As The Crow Flies 06.12.09: I Love Iron Maiden

Posted by Chris Crowing on 06.12.2009

As part of this month's Artist of the Month, Chris Crowing discusses his love for Britain's Biggest Metal Band...



Through the Fire and the Flames

@Hdj360

Re: Between the Buried and Me - I keep hearing good things, yet haven't had time to listen to much more than a few songs. The phrase 'progressive metalcore' has been used to describe them, which interests me, although I suspect it to be more than a little wide of the mark.

@AndrewCrow

Yet again, it's all perspective and perhaps me not stating my case properly but...

I accept your issue with my definition of 'extreme metal' - I did clear my definition with a few friends who thought it reasonable, but a tighter definition would doubtless have produced a tighter and less controversial column.

While Sabbath, and a few other acts shouldn't ever have been talked about in those terms (Nightwish, Type O Negative), I still think Slipknot are worth talking about in terms of 'extremity' - they are heavy in both fast and slow ways, quite controversial (they ain't Deicide - but many more people have heard of them) and that should suffice, IMHO - I don't regard them as nu-metal (any more), but they aren't really DM, or anything else either. There may be a column in that...

I will agree that all the bands you mentioned did a lot of work opening up extreme metal to the masses, especially Slayer, but none of them ever kicked the accursed Westlife off the #1 slot in the UK with an album as heavy as Iowa - and I freely attribute the significant (give or take TENFOLD) increase in the number of kids younger than me who are overtly metalheads - and wearing Mayhem and Obituary t-shirts, as opposed to Killswitch or other more commercial fare's branding - on the breakout success of Slipknot in particular and the nu-metal wave in general. In my high school, there was ONE other guy who liked Pantera and Fear Factory - nowadays music that heavy is almost mainstream and there are dozens of kids into the genuine darkness - that started at the turn of the decade, you do the math. Yes, there is a future column in that theory... Of course, that phenomenon may apply more to my particular corner of the world – remember Britain was NOT a happy hunting ground for heaviness in the 90s, I understand that the ‘underground' has always been far healthier in the States.

Surely being the primogenitor for MDM, is a worthy enough reason for Carcass' inclusion? Especially given MDM fused with Hardcore is (apparently) responsible for metalcore, which seems to form the bulk of 'mainstream' metal in these times.

I would be prone to agree that BM tends to be horrible, but bands who can make a glorious darkness out of that negativity deserve some real kudos. I would agree that a socio-psychological based column on the mindset of BM, especially the Black Circle would make an intriguing write up (and hopefully read) - I'll keep it in mind for the future.

That said, I DO like the 'theatrical' BM thing, like Dimmu and Cradle, but more for amusement and atmosphere than genuine (snobby) musical gratification. Opeth & Emperor > Dimmu and Cradle every single time.

I never said I DON'T consider Sepultura as extreme - it's more that they are filed in my personal experience as groove metal next to Pantera, as that's how they were sold to me as a child, largely based on Roots and the way Soulfly ended up sounding. It's clear that originally they were heavy as hell, innovative DM - and one of the most honestly angry bands I've ever heard - yet the divisions you put in your head at 16 tend to stick with you...

Lastly, I will apologise for my mildly hysterical response regarding my wide musical taste, compared to a narrow, jaded 'all metal' one. I have had bad experiences for years with close minded people who's loyalty is to any number of genres, telling me I know nothing because I'm not as into BM, DM, hip-hop, folk, metalcore, punk, indie or whatever as they are. It is a learned knee jerk response which I really need to get amputated.

Thriller is indeed a far more enjoyable listen than most grind records, and Muse are flat out better than almost everybody. I'll apologise for not living up to your expectations, and seeing as you've given me the germ of an idea for a few future columns, I shall aim to do better.

Oh, and I don't smoke, never have, never will - it's a filthy habit. I did however drink a skinful of cold Czech lager over the weekend, I hope that suffices.

@EV

Firstly, thank you for your numerous recommendations.

