IRON MAIDEN (UK) - Piece of Mind (LP, EMI, 1983)

RATING: ****

 If Iron Maiden were already on the road to worldwide stardom by the time "The Number of the Beast" came out in early 1982, there was no stopping them afterwards. More than steady, their growth rate became a geometric progression pointing to the heights: everybody wanted to buy their records, attend their concerts, wear their t-shirts, be part of their entourage and make any possible sort of business with them. That's how it goes when everybody knows you're going to make it big, I guess. The fact that Maiden managed to record so many amazing albums in a row is an astounding feat, you know, even moreso when you consider how fast things were moving inside the band's particular universe. In the latter months of 1982, drummer Clive Burr was out of the picture; in a matter of days, Nicko McBrain was recruited (it was so unexpected that the newcomer had to use an Eddie mask during his first appearance with the band, as there had been no time to explain Burr's departure to the press); and he had no more than a couple months before entering studio with his new bandmates, in order to get a new record done. You can't really achieve any sort of peace of mind under such a tight schedule, so I suppose the play of words that came to baptize "Piece of Mind" makes perfectly sense, when you take a closer look at it.

The circumstances around Clive Burr's escape (not-very-obvious pun intended) from the Iron Maiden orbit were never fully clarified, and the long-held notion that the drummer's spare time activities (e.g., drinking and substance use) had become too unprofessional to endure seems to have been unfair to him, at least to an extent. In fact, when you put all the pieces together, the most credible conclusion appears to be that Clive Burr and Steve Harris simply got weary of each other, and, as the bassist was the mastermind behind the group and would never ever step aside, then the drummer had to go. It was unfortunate for him, that's for sure, but I don't really think there's anyone to blame around here: it just happens, you know. Burr would have an eventful (if not immensely successful) career in later years, handling the drumsticks for acts as disparate as Elixir, Praying Mantis and Dee Snider's Desperado, as well as trying his own thing with Clive Burr's Escape, later rechristened as Stratus and that got as far as releasing a decent record named "Throwing Shapes" in 1985. As we all know, the sticksman sadly passed away in 2013 after a valiant battle against multiple sclerosis - and the fact that Iron Maiden would take great lengths in order to help paying his hospital bills speaks volumes about how all the altercations were water under the bridge by then (they're not that inclined to do the same for Paul Di'Anno, you know). RIP dude, and rest assured that your contribution to music will always be fondly remembered and acknowledged by all metal fans worldwide.

Nicko McBrain was a seasoned drummer with a number of allegiances to his name, having recording credits with Pat Travers, Goldon Giltrap and the Streetwalkers, among others. More recently, he was doing the rounds with Trust (a band I really like BTW, and that will hopefully appear on this space in the not-too-distant future), and rapidly proved himself to be yet another good choice for Maiden, as Steve Harris soon became good friends with him and both built a strong partnership that remains unscathed to this day. Though not as smooth and groovy as Burr's signature sound, Nicko's busy patterns and muscular, indefatigable delivery made a lot of difference when Maiden started to move towards even more technical and ambitious territories, consolidating the band's reputation as a seamless, unrelenting wall of sound.

The punkish vibe, still present in some corners of "The Number of the Beast", is totally absent on "Piece of Mind", and would be almost nowhere to be found from this point onwards: now Maiden present themselves as a much more serious entity, their ever-present focus now directed towards a newfound passion for storytelling and drama. They would sure perfect the formula in later years (and, in a sense, they are still doing it to this day), but this is a very important landmark "Piece of Mind" set for future releases, and it adds historical significance for a record that would already be very impressive if valued by musical merits alone. Describing this particular LP as pretentious would not be too far off the mark, but I wouldn't consider this to be too derisive a comment after all: Iron Maiden were indeed trying a bit too hard to be artsy and impressive, but it comes from a place of honesty, from a band that tries to expand on the avenues opened by "The Number of the Beast" rather than simply put a series of good songs together with a random Eddie on the front cover.

A lot of it surely has to do with Bruce Dickinson. Now released from the all contract ties to his Samson days (a situation that prevented him from having a more decisive role in the songwriting process of the previous record), the vocalist brings a lot of ideas to the table this time around, and his determination to leave a personal mark brings some very important changes to Maiden's sound and spirit. Saying that Dickinson wanted to differentiate himself from Paul Di'Anno would tell just a part of the story: he also wanted Iron Maiden to become a slightly (but perceivably) different band, in order to fully accomodate his persona. He is an accomplished fencer, wrote satirical books around a character named Lord Iffy Boatrace, has a degree in History, worked for radio and television - and he's also a airplane flyer who got as far as to rescue some endangered turtles on occasion! A larger than life individual, if any of us ever saw one, and surely not one to do as he's told when in a band. Fortunately for all of us, Dickinson's ambition found a great songwriting partner in Adrian Smith, and was also in tune with the creative vision Steve Harris had for the band. Thank god these guys got together, and "Piece of Mind" is the first record to show this 'new Iron Maiden' in all its glory.

