Heavy Maytal- Iron Maiden's "Final Frontier"

The band's 2010 album was darker and grittier, though also more sprawling and epic, as heard in the almost nine-minute opening track, which takes two and a half minutes to build. I remember liking this album when it came out, but giving it another listen, I can appreciate the sonic layers captured here. This is not like other Maiden songs, which is impressive, though midway it busts into something more accessible to Maiden fans, as hookier vocals kick the door down. 

"Mother of Mercy" is more melodic with a rare strum coming from the guitar. Bruce sounds great, though past the age of soaring vocals, he works with what he has and has retained much of his power. The song builds into the expected gallop, though more mid-paced. You can hear the opening riff off "Coming Home' and know exactly who this is. Some of the best guitar solos from this era of the band, the song has its twists and turns without being overtly proggy, as everything flows well. "The Alchemist" is a more uptempo song that recaptures the direction the band was heading in on "Poweslave" just with the bombast dialed back with age. However, it gets the point across. 

"Isle of Avalon" starts off with a darker tension, which is always hte side of the band I appreciate the most, but the chorus rockets into the realm of their anthems. The choruses are really strong on this album; Dickinson puts a great deal of hooks in them as you can hear on "Starblind". There is more of a folk feel to the beginning of "The Talisman".  Not the first time we have heard this from the band. It occupies the first two minutes before the band comes galloping at full power. Bruce is knocking the top notes out of the park very casually. One of the reasons I like doing these stints of digging into my favorite artists' discographies is it gives me a chance like this to rediscover songs I had forgotten about. "The Man Who Would Be King" also follows their melodic, mysterious intro formula before working its way into something more powerful and metallic. This time is more atmosphere creating a fantasy environment for the epic guitar harmonies to emerge from. They jam out a bit on the instrumental section. 

They close the album with the 11-minute "Where the Wild Wind Blows." When it comes to their sprawling prog adventures, I normally expect things to start in a more subdued fashion like this, after all, they are going to have to have peaks and valleys to keep your interest. This intro part is two minutes before building to a more frolicking folk metal type riff, which, of course, they are the originators of. With three guitars, they can also fill up some time by giving everyone the chance to step into the spotlight. Here, they give this instrumental space, just over two minutes, so nothing excessive. Nine minutes in, they return to the guitar solos.  Metal is about sonic excess, but they use restraint and instead break things back down into the opening theme. This is another underrated album from this later period of the album that you should give a chance, as I give it a 10.  

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Heavy Maytal- Iron Maiden's "A Matter of Life and Death"

I now remember why I liked this album so much when it came out. Aggressive and rapid riffs but still allowing for melody. Bruce's vocal lines flow better than what we heard on 'Dance of Death". The more progressive vibes to "These Colours Don't Run" groove impressively. It has one of the album's strongest choruses to deliver a huge epic sound. Nicko's drumming is even more dialed in to give the songs the needed punch. The middle section holds the tension to set up the guitar solos. 

Bruce's voice sounds pretty youthful against the odd time, almost Tool-like pulse of "Brighter Than a Thousand Suns". Some pretty mean crunchy riffs on this do not sound dated and lack the nostalgia grab their peers tend to go for. It makes sense, as at this point, they had been playing festivals and seemed to have paid attention to where music was going. I am surprised that this album did not sell better outside of their fan base. In 2006, we were entering a phase where people began to stop buying music. They do lock into their classic gallop, but it is not looking back at the 80s for approval. 

"The Pilgrim" has more of a classic Maiden feel. The chorus is not quite as catchy as the previous songs. The verses to "The Longest Day' are darker where they have the huge anthemic chorus they are known for, which they swell into, shifting the mood. "Out of the Shadows" is a moody power ballad of sorts, and more melodic works really well; Bruce shines here. 'The Reincarnation of Benjamin Breeg" is another powerful performance from Beuce, it's a deliberate and dynamic rocker that is more effective than pouring on the speed and guitar harmonies. 

By this time in their career, it is clear they have developed a new formula that takes a power-ballad-like dynamic to open a song, before transitioning into what you more typically expect from this band. This can be heard in action on "For the Greater Good of God". Though this means being expanded in epic prog metal for this song. "Lord of Light' starts off with a darker tension, before exploding into the gallop at the minute-and-a-half mark. The last song, "The Legacy," goes from being a folkish ballad to one of the most epic post-"Fear of the Dark" moments the band has summoned, and Bruce flexes his pipes as he gets up there. This album still holds up and is the most underrated in their catalog I will give it a 10.

