Iron Maiden ~ England

A Matter Of Life And Death (2006)

As mentioned on The Final Frontier review, I feel like I'm hearing all of these "comeback" albums for the first time. Which is a good thing honestly. I won't rewrite the reviews below, as so many of my thoughts surrounding Iron Maiden have already been captured. More will come out from their 80s works (the ones I have yet to review) which are very special to me. These later works are all objective listens, and so I'll stick to that. Actually - one recent comment. A dear friend, who I grew up with and turned onto Maiden when we were in high school (1980), asked me recently if I was interested in seeing them play live. Nope, I said immediately. Want to preserve the memories and the time / place aspect. Don't need to see them now. No relevancy to my life as it stands today. Different era, different crowd. He agreed. But they were so important to us teens / early 20s back in the 80s. And I continue to treasure those moments.

The album opener is a somewhat perfunctory Iron Maiden track, patented galloping guitars, simplistic, and radio friendly. Seems they wanted to get that out of the way first, so they could get down to serious business on track 2). The first six songs here vacillate between their proggy ambitions and compact rocker stances. And honestly, some do go on longer than they should. The last four tracks, totalling about 34 minutes, shed their self-inflicted inhibitions, and go all in for their prog rock tendencies. We hear this often with Maiden in their post reunion efforts, and it's what makes all these albums so great. Hard to believe I'm reading reviews that the band were "coasting" during this era. One presumes they are listening to the whole album, not just the beginning. These guys are extending their abilities as far as they can, something they continued to do through recent times. Don't listen to a single naysayer. They're not plugged in properly.

A Matter Of Life And Death is yet another essential Iron Maiden album in a library full of them. These guys will be in future history books. Beyond music.

Ownership: 2006 EMI Argentina (CD). Booklet with lyrics, photos, and recording details. Acquired in 2011.

11/5/11; 9/1/15; 8/5/26 (review)
 

The Final Frontier (2010)

Already back into the Iron Maiden collection, very soon after documenting No Prayer for the Dying. Random but timely selection. As noted below, I haven't documented any of the Dickinson reunion albums save their latest Senjutsu. Looking at my database, I didn't get back into Iron Maiden until 2011. So I took a 21 year hiatus from the band after No Prayer. I then proceeded to buy all of their albums (on CD) from Brave New World through their latest at the time, which is the album I'm featuring here. To be honest, I feel like I'm hearing it for the first time, as little registered on initial impact (and a second listen four years later), other than I thoroughly enjoyed it.

The Final Frontier has a very unique opening. Mostly martial and synthesizer atmospheric, very un-Iron Maiden like until about midway through the track. I enjoy the deviation, if maybe a bit too long. Track 2 reintroduces us to the Maiden we all know and love. Galloping guitars (all three of them: Murray, Smith, and Gers) with Dickinson's piercing vocals. Harris and McBrain are always busy, moving the proceedings along at a brisk pace. 

On The Final Frontier, Iron Maiden uses the first five tracks to play to their "compact" side, and the later five to indulge their proggy tendencies. As mentioned on the Senjutsu review, I love that Maiden continues to push the envelope as they age. If you want to hear Iron Maiden in their creative mode, you could program out tracks 2 through 5, and experience a full album in that style.

Other than "The Iron Maiden sound" what else can I listen for? Memorable tracks, like the ones I recall almost verbatim from the 80s. As I listen carefully, I think it's the entire second half (to pick one, I'd go for 'Starblind'). Thinking through this further, if I heard Powerslave on a quick run through, I'd have little to recommend. But we played that album so much then, we knew every note back and forth. If I did similar here with The Final Frontier, I'd probably hold it at the same level. I suspect that many dyed-in-the-wool 80s Maiden fans (like myself) would come to a similar conclusion. But we don't listen to music that way anymore. Too many choices, not enough time. I'm enjoying my extended time with albums like The Final Frontier. Going back to my roots.

Ownership: 2010 UMe (CD). Booklet with lyrics, recording details, and "Eddie" artwork. Acquired in 2011.