The album starts off with "Where Eagles Dare" and "Revelations", two considerably long tracks that perfectly illustrate what Eddie and his friends had in mind this time around. In fact, the very fact that they chose this particular pairing speaks volumes: let's face it, picking two convoluted songs without catchy choruses or easy-to-understand motifs to open proceedings on your much-anticipated new record is hardly a common thing in metal nowadays, let alone in 1983. You're telling something to the listener when you take such a route, you know: this is not a casual listen, we're not fooling around, you better pay attention to this. And it works on this particular instance, you can bet it does: "Where Eagles Dare" is vigorous and complex, with an unforgettable performance from Nicko, and "Revelations" is a dark semi-ballad with highly symbolic lyrics and an arcane, mysterious vibe. Both kick serious ass, you know, and God know how hyped the listener is bound to be after giving the first spin to these two.

In fact, judging from the first six tracks, this could easily rank as one of the best metal albums ever. Both "Flight of Icarus" and "The Trooper" are immensely memorable singles, the latter showcasing perhaps the most iconic guitar work ever delivered by the band, while "Still Life", though often overlooked, is a remarkable piece of composition that conjures both tension and menace in a way few songwriters out there can (and oh yeah, I love Bruce's singing on this one). As for "Die with Your Boots On", it's something of an echo from Maiden's fast-and-furious early days, but done with such ferocity and skill that the results are simply exhilarating, one of the most headbanging-inducing songs ever penned by Maiden (think about it and I'm sure you'll agree). Half an hour of varied, confident and uncompromising genius, no less.

Unfortunately, the final three songs, though markedly superior to what nearly all competition could do at the time, are not in the same league of what precedes it, plain and simple. "Quest for Fire" sounds somewhat silly, both in subject matter and the melodies that go with it, to such an extent that it simply breaks some of the pensive, dead-serious atmosphere most of the album conjures. I always though it could have been a great B-side for a single under different circumstances, but its presence here is somewhat detrimental to the whole package, which is a shame really. "Sun and Steel" doesn't work much better, unfortunately, and its chorus (rhyming "steel", "ideal" and "wheel") is one of my least favorites from the entire '80s era of the band. Finally, "To Tame a Land" comes out as a ambitious retelling of Frank Herbert's impressive "Dune" saga, and it surely works to a great extent, with progressive intonations and a very Middle Eastern-ish guitar work. Still, I tend to think it's not that unbelievably good as most people seems convinced it is: it moves through its many different parts a bit too fast for my liking, and it ultimately sounds a bit aimless in places, like they were just trying to show how they could play some complex shit rather than putting their undeniable prowess to use in a well-crafted, naturally demanding song. I know tons of metalheads around the world will beg to differ, but I'm just being honest here, you know - and the fact that the band themselves never added this one to their setlists since 1984 is evidence that they agree with me, at least to an extent.

Saying that "Piece of Mind" is not that good would be downright stupid anyway: it's actually a monster of a record, an astounding feat of creative genius and a quintessential LP that you're simply not allowed to live without, no excuses. The fact that it is not mind-bogglingly good in all its parts is just a nuance, you see, and anyone who dwells too much on it should be regarded as something of a fool. The four-star rating is as close as a five-star as it could possibly be, and it only makes sense in comparison with other albums released by the same band. For nearly everyone else, "Piece of Mind" is like the summit of Everest: it's there, but most of us will never reach it, and many will die trying.

Bruce Dickinson (V), Dave Murray (G), Adrian Smith (G), Steve Harris (B), Nicko McBrain (D).

01. Where Eagles Dare (Harris) 6:08
02. Revelations (Dickinson) 6:51
03. Flight of Icarus (Smith/Dickinson) 3:49
04. Die with Your Boots On (Smith/Dickinson/Harris) 5:22
05. The Trooper (Harris) 4:10
06. Still Life (Murray/Harris) 4:37
07. Quest for Fire (Harris) 3:40
08. Sun and Steel (Smith/Dickinson) 3:25
09. To Tame a Land (Harris) 7:26

Have you been involved with any of the bands mentioned here? Have any extra info and/or corrections? Please e-mail me (drequon@gmail.com) and let me know!