 

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Heavy Maytal- Iron Maiden's "Dance of Death"

 

The band's 13th album is the one Bruce album I have spent the least amount of time with. It opens with a high-energy song with a rather dumb repetitive chorus. It makes me think of Van Halen. Not a terrible song, but I expect more from them when Bruce is around. There is a similar energy to "Rainmaker," but all the moving parts are higher functioning. The chorus works much better. "No More Lies" feels like something from "Fear of the Dark", which is wehre they started writing these types of darker songs. The guitar playing here is very nuanced. The vocal production on this album is way better than anything from the Blaze albums. It does build up until the thunderous chorus. With three guitarists, the solo sections have grown. 

"Montsegur" is heavier and an unrated Maiden song, I have never paid attention to til now, which is why I enjoy digging back into these albums I never gave enough of a chance. The title track is the kind of epic galloping frolic that is what this band is known for. So they are doing what you want from them. "Gates of Tomorrow" feels a little happy for my musical taste buds, but it's well-executed and sounds like them. "New Frontier" is more of what I want from them, as it has more of a metallic attack. "Paschendale " is Adrian Smith writing what he thought would be the typical Maiden epic, and he did a pretty good job of it, as it has a heavier stomp. 

There is a darker, more majestic feel to "Face in the Sand" that works well. The guitar riff to 'Age of Innocence' has a heavier chug than what you typically expect from them, but it works for where they were in 2003. This is juxtaposed by a poppier melody on the chorus, yet it all seems to gel. The odd choice of their first acoustic song to close the album is awkward, but you can't resent them for trying new things. But after listening to it several times, it never really hel my attention that well or felt memorable. Overall, this album works and recaptures what we love about the band more often than not so I will give it a 9.5. 

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Heavy Maytal - Iron Maiden's "Virtual XI"

 

1998 was an odd transition period for metal, so it was easy to imagine how another Blae Bayley album might slip between the cracks. The mix is better than the previous Blaze album, with more of a classic Maiden sound coming from the guitar. Harris falls low in the mix, but the drum sound is better. "The Angel and the Gambler" makes me think of the Who.  There is more of a rock feel to it. It is a little too upbeat and happy in the execution for me. Keyboards are also taking a much larger role in this one. There is a cool melody breakdown on this one, but it might be part of the formula for this album, like the acoustic intros were for the previous one. It almost feels like they are jsut jamming, which I can appreciate. 

"Lightning Strikes Twice" has an odd chorus refrain, but the guitar solo section is classic Maiden, though the bulk of the song is kind of clunky. I've heard Bruce sing The Clansman" before live andd then went to check out the original, so the only song from this album I am familiar with. It captures more of the classic Maiden sound as it slowly builds. It takes two minutes for the drums to come in, but it's pretty anthemic and a tough song for them to beat on this album. The middle section finds them returning to a more jammed feel. "When Two Worlds Collide" follows the formula of a more subdued atmospheric intro that they build. Here it's into a gallop that should work, but Bayley's vocals feel a little awkward to me. 

They get proggier on "the Educated Fool". It still works on the formula they seem to be using during the period. His vocals seem too dry; it feels like they should put some effects on them. It might have helped the overall vocal sound, as he is a decent singer, but he is not given much love in the studio. The guitar harmonies on this song work better than most on this album. "Don't Look in the Eyes of a Stranger' feels like it was a B-side from "Fear of the Dark." The creeping tempo helps with the shadowy tension. The breakdown into the ambient middle section is a little odd until they begin to build it up. They are back to the Blaze formula on the last song. It builds up well enough, and Blaze sounds fine; it's just not that memorable despite when they lock into their classic harmony parts. I will give this album a 9 as well, even though it's an improvement over the previous album, it feels like they were just punching the time clock in some respects. 

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Heavy Maytal - Iron Maiden's "The X-Factor"

 I have never given the Blaze Bayley albums a chance. I have a few of these songs live when Bruce has sung them, so here we go. The opening track is "Sign of the Cross." It works well enough; it's obvious Blaze lacks Bruce's range, though his voice has a lower baritone grit that works for this song. I will find out how it holds up for the bulk of the album. It does sound like Nicko is just kind of dialing it in on this song. There is an interesting shift in the darker gallop this song goes to. But something is off even when i listen to just the instrumental sections, you can tell it's Iron Maiden, but it doesn't sound fully like them, this is due to the fact that Martin Birch is not behind the console. Nigel Green does seem like he is great with drum tones, though there is an interesting space in the mix created by how the guitars sit in different places. 