7/25/11; 10/2/15; 10/20/25 (review)
 

No Prayer for the Dying (1990)

By 1990 my interest in Iron Maiden had waned. As I continued to burrow into the progressive rock underground, my only interest in metal was coming from the tech thrash side. Iron Maiden was from the old NWOBHM school, which had worn thin by then. I did like that Maiden were experimenting with prog more and more, yet it wasn't enough compared to what I was discovering from the 1970s European scene. And they weren't heavy enough either to draw my attention to them from a metal perspective. Despite all of this, I did go ahead and buy this LP not long after release. It would prove to be the only original Iron Maiden I let go out of the collection. And that was probably 30 years ago (1995). I also stopped here with the band, and ultimately dug back in on their post 2000 reunion albums some 21 years later. Much of which I still need to document.

It also seemed that Iron Maiden's interest in Iron Maiden had begun to wane by 1990. Second guitarist Adrian Smith had bolted and was replaced by Janick Gers. They seemed to be out of gas, and that their spectacular run of 1980s albums were over. Today, No Prayer for the Dying is by far the lowest rated Maiden album (on RYM at least) with Bruce Dickinson (or Paul Di'Anno) as vocalist. Though absurdly Senjutsu is not too much higher. See below for my thoughts under that LP's entry. In any case, a local buddy who gives me great deals on albums, had a newer reissue on hand. It was at a retail price, but I felt I owed him a bit, so why not try it again? If I don't like it, I can resell it for the same price and make my money back. It's been 30 years (at least) since I last heard the album. Is it really that bad? Much has changed in Genius Hans' world since 1990, when I was all of 25. Let's go in with an objective, other-side-of-the-mountain viewpoint.

As side 1 rolls on, it's easy to see why I had dismissed the album from the onset. The band had purposely moved back to a "simpler composition" style, never a good sign. That's ironic in that Maiden in its current form is going in the exact opposite direction, adding more complexity as they get older. Despite being more basic, their sound was also more lightweight. It's still metal, but on the border with hard rock. Seems the band were hedging their bet, and yet it was all the wrong choices for the times. Iron Maiden were trailblazers, the leading light, and here they aren't progressive, heavy, energetic, or particularly memorable. On this latter front, it's hard to discern the differences from cut to cut. The exception being the closer 'Mother Russia', which I recall being the only track I really liked initially.

To my initial question - is it really so bad? Oh heavens no. My rating was entirely too low, based on the emotional state of the time. Somewhere along the line I went from "it's OK" to "it blows". That is certainly not the case. The group sounds on point actually, and the newly paired guitarists are playing some nice unison lines. Harris and McBrain are also in top form from a rhythmic perspective. Only Dickinson doesn't sound right, primarily because he was asked to reign in his air-raid siren voice for something more direct and raspy. Bad decision especially considering that's one of the defining characteristics of the Iron Maiden sound, post Di'Anno. In conclusion, I am now a full 1.5 stars ahead of where I stood years ago. I do think it's a good album, not a toss away effort.

Even with the apologist stance, I would still rate this as the lowest of the Iron Maiden albums I've heard. I did miss out entirely on the rest of the 1990 decade, and I know the Bayley albums aren't held in high esteem. Nonetheless I have since picked up two of the three I was missing from that time period (still haven't heard them), and I'm sure I'll find the other. See the bottom of this post for what I still need to review.

Ownership: 2017 Sanctuary (LP). Lyric inner bag. Acquired in 2025. 

First copy: 1990 Epic (LP). Acquired in 1990.

1990; 1995; 9/27/25 (review)

Somewhere In Time (1986)

As noted often here, I was a big fan of Iron Maiden real time, so all of their albums from the 80s have a special place in my heart. I bought this LP when it came out in my senior year of college, and I saw them live in January of '87 in Lubbock. I found the ticket stub the other day. Considering that Powerslave was burned deep into my DNA, any album coming after that would be tough to absorb. But Somewhere In Time is a great follow up. RYM has it as their 4th highest rated behind their two recognized masterpieces: Powerslave and Number of the Beast. Seventh Son gets the 3rd spot, but I would beg to differ. I'd probably place the debut and Piece of Mind higher myself, but we're splitting hairs at this point. Generally I read that Somewhere In Time is where they embraced synthesizers. I suppose so... but Iron Maiden were always proggers at heart, something I find myself repeating often in these pages. Somewhere In Time is the first Maiden album that I didn't listen to incessantly upon release, as I was very heavy into the 70s European underground by this point in my life. Which in a way is good, as I can still experience musical discoveries here. The Sanctuary CD offers bonus videos. I should actually watch those some day.