IRON MAIDEN (UK) - The Number of the Beast (LP, EMI, 1982)

RATING: *****

This is a difficult album to review, you know. I mean, there's simply no reasonable way I could give "The Number of the Beast" anything but a 5-star rating, as it is one of the landmark releases in the history of heavy metal, no less. You can't assume yourself to have even the slightest understanding about metal without giving this record at least a few respectful spins, and anyone who considers forming a metal collection without owning a copy of this record simply can't be taken seriously. It's a fucking classic, you need to have it, and that's it. On the other hand, you don't need to be a particularly inquisitive listener to acknowledge that it's something of a bumpy ride, and roughly half the tracks are flawed with shortcomings, to say the least. It's a transitional record, you see, and the fact that a band could manage to release such a monster while still obviously not at the top of their game is astonishing, to say the least. Both ends of the spectrum are absolutely true, and trying to reconcile such divergent approaches is a challenging task, but I really think that reviewers should always try to use hindsight on their favor, rather than taking long-standing views as some sort of dogma. May God have mercy on my soul, as I'm about to share my views about "The Number of the Beast", the 3rd and legendary LP by Iron Maiden - and the five stars you see at the top of this entry, though unavoidable and thoroughly deserved due to the immense relevance of the record in question, should not at all be taken as the end of the story, as there's quite a lot to be discussed about this release. 

As far as changing vocalist go, we are all well aware of (though not necessarily reconciled with) the fact that Paul Di'Anno's departure was a necessary move, due to his unprofessional behavior and diminishing interest in the whole venture. But there's another aspect to it, that is perhaps even more significant in the grand scheme of things: Iron Maiden were destined to be one of the biggest metal bands ever, and they would have never got that far with Di'Anno as a frontman. He was the punk among the metalheads, the tough guy from the streets, a reckless rebel with all the charm of a young man looking for trouble. He was absolutely awesome, and still easily rank among the most memorable metal frontmen in living memory - but he was a force of nature meant for the clubs, and Iron Maiden's calling was to conquer stadiums, you know. You can't honestly argue Paul Di'Anno had what it takes to take Long Beach Arena by storm several nights in a row, or to command hundreds of thousands of people in Rio de Janeiro during Rock in Rio, no matter how much your heart wants to believe otherwise. In order to fulfill their collective destiny, Maiden needed a larger-than-life persona, a soul filled to the brim with sheer ambition, a frontman with a theatrical presence and a powerful voice for the masses. They needed someone like Bruce Dickinson. 

In my honest opinion, Dickinson's arrival in late September 1981 marks the most well-succeeded replacement in the history of metal, and anyone willing to disagree will have a hard time finding an argument against me, I guess. He was doing fine with Samson, that's for sure, but let's face it, there was no prospect of really making it big for the lads - and Bruce Bruce, as he was known back then, sure wanted more. He wanted to be in Maiden, and, as it turns out, Steve Harris wanted him in Maiden too, and there's no denying he was absolutely right about that. Songs like "Prodigal Son", "Phantom of the Opera" and even "Murders in the Rue Morgue" hinted of the more ambitious songwriting avenues good old 'Arry was eager to explore - and Dickinson's operatic, melodic-yet-punchy delivery was exactly what the bassist needed to fan his creative fire. 

It was also the right time for an album like "The Number of the Beast", you know. The convergence of heavy metal towards a more radio-friendly, pop-infused sound was gathering steam, and even stablished bands/artists like Judas Priest, Whitesnake and Ozzy Osbourne were ready an' willing (pun intended) to try their luck with that. On the other hand, strong contenders like Saxon and Motörhead were as street-level as it gets, and giants like Black Sabbath and Deep Purple were trying to survive through confuse times, or just plain inactive. There was clearly an open niche for a band that could manage to be, let's say, as superlative as Queen, but still keeping the uncompromising spirit so many headbangers would always associate with metal. Metallica were just around the corner of course, but it would take a little while until they finally peaked, so there was really no competition when Iron Maiden came out with "The Number of the Beast" in March 1982 - and, if we're to be frank, there wouldn't be much of a competition for them for the best part of a decade afterwards.