As I said above, I really hate the 'not metal enough' attitude and a part of my idealistic knee jerk response, is my continuing vitriolic hatred who espouse such exclusive musical (or indeed social, political or religious) attitudes. There is a HUGE difference between passion and an arrogant, exclusive hate which is in no way excusable.

I didn't attack BM - I said that it is chock full of atonal noise, masquerading as fine art, which tends to be written by and listened to with ardour by bitter, arrogant, bigoted people. There are also bands who lift the nihilism to the point of deeply affecting beauty and wonder. Like most things, the genre is not at fault but the jaded way in which it is misused by it's less talented and/or low horizoned adherents.

I love folksy BM as a rule, although I know little in the genre - again thank you for your recommendations.

As I said above, I think Dimmu are fun, more like a movie soundtrack than a band I could love just to listen to. The earlier, heavier work is indeed more impressive, but I always think you need a little pantomime, so you can have fine acting.

The Mayhem interviews were from a BM documentary one of my friends had on his PC - Mayhem are sitting looking like a bunch of hobos declaring themselves to be 'the elite' and the song played at the time is basically static, without the melody and warmth to be found in common white noise. In the same documentary the guys from Emperor, Dimmu and Satyricon come across as a lot more urbane and interesting. I think it's quite old (late 90s) so it is probably pre-reunification Mayhem (post Euronymous though.)

@ EVERYONE

I did say in both columns that I wasn't nearly as familiar with extreme metal as I should be, and the columns were in no way meant to be definitive. Rather, I was tentatively asking for advice, some of which I have now marvellously received.

I can conclude from your responses, and my own sense of failure that I need to research a lot more before tackling this particular subject again, although AndrewCrow has seeded a few neat ideas in my head … with that line of thought, if there is any topic you think I should write about, then let me know.

It is quite a humbling experience, to discover that your musical taste is not as comprehensive as you once thought, and there are whole new vistas to explore in greater depth. Actually, it's a great feeling, there is so much more to listen to....

IMPORTANT ANNOUNCEMENT

I'll be revamping As The Crow Flies for next week, and I'd love to hear any questions folks would like my opinions on, (even if it's only to see me rant), as well as suggestions for new columns etc. I like to think I write quite a reactive, ‘audience participation' column, so if you want to play, I urge you to give me a shout.

Anyway, enough of that and into this week's far more positive and confident column..

--- --- --- --- --- --- --- --- --- ---
This week...I Love Iron Maiden

SCREAM FOR ME 411!

I had to do that - I do not apologise.

I won't claim to remember loving "Wrathchild" or whatever as a child, or even "Number of the Beast" - I wouldn't even have been out of kindergarten when Bruce replaced Dianne and I certainly wasn't listening to heavy metal in the mid 80s - I was more into Button Moon, Thundercats and Transformers. Oh, maybe I WAS listening to some heavy metal, disguised behind commercial cartoons - that's a line of thought that bears thinking about in the future...

Anyway, my first real memory of Iron Maiden comes when I was in my last year (or two) of Primary School, when I distinctly remember "Bring Your Daughter To The Slaughter" going to no.1 and me LOVING IT.



I remember being told off by my teacher for singing the song in school - apparently happily singing along to lyrics about slaughter, lipstick and leather is deeply offensive to some people. How amusing.

I haven't changed all that much...

However much I liked "Bring Your Daughter…" it was still quite a few years before I really caught the metal bug, and Maiden managed to largely elude my attention until into the noughties as various, more fashionable bands caught and held my attention.

Well, I remember seeing the video for "The Angel & the Gambler" on the awesome ITV Chart Show and being mildly interested, reading reviews of them playing live and the crowd shouting ‘BRUCE!' at the ill fated Blaze Bayley while not fully understanding why and later reading that Bruce & Adrian Smith had been rehired as the Brave New World project was announced.



Of course, for all that I was more than aware of Iron Maiden, especially the iconic tunes like "Number of the Beast" and "Run to the Hills." I'm sure every kid who is into rock music (let alone metal) gets acquainted with those songs in short order, especially once they start going out to clubs.