Ownership: 

1986 Capitol (LP). Acquired in 1986.

2002 Sanctuary (CD). With video. Acquired in 2006.

1986 Capitol (MC). Acquired in 2026.

1986; 1//06; 8/17/15; 10/23/24 (review)

Senjutsu (2021)

It's nigh impossible to limit the superlatives when talking Iron Maiden. There's really no precedent of a band who has remained true to their sound for 41+ years and continues to evolve and grow in a positive manner. These guys are well into their 60s now, and every album they release is as if they were still in the middle 1980s pushing the boundaries of what heavy metal can potentially be. Most groups with the stature of Iron Maiden would go on to release a perfunctory new album with ten forgettable three to four minute run throughs, then hit the road, and play all the fan favorites from 35 years ago. Not Iron Maiden. How about a triple album with 10 minute plus involved tracks with fun light reading names such as 'Death of the Celts' and 'The Parchment'? And they're so spoiled they have everybody do things for them. Ya know, like singer Bruce Dickinson flying their own 747 around the globe. Who does these things? Whatever the question or challenge, Iron Maiden wins. And yet on forums such as RYM, Iron Maiden is put through the ringer by those much younger with zero perspective. Yes, of course Iron Maiden were never the heaviest - or fastest - or most complex band ever. They are just simply the best at what they did (and do). They are legends in their own time, and that will only grow as the centuries roll on.

As for their 17th album Senjutsu, Iron Maiden continues to bring it. This isn't easy listening metal. And no there isn't anything particularly catchy about it. No different than the prog albums we adore and champion. Iron Maiden is not the latter, but is clearly influenced by the genre, and they make no bones about it either. 82 minutes is a lot to absorb, but if in a patient mood, the listener is rewarded (i.e. I've had this album sitting in the new arrivals box for over six months and just now getting to it). These are albums that are designed to outlive the band. 50 years from now, new serious young minds will want to go beyond whatever is their pop du jour, and tackle something more challenging. Iron Maiden will be one of the early bands they will learn about. On my first listen to the album, I played the first two LPs, and then flipped the 3rd one back and forth for three listens each. Not that I liked it any more than the prior material, it just seemed like a good way to appreciate the album. Honestly I couldn't tell you too much about their Version 3.0 albums starting with Brave New World (2000). This era of the band has far outlasted any other, and all their albums are consistently great. I know their 80s work far better, because I grew up with them - listened to the albums constantly - saw them live a few times - even played soccer with them. They were a huge part of my high school and college years. A soundtrack perhaps. My life post-2000 has been completely different, so I don't relate to Iron Maiden's new music in the same way. But what I do know is that every revisit will seem like I'm hearing a brand new excellent album by Iron Maiden. And that's the exciting part of music such as this.

Ownership: 2021 BMG (3xLP). Triple gatefold. Red and black marble vinyl. Acquired in 2022.

9/4/22 (review)

Iron Maiden (1980)

Iron Maiden's debut actually predicts their future better than the follow up, Killers. 'Remember Tomorrow', 'Transylvania', 'Iron Maiden', and especially 'Phantom of the Opera' are overtly proggy, while 'Strange World' is a fine ballad. The opening 'Prowler' has a strange psychedelic aura about it, though with Di'Anno singing, you're always closer to punk than psych. One track that I've always had near the top - but is widely panned by fans - is 'Charlotte the Harlot'. Despite the rather dumb subject matter, the track features some nice mood changes, and the blistering dual guitar solos coming out of the last break, are some the most pointed and fierce of their entire career. The US version adds 'Sanctuary', a mid-level song that foreshadows Killers. The only track I can do without is 'Running Free'. Iron Maiden are huge English soccer fans, and they had a tendency to slip in a "football styled" anthem every once in awhile, similar to Judas Priest in that way.

Anyway, brilliant album. You already knew that... presumably.

