location:
    Finland
    This is one day too early (for good reason, see it explained):
    [​IMG]
    Happy 32nd Anniversary to the "Wasted Years"-single, which was originally released on september 6th, 1986. First single from the album "Somewhere In Time".
    Absolutely brilliant, catchy and uplifting little anthem and it's one of my alltime favorites and I've always loved this one, no doubt about that.
    Im posting this today, as I got so early wake up tomorrow morning, because Im going to see Bruce's book tour. Looking forward to his stories, and perhaps he will read and answer my question.
    Wasted Years - Wikipedia
     
    Last edited: Sep 5, 2018
    MusicMatt and Soundhead like this.
  24. SammyJoe

    SammyJoe Up The Irons!

    Location:
    Finland
    This is one of my alltime favorites, too hilarious:
    Iron Maiden - Wasted Years [live on P.I.T (German TV Show) August 1986]
     
  25. MusicMatt

    MusicMatt Quality over Quantity

    Location:
    California, U.S.A.
    Best music video of all time!
     
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