It took longer than you might imagine for me to turn my attention to Maiden, given my well established taste for Metallica and all forms of complex guitar wizardry with added anthemic choruses – you'd think that Maiden would be one of the first bands on my list of bands to check out, but it was probably about five years after I started systematically seeking out and consuming new music like a ravening homogenizing swarm that I decided that the Irons merited some serious attention.

I guess part of the reason for this was that I had developed a bizarre prejudice against British bands as I started developing my alternative musical taste. Having once been a huge Oasis fan, then discovering Metallica, Pantera, Fear Factory and a host of other acts from overseas, I looked at a British scene where indie prevailed and in that particularly hypocritical and arrogant way that only a teenager can, I decided that Britain just couldn't do metal.

It takes an impassioned 16 year old to decide that Iron Maiden, Black Sabbath and Judas Priest were without merit, before giving them a proper look, based purely on their nationality. Bizarrely, I remained a huge fan of much softer British bands like Idlewild, Symposium and My Vitriol at the same time. Sometimes I look back on my contradictory teenage prejudices and wonder what the hell I was thinking!

Eventually, the sheer weight of evidence, most notably reading how much Metallica were into the NWOBHM in their infancy, convinced me to look into Maiden. Various ‘best of' compilations, including Edward the Great and Best of the Beast were swiftly purchased and consumed in short order, just as the promotional machine for Dance of Death started to wind up…

At this point you may be saying, ‘so what' but all this is effectively to explain why I don't feel I'm all that qualified to say which Maiden album is the best, and as far as I'm concerned, their output prior to Brave New World might as well have been released as one, epic, eleven disk album, as that's effectively how I consumed it.

That said, I'll break my Maiden love into a few parts, based on the most obvious divisions in the band's history…

Stage One – Paul

I'll offend some people right at the start, and say that I'm not the biggest fan of Paul Di'Anno, and virtually every song I love from this period sounds better (to me) with Bruce singing it. However, I'm well aware that is a disservice to Paul, who fronted Maiden through the most difficult part of any band's career and that is the time when you are fixing to get signed, and then fighting not to get dropped, not to mention that just about any singer would come in second to Bruce.

Of course, many of Maiden's true classics date from this period, including my favourite Maiden tune, "the Phantom of the Opera"…



Maiden have written better, more complex or more memorable songs since, but this one just exemplifies everything that's good about Maiden, and metal in general and never fails to make me smile. From the same period, songs like "Iron Maiden" and "Wrathchild" have a wonderfully direct, almost punky feel married to Harris & Murray's already evident progressive tendencies which is exactly what put Maiden at the forefront of their generation of metal.



Stage Two – Bruce

So it turned out that Paul couldn't cope with the increasing rigours of Maiden's material or schedule, onstage or off and Maiden had to go looking for a new singer. That is a risky proposition for any band, but Maiden are not just ‘any band.' Of course, the whole world knows they hit a home run, and stealing Bruce Dickinson from Samson is possibly one of the pivotal moments in heavy metal history. The first album to result from the that transfer was (of course) the seminal Number of the Beast which managed to send Maiden to the top of the charts (I think "Run to the Hills" is now a THREE time no.1 single in the UK) as well as seriously annoying the moral majority. Job done!



For me, that album provided three of Maiden's signature tracks, the ever popular (to the point of ubiquity) "Number of the Beast", "Run to the Hills" and the awesomely epic "Hallowed Be Thy Name." Not bad, eh?



Not happy with this signal triumph, Maiden followed up with a series of albums with little more than a year between them, with Powerslave, Piece of Mind, Somewhere In Time. Seventh Son of a Seventh Son and the expansive, progressively more ornate and widespread world tours carrying the Maiden word to the masses around the world and cementing the band as one of the biggest commercial concerns in the rock world.



However, saying Maiden were a commercial success doesn't mean they abandoned their progressive or metal tendencies, with awesome tracks like "Rime of the Ancient Mariner" and "the Trooper" showing that Maiden still had teeth and ambition.