With that all said, this is a transitional LP, and you better bear this in mind if somehow you're going to listen to it for the first time. Both "22 Acacia Avenue" and "Gangland" are songs directly connected to the rough-and-ready, street-level approach of "Killers", and it's not at all difficult to imagine an hypothetical follow-up with Paul Di'Anno centered around these songs. Both are perfectly fine, and "22 Acacia Avenue" even stayed on the setlists for a number of world treks through the years, but both are not really representative of the direction Maiden is heading to elsewhere; in a sense (and I know how disagreeable this may sound), these songs are already the Maiden of old. Singing about a prostitute doing the rounds on London's East End made perfect sense in the context of the first two records, but sounds markedly out of place when you consider Maiden's newfound personality and perspective. As for "Invaders", it's simply not as good as the rest of the package, and (despite the fact that it is something of a prelude for the many history-themed epics to come), its simple presence in the final product is somewhat surprising, let alone the bizarre option of using it as an opening number. It doesn't even show Dickinson in a very favorable light: the verses are rushed, the chorus sounds awkward, and the singer is never allowed to use his powerful pipes to full strenght. Many people consider "Gangland" to be the album's weakest spot, but I beg to differ: "Invaders" is easily the most lacking song here to my ears, and one of the least accomplished tunes from the entire '80s run of the band. Sorry, but it is what it is.

Everywhere else, "The Number of the Beast" is a work of genius. There are rough edges in places, and the songwriting still had ground to mature, but this is the birth of quintessential Iron Maiden, a bombastic, unrelenting force that unifies energy, technique and artistry like few before or ever since - and that is still going strong to this day, on their own terms. Even a slightly lesser cut like "Children of the Damned" can put nearly all contemporary contenders to shame: though the song's structure is a bit less interesting than it seems to be at first, the Murray-Smith guitar interplay works beautifully, and Bruce sings with a sense of drama that renders the track a unsettling, even menacing vibe. "The Prisoner" is moved along by an astute stop-and-go riff, and it's the chance I was looking for to applaud one of early Maiden's unsung heroes: the drumming of Clive Burr during the whole record, and on this track in particular, is simply superb. There's no doubt in my mind he delivers the performance of his life on this LP, and in a team full of aces, he damn sure was one of them. Even the B-side-made-album-cut "Total Eclipse" is a total winner, its many different parts sewn together with amazing chops and exhilarating dynamism. 

But this monster of an album has three out-of-this-world, insanely classic tracks, and you all know what I'm talking about. The title track is a marvel of storytelling, with an intro that expertly builds tension until Bruce Dickinson delivers THAT chilling scream - simply put, one of the most memorable moments in the history of metal, no less. The chorus is truly amazing, and the instrumental section is a highlight in itself, a rollercoaster ride of solos and riffs that ends with Steve Harris flexing his muscles with a simple, but unforgettable mini-solo. "Run to the Hills" is the band's first single to reach Top 10 status in the UK, and it's remarkable how this song manages to bring to the table so many seemingly disparate features (the galloping rhythm, the catchy chorus, the poignant lyrics about the plight of Native Americans, the drum-centered intro, the unexpected crescendo towards the end) and still be such an earworm - and it's less than 4 minutes long! And "Hallowed Be Thy Name", oh well... I'll leave most of my comments on the subject for "Live After Death" I guess (let's face it, this review is frickin' long already!), but let's just say this tune is one of my strongest candidates for the Best Metal Song of All Time award. Everything on it is simply perfect, with solemn (yet truly engaging) instrumentation and a cinematic feel that puts you right into the dramatic story it depicts, not to mention some of the most philosopical and heartfelt lyrics ever written by Steve Harris (and he was only 26 years old!). It's an epic for the ages, a stunning compositional triumph, and I better stop right now before this treatise gets hopelessly convoluted. 

Well, there you have it: "The Number of the Beast" is somewhat flawed, but it's still a cornerstone of heavy metal, worthy of all the universal acclaim it can possibly receive. The impact begins long before you play it, with a sinister (but still uncanningly funny) cover art by Derek Riggs that really captures the imagination, and it resonates long after the turntable stops and the needle is back to its resting place. It still resonates to this day, you know. For all of us. The fact that there was still some ground to cover before the band truly gel should not be seen as a hindrance really, but rather as a testimony to the sheer potential around this particular entity. And I think it's beautiful to find out that a classic record doesn't need to be flawless, that its blemishes and occasional shortcomings can also be a part of its irresistible charm. 

Bruce Dickinson (V), Dave Murray (G), Adrian Smith (G), Steve Harris (B), Clive Burr (D).

01. Invaders (Harris) 3:20
02. Children of the Damned (Harris) 4:34
03. The Prisoner (Smith/Harris) 5:34
04. 22 Acacia Avenue (Smith/Harris) 6:34
05. The Number of the Beast (Harris) 4:25
06. Run to the Hills (Harris) 3:50
07. Gangland (Smith/Burr) 3:46
08. Hallowed Be Thy Name (Harris) 7:08

Have you been involved with any of the bands mentioned here? Have any extra info and/or corrections? Please e-mail me (drequon@gmail.com) and let me know!