This came out when I was 15, so it's likely my mom took me to the record shop to buy (and it is this exact copy). Just makes me laugh when I think about it. Incidentally, she's still alive and kicking strong. 81 and as feisty as ever. Lives independently in an apartment about 10 minutes from our home here in Colorado. She'd lived in Texas for 51 years straight, so it was quite a change for her. I remind her that she's responsible for my dementia in music. We just crack up. If Mom had it her way, I'd be singing church hymns instead. On another side note, the cover of Eddie here looked like one of our neighbors back in Texas. I digress. 

Ownership: 

1980 Harvest (LP). Acquired in 1980.

1988 Capitol (CD). Acquired in 1990.

1980s Capitol (MC). Acquired in 2024.

1980; 4/28/20 (review) 

Killers (1981)

Definitely the most straightforward of the Iron Maiden albums. The band were at the crossroads here of raw heavy metal and the more elaborate composition style band leader Steve Harris seemed to prefer. Paul di'Anno was always more suited to be a punk rock singer, and the music here fits his style perfectly. That's not to say the music here isn't complex, often times it is, just more compact. Especially on Side 1 with 'Wrathchild', 'Murders in the Rue Morgue', and the instrumental 'Genghis Khan'. Eventually, though, Harris followed his instincts and recruited from fellow NWOBHM band Samson - the Renaissance Man known as Bruce Dickinson - and thus Iron Maiden were guaranteed their place in music history.

On a personal note, I had the privilege of seeing the band on the Killers tour during the summer in my hometown. I still have the ticket stub: June 13, 1981 at Moody Coliseum (Dallas - SMU campus). I was all of 16 and drove another high school buddy there in my old 1973 Chevy Impala. It was originally a three band bill with Iron Maiden opening, Humble Pie, and Judas Priest headlining. An unusual pairing, and I'm sure the promoters felt they needed Humble Pie to help fill the arenas, as heavy metal wasn't really that popular yet here in the States. Right before the show was to begin, we received an announcement that Humbie Pie had to cancel last minute due to an illness. The guy next to me was pissed! And we were elated - what a break! These were the two bands we wanted to see. So we got extended sets from each. I saw Maiden a few times after this with Dickinson, but it was great to see and hear them with Di'Anno this one time.

Ownership: 

1981 Harvest (LP). Acquired in 1981.

1988 Capitol (CD). Acquired in 1990.

1981; 5/24/12; 8/19/15; 4/22/20 (review)

Also own: Number of the Beast; Piece of Mind; Powerslave; Live After Death; Seventh Son of a Seventh Son; Fear of the Dark; Virtual XI; Brave New World; Dance of Death; The Book of Souls

4/22/20 (new entry)

Nathan Mahl ~ Canada ~ Ottawa, Ontario

Heretik Volume 1: Body of Accusations (2000)

As noted in the The Clever Use of Shadows review, I was an early adopter to the progressive rock sounds of Nathan Mahl. So when Heretik Vol. 1 showed up, I picked up a copy relatively not long after release. I was very pleased with the contents, shelved, and then subsequently ignored the band for many years. I really don't remember the circumstances as to why I did this, though I suspect I was already becoming cognizant of the "too much of the same thing" phenomena that plagued me for years. It was only later in their career that I reacquainted myself with Nathan Mahl. By then I wasn't too keen on their move to a more modern type of progressive rock, that I largely rejected as a whole. My review of Justify, well, justifies my position. Because of this, I never went back to the second and third part of the Heretik series. While I'll continue to make no serious effort to do so, if I ever do get a chance to nab them on the fly, I'll be happy to check them out.

And that's because Heretik Vol. 1 remains a thoroughly enjoyable listen. The album is chock full of old school prog, and it's Guy LeBlanc's keyboards, both analog and digital, that carry the day. The 70s influences are undeniable, mostly from the bigger name UK prog stars from Yes to Genesis to, especially, Camel. The latter group he was to join in the same year. Not to take away from Mark Spenard's guitar work, which is also noticeably strong. Vocals are a weak point here, delivered by LeBlanc, though they are hardly dominant and the album is primarily instrumental. I do agree vocals are necessary for the purposes of flow and sound differentiation. But a more dynamic singer is needed for the complex compositions. I remember discussions "back in the day" (as in 2001) complaining about the drumming (back then all the prog fans complained - about everything it seemed - which is why I dropped out of the "community"). It's my understanding that LeBlanc had to step in last minute for this duty as well. I think he did an admirable job, and no concerns from me. Keeper this one is.