It is a personal opinion that Maiden's later albums with Bruce, "Fear of the Dark" and "No Prayer for the Dying" were less impressive than the first five, as Bruce became increasingly erratic and metal as a whole suffered under scene overkill and was then apparently ‘killed off' by grunge – but then again, a below par Maiden album is still better than the best efforts of 90% of bands…

While my true adoration for Maiden will always be based on their more progressive moments, I will always have an almost guilty affection for their more commercial moments, with the likes of the mass sing-along road anthem "Wasted Years" and "Can I Play With Madness" always bringing a smile to my face…



…in fact, that song always makes me think of a young child knocking on his neighbours door and asking ‘can Madness come out to play?' Is it dumb that amuses me?

Stage Three – Blaze

So after a few years of deteriorating live performances and increasing estrangement from the rest of the band, Bruce and Maiden parted ways. His successor was plucked from the ruins of once-promising British rockers Wolfsbane, the awesomely monikered Blaze Bayley. In all fairness, Blaze was never expected to match Bruce vocally – short of hiring Ronnie James Dio, Maiden could scarcely have hoped to find a front-man capable of that particular feat.

Instead, in a time when metal was under siege from all sides, distinctly unfashionable, even as it had been during the bands genesis they needed someone who was more a warrior for the cause rather than another fly-by-night who was looking at possible mainstream media careers. As such Blaze was clearly picked for his devotion to the cause of heavy metal, as opposed to Bruce's evident lack of fervour for the cause.

Don't worry, I'm not making excuses and it is unquestionable that Maiden's creativity took a bit of a dive in this period – although I would say the slump started after Seventh Son… and as such cannot be fully blamed on poor maligned Blaze, being more a combination of creative burn out, stress in various band members private live's (most notably Steve Harris) and the fact that it was a hard time for metal in general, especially in the UK.

That said, despite what you may have heard, these albums are not as bad as they are made out to be – they are still clearly Iron Maiden albums, and I would say that much of their bad press comes from their being distinctly NOT fashionable – Maiden had the conviction to not change their progressive heavy metal into something more akin to the groove based tunes which dominated the alternative charts in the 90s. That kind of commitment must be commended, especially when you consider that many of the bands who supposedly supplanted them (Pantera, Soundgarden or Korn for example, representing groove metal, grunge and nu-metal respectively) are either no more or in severely reduced circumstances, while Maiden are well into a second Golden Age.

Of course, I can't claim that the Blaze albums are classics, and for all their worth they certainly lack the punch and/or epic scale of Maiden's achievements before or since - and Virtual XI may possess some of the worst cover art concepts in Maiden's history.

That said, "Man on the Edge" and "the Clansman" are damned fine songs, and very nearly make up for "the Angel & the Gambler" being more than a bit overblown and crap by comparison with Maiden's best moments.



Stage Four – Bruce: the Return

Of course, Maiden's resurgence came when Bruce and Adrian returned to the fold, at the same time reuniting the band with their prodigal and beloved front man and adding Adrian's guitar skills to the incumbent guitar duo of Dave Murray and Janick Gers to form arguably the greatest collection of six string talent ever assembled in one band.

The album that resulted, Brave New World was hailed as a triumph and a real return to form. Of course, much of this can be taken as hyperbole due to Dickinson's return as well as the fact that metal was beginning to receiving much better press at the turn of the century.



How does a guy that age have so much energy?

The reinvigorated line-up REALLY hit their stride for me on the next album, the awesome Dance of Death. I will admit this affection may be because it's the first time I actually anticipated a Maiden record, and could be considered a fan at the time of release - it gives me a whole new respect for the veterans who remember buying the debut record or Killers when I was still in nappies and eating Rusks.

Lead single "Wildest Dreams" didn't strike me as anything particularly special, for all it's pleasant drive and momentum. However, second single "Rainmaker" quickly became one of my favourite tunes, with it's supremely catchy riff, and infectious chorus.



Further inspection into the album showed some real classics, with the bombastic "No More Lies" and the epic "Paschendale" standing out in particular. The semi-acoustic "Journeyman" is also notable for being quite a departure from Maiden's previously electric-only mandate.