The beginning of "Lord of the Flies" makes me think of 80s Dire Straits. The new singer did give them the chance to experiment more. If they only got a better drum sound. Blaze's approach is more rock n roll on this one. His style of singing also makes the chorus not punch enough. It could almost be any bar band on a Saturday night playing originals, with the clever guitar interplay the most redeeming thing here. "Man on the Edge" is likea more rock n roll take on "Gangland." Things get darker on "Fortunes of War." the guitar parts also show improvement. The anthem power ballad "Look For the Truth" finds Blaze doing pretty well, and the whole song actually working. 

The clean guitar intro seems to be a pattern with this album. The Aftermath" finds its groove after one of these intros. "The Judgement of Heaven' finds the vocals sitting a little awkwardly atop everything. There are some tradmark guitar passages, but it sounds more likea band influenced by Iron Maiden than the actual band. "Blood on the World's Hands " has a suitable bass intro that leads to something that sounds more like the band with a lurking tension to it; it's one of the better songs so far. Blaze is inconsistent because he sounds good on this one.

It's not surprising that The Edge of Darkness" carries more sonic shadows. It reminds me of "Afraid to Shoot Strangers" but carries an epic gallop. This lineup is capable of pulling off good songs; I don't think the mix is doing them any favors. Another acoustic intro for "2AM", which gives Blaze enough room to really sing. He does not have Bruce's swagger, but works well on this one. Though not sure about how the drums are pushed forward for the guitar solo. "The Unbeliever" opens with some intersting guitar riffs, not sure about the interplay between the vocals and the drums though. Not the album's most focused song. 

"Justice of the Peace" is more like what you want from an Iron Maiden song, as it balances the bombast and melody with high-energy drive. "I Live My Way' seems pretty basic, but it works. They close the album with more of a rocker, picking up the pace for "Judgement Day," which feels like it's more obligatory than playing to Blaze's strengths. At the end of the day, aside from Blaze, these guys are Iron Maiden, so their chops alone make it more worthwhile than anticipated 

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Heavy Maytal - Iron Maiden's " Seventh Son of Seventh Son"

 

This album is where some old-school Maiden fans begin to cast doubt on how well it holds up with their classic material. I like it because it is a darker album. "Moonchild" is a great opening song; it's uptempo, and Bruce carries a balance of grit and operatic croon. Lyrically, this album is loosely based on Orson Scott Card's book "Seventh Son." It studies more mystical topics. "Moonchild" is more influenced by Crowley. Despite being a power-ballad of sorts, "Infinite Dreams" might be the album's best song. It finds Dickinson singing in a more nuanced lower register in the verses, and soaring back up on the chorus. 

Where a point of contention on this album is that this is where the band switched from using Roland GR-700s to actual keyboards. I think it's done tastefully, and it's not like they turned into Yes. However, I do remember thinking when this came out that  "Can I Play With Madness" was too happy-sounding with the being harmony vocals on the chorus, felt like a nod in a more commercial direction, but when you sit down and really pay attention to the lyrics, it's clearly not the case. I think if they were trying to stay relevant, they would have gone heavier, as that is where metal was heading in 1988 with bands like Slayer breaking big. Some of the album's most memorable guitar solos are also on this song. 

"The Evil That Men Do" is another great tone with a darker tone and Bruce finding more interesting places for his voice to go than the most predictable belting. Not sure how you think you can get a more epic gallop than what they do on the title track.  Everyone is on point here, though you expect no less from these guys. There is a cool atmospheric breakdown that builds tension well for the guitar solos to explode out of. In some ways, it reminds me of the middle section of "Hallowed Be Thy Name." They bring more bite and a refined take on their classic sound to "The Prophecy". You can hear how this influenced today's power-metal bands. 

"The Clairvoyant" works of a pretty powerful tension that, when coupled with Bruce's intense vocal performance here, works wonders. The guitar harmonies on this album seem to have their own cohesive personality that sticks to the mood of the album. Despite being warned that a demon is going to rape you in your bed at night , the chorus has an upbeat feel to it. This is the band finding a new pinnacle, and it also deserves an 11. Despite its naysayers, it stands toe to toe with the band's best work. 