Ownership: 2000 Mahl (CD). Booklet with lyrics. Acquired in 2001.

2001; 2009; 3/9/13; 8/5/26 (review)
 

The Clever Use of Shadows (1998)

I've always liked Nathan Mahl - or at least the early albums. To this day I think Parallel Eccentricities is one of the hidden gems of the early 80s. After that album it seemed Nathan Mahl were a thing of the past. Which is why I remember being quite pleasantly surprised to hear LeBlanc resurface first with Mahl Dynasty and then again with Nathan Mahl. The Clever Use of Shadows was a great comeback, and due to its relative popularity, Nathan Mahl were to be a fixture of the progressive rock scene throughout the 2000 decade. Like the Odessa album I just commented on, The Clever Use of Shadows is yet another album buried in my collection that I couldn't recall anything about, and yes, it's been about 21 years since I last heard it. But this past week's listen put a smile on my face, and reinforced why I enjoy so much their first two albums. The compositions are dense, yet very melodic. It's mostly instrumental, but never showboaty, repetitive, or dull. Not an easy thing to accomplish, considering most instrumental prog is just that. Guy LeBlanc is no longer with us, but his musical legacy will be around for many years to come, as new generations will discover the quality within.

Ownership: 1998 Mahl (CD). Liners from Guy LeBlanc detailing each track. Acquired in 1999.

1999; 5/10/20 (review)

Justify (2014)

Nathan Mahl's latest album is a mix of instrumental heavy fusion and song oriented rock. The fusion tracks are all impressive in their sound textures and technical acumen, but seem nothing more than a skeleton structure for showboating solos. There's not much in the songwriting department I'm afraid to say. Meanwhile the vocal cuts are of the modern variety with annoying emotive vocals, and boom-boom-bash drumming - all over a slick-as-a-butter-dish synthesized production base. These vocal tracks really pull Nathan Mahl away from what they do best. Not a bad album at all, but disappointing for a band with a legacy such as Nathan Mahl had.

Former ownership: 2014 Unicorn Digital (CD). Acquired in 2014.

8/14/14 (review)

Other albums I own: Parallel Eccentricities

Albums previously owned: Exodus

5/10/20 (new entry)

Head Pop Up ~ Japan

Tokusen Burari Tabi (2002)

Had I known this was a substandard cd-r when purchasing, I would have not ordered it. However in this case, I'm glad I did. Because I would have otherwise missed out on a wonderful, mostly instrumental, progressive fusion. The first lengthy cut reminds me very much of the Dutch prog rock scene circa 1973. Pantheon in particular comes to mind. Track 2) is named 'Metempsychosis' though it has no relation to the Far East Family Band song. Track 5) directly references Banco Del Mutuo Soccorso's debut, and is arguably the highlight of the album. 

Throughout, the keyboard sounds seem to indicate a retro type release, though I suspect both the organ and mellotron are sampled. Nonetheless the spirit remains. The electric guitar possesses a sharp 70s styled acidic tone. 

There is a jazzy pop undertone found here that is very appealing, reflecting the culture of Tokyo's Shibuya district. The music is also highly complex, and when combined with the sentence prior, the album gives off more than a whiff of the Canterbury scene. Multiple themes are introduced with each track, just as the masters like Moving Gelatine Plates would do, though they don't sound similar otherwise. In addition, there are references to the Japanese variation of Zeuhl, when in a less serious, playful mood. The 80's Japanese prog rock renaissance also plays a role here, especially noted in the 22 minute live recording that closes the album. Mr. Sirius is but one group reference.

Too bad Head Pop Up did not release anything else. Their style is very much in step with my personal preferences in the prog rock genre.

Speaking of a personal note, I started journaling my listens (or at least attempted to do so) in early 2004. Tokusen Burari Tabi was the very last album I'd acquired before I started that journey. 22+ years later, I finally returned to accomplish that task.

Ownership: 2002 Poseidon (cdr). Commercial CD styled booklet with recording details and photos. Acquired in 2004.

1//04; 6/13/06; 8/4/26 (review)