Most recent studio album, A Matter of Life and Death is arguably Maiden's most progressive, 'epic' record, with an even higher proportion of songs than usual clocking in at over seven minutes. Single, the relatively mellow "The Reincarnation of Benjamin Breeg" really impressed me, showing that Maiden continue to evolve their sound, displaying restraint and an ever more progressive tendency while retaining their characteristic momentum.



That is easily my most-listened-to song right now.

Throw all that I've said in with a clutch of classic live offerings (Live After Death, Maiden England, Rock in Rio, Death on the Road to name but a few) some of the most effective (and naturally developed) branding that any band has ever had - Eddie the 'Ead was a part of the early Maiden stage shows, gradually growing a body, a fearsome personality and becoming the iconic symbol of the band just as much as Murray's guitar, Bruce's voice or Steve Harris' bass. Note that Maiden use the same logo now as they did back in the day - pure class does not need a rebranding! Maiden have done it all, better than the rest and more than a few times...

Up The Irons

It may seem strange to many metal fans in this day in age that Iron Maiden were genuinely different, edgy and their trademark sound was considered pretty heavy when they first came out. In these days with bands as unrelentingly heavy as Lamb of God are practically mainstream, Maiden are certainly not among the heaviest of the heavy in these times - in truth they never were, as the likes of Venom and even Judas Priest were heavier back at the time they started and the burgeoning thrash and death metal waves quickly took speed and heaviness to whole new places.

However, Maiden's glory was never based on sheer speed, or heaviness, but on being more ambitious, about writing bigger, better songs based on the intense musicality of core members Harris & Murray. The addition of a superior vocalist (sorry Di'Anno fans) in Dickinson and a long term guitarist in Adrian Smith was just the icing on the cake.

While I never really appreciated Iron Maiden as a teenager, as I was obsessed with groove and nu-metal when I first became aware of the louder side of life, as soon as I did get round to giving them fair time, I fell in love with the musical arrangements which appealed to the heavy, poppy AND progressive sides of my taste - that takes some doing!

Maiden are a band who blow me away with the individual musicality of each member, while (almost) always locking together to become a tight musical monster which is far more than the sum of it's parts - which is why the four distinct line-up variations have all produced some storming tracks. For the record, I like the current, three-guitar line-up, with Bruce on vocals to be the best and definitive - no offence to the good work of Smith or Gers as second guitarist back in the day, or Clive Burr's contribution on drums, or even Blaze or Paul's vocal efforts.

At the end of the day, the greatest indicator of Iron Maiden's awesome contribution to metal, hard rock and music in general can be viewed in their longevity.

From formation in 1975, through first recording the Soundhouse Tapes in 1979 and their eponymous first album in 1980, Iron Maiden have been at (or very near) to the top of the rock tree for over (or almost, depending on your point of view) THIRTY YEARS. That's longer than this writer has been alive.

Of course acts like the Rolling Stones, Black Sabbath and Judas Priest have persisted for longer, but Maiden alone out of this company have maintained a stance as current recording artists, rather than devolving into basically glorified tribute acts to themselves.

While Maiden have endured less succesful periods - all bands with any length of tenure do - but they have never all but disappeared in the way Sabbath or Priest did.

There has never been an 'Iron Maiden Reunion' tour - much younger bands (most notably Anthrax) have fallen into this trap which IMHO indicates you admit your creative past is behind you - how sad that must be.

At the same time, all bands of a certain vintage always have a problem in getting their older fans to care about new material - Maiden now cover this by touring twice per album release, with one tour for the new record, with a high percentage of new songs and one tour based on a 'greatest hits' premise, or like the recent 'Somewhere Back in Time' jaunt, celebrating a particular period of the band's heritage.

Many view this 'double touring' as well as Maiden's undoubted commercial presence (few bands have sold more t-shirts, lunchboxes etc.) and especially Maiden's many 'Greatest Hits' compilations as a sign of greedy capitalist overkill.

I disagree - I view Maiden's MO as nothing less than sensible. If fans only want to listen to their older songs, then there will be a tour for that, and if fans want to experience the current Maiden experience, then there will be a tour for that - that both iterations of the Maiden live experience continue to sell out large venues across the world is surely a sign of this approaches success.

Likewise with the many 'greatest hits' compilations (of which I own two) - Maiden never said their diehard fans have to buy everything they release, and many of the greatest hits compilations are clearly aimed at snaring younger fans (like myself - and now people TEN YEARS my junior) - if you are a hardcore fan and bought Powerslave back in the day, I'm sure Mr Harris will forgive you for not buying Edward the Great - however it is only sensible for an impressionable young fan, who has heard of the merits of Iron Maiden to buy a greatest hits compilation - if he likes it, he can then go on to buy the various individual albums, rather than spending a small fortune on purchasing FOURTEEN studio albums at the start of his experience.

Both of these examples of 'commercialism' are IMHO a testament to the management genius of Rod Smallwood, without whom Maiden would never have had the success - musically and otherwise - that they did have. and it would be pithy to not mention him in a column of this nature.

To close, while not initially that influential on me, I have as a grown music fan fallen head over heels in love with Iron Maiden in all their guises.

They are, almost unquestionably one of the most successful and influential metal bands of all time - as shown by the number of bands who cover them - I've heard Coheed & Cambria, Machine Head, Bullet for my Valentine, Trivium and a host of other 'modern' bands attempt Maiden covers as well as their evident influence on everyone from Metallica to Mastodon.

Maiden are an example of all that is good in music. Awesome musicians and brilliant songwriters willing to do their best for the BAND and the SONG rather than excessive prima-donna antics who are supremely hard working individuals who refuse to compromise their musical vision for the fashion of the time*, allied to a keen and evolving sense for the importance of imagery.

* from rejecting punk when it was the easier course in the late 70s, from refusing to ape Def Leppard or Whitesnake in the 80s, to steering clear of grunge and nu-metal, and at the end of the day coming up more successful, relevant and interesting than most of the bands who were supposed to replace them.

It is for all these reasons (as well as that indefinable 'just because') that I love Iron Maiden, and even if you find them cheesy, overblown, too loud or too soft (it takes all sorts), even if you sneer at Bruce's fencing or writing (Lord Iffy Boatrace? he must be taking the piss, right?), Steve Harris' control freakery or supposed nepoitism you should appreciate their hard work, their legacy and their impact on the musical world.

Very few rock (let alone narrowing that definition to metal) bands have made the sustained impact, or had as much influence as Iron Maiden, end of story.

Iron Maiden rule, and the world is a far better place with them having been in it. Join with me in exclaiming 'Up the Irons!' or my mate Eddie will hunt you down...

Slainte,
Chris Crowing

P.S.

This was fun to do, you will doubtless disagree, but I enjoyed thinking about it - this gig would be about five hours long if Bruce keeps changing his outfits...

Chris Crowing's Dream Iron Maiden Gig

Venue: Upton Park, London (West Ham United's home ground)
Opening Act: Saxon
Main Support: Bullet For My Valentine

- Iron Maiden
- Rainmaker
- 2 Minutes 2 Midnight
- the Longest Day
- the Wicker Man
- Wrathchild
- Prowler
- the Rime of the Ancient Mariner
- Flight of Icarus
- Hallowed Be Thy Name
- the Clasman
- Paschendale
- the Evil That Men Do
- Bring Your Daughter to the Slaughter
- Wasted Years
- No More Lies
- Phantom of the Opera

--- intermission ---

- Fear of the Dark
- Run to the Hills
- the Reincarnation of Benjamin Breeg
- the Trooper
- Number of the Beast

- and of course a mountain of pyro and a forty foot tall, fire breathing Eddie walking about the touchline, with Brice occasionally capering about his shoulders - a boy can dream!


Once again, an IMPORTANT(ish) ANNOUNCEMENT…

I'll be revamping As The Crow Flies for next week, and I'd love to hear any questions folks would like my opinions on, suggestions for new columns etc. I like to think I write quite a reactive, ‘audience participation' column, so if you want to play, I urge you to give me a shout.

Contact Chris Crowing on MySpace and Twitter.

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