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Heavy Maytal - Iron Maiden's "Powerslave"

One of the most amazing things about this band is how they released their most classic albums only a year apart, recording them in between tours. This was brought to its pinnacle as the most finely tuned musical machine imaginable with their most aggressive and epic album to date, "Powerslave". It rips open with the rapid fire of "Aces High," which has a chorus that takes flight in a manner not unlike the subject of the lyrics. The slow down to a more deliberate pace for "Two Minutes to Midnight". "Losfer Words' is the ironically named instrumental, which feels like it has a heavier drive than the previous instrumentals released by the band, though some of the stign was taken out by the melodic solos.

"Flash of the Blade" is about Dickinson's love of fencing. The verses follow a similar formula employed earlier in the album as they race along to build into an anthemic chorus. This album is much more high-energy, with none of the songs leaning towards a power-ballad direction. This high-energy tempo can also be heard in "The Duellists." I think this more aggressive style of writing was perfectly timed as it coincides with the rise of thrash.  They keep the momentum with "Back in the Village."  This song is the lyrical sequel to "the Prisoner". It is one of my favorites on this album.

Despite the album cover, the title track is the only Egyptian-themed song, and even then, it's a metaphor for how Bruce felt about being a rockstar. The most deliberate and powerful song on the album. The sprawling epic "The Rime of the Ancient Mariner." It speeds up into more of a gallop, which was mid-paced for them on this album, but to be a song that was such a grandiose prog metal sonic spectacle, the vocal melodies are all catchy as hell. They let things linger in the atmosphere midway through the song before building into a thundrrous climax.This album also goes up to an 11, so that is the score it gets reserved for only the rare upper tier albums, that are flawless classics.  

8.9

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Heavy Maytal- Iron Maiden's "Piece of Mind"

The band's fourth album and first with drummer Nicko McBrain, finds the band getting into even more melodic and progressive territory. It also features some of the most popular anthems from the band, "The Trooper" being the most obvious. On "Number of the Beast," it was conceivable that Paul DiAnno could have at least attempted to sing them; on this album, Bruce's soaring tenor belts them out with operatic power, further widening the divide. The first song, "Where Eagles Dare," is the only one I can imagine Paul even attempting. There is great guitar phrashing and harmony on the song. 

"Revelations" is one of the few songs that is not about a movie or book, but more of a lyrical tapestry teasing some of Bruce's spiritual beliefs, with Thelema being the most glaring.  Musically listening to it now, it brings to mind early Rush. "Flight of Icarus" is one of the album's more anthemic tracks, with a big hooky chorus. The verses give Bruce a great deal of room to sing and just enough gallop to remind you who this is. Bruce hits a rare falsetto when he lets his voice break on the climactic b flat 5,  but belts out a5's on the chorus. 

It has always felt to me like "Die With Your Boots On" belonged on "Powerslave," but no, it was just foreshadowing that album. As previously mentioned, "The Trooper" is their calling card. If you don't know this song why are you even reading this review? It's the anthem of anthems for this band. Their gallop might be best epitomized here. "Still Life" is likely my favorite song on this album, as it's the darkest and most melodic. Compared to the other high-energy songs on this album, it's almost a power ballad. 

"Quest For Fire" is early power metal; there is some cool interplay with the drums, but it's pretty much a straightforward Maiden song, not filler. The chorus to "Sun & Steel" is hookier than the chorus to the previous song, making it more memorable. For the sake of this review, I am just reviewing the album songs and not the bonus tracks. Despite there being a great Jethro Tull cover out there, they should jsut release all the B-sides that are not album tracks on an album. The Dune tribute 'To Tame a Land" was originally supposed to be called "Dune," but when they asked for permission, Herbert sent them a letter to them saying he did not like heavy rock bands like Iron Maiden. Weird way to come out of the closet, dude, but ok. Anyways, the song's pretty damn good, besides being nerdy prog metal. It's safe for me to go ahead and round this one up to a rare 11 as well. 

 

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Heavy Maytal -Venom : "Into Oblivion"

The 16th album in the career of this project, which now counts Cronos as the sole original member. Things have not changed a great deal thanks to Cronos's voice that finds him belting it out with the same throaty zeal that drove their earlier. In fact, this album is more metal and less punk than what people would call Venom's most classic work. There is more of a thrashing feel to "Lay Down Your Soul".  They hammer at you with the intensity of a Motorhead song. It's catchy enough even at this amped up speed. There is more of a gallop to "Nevermore" which works well; in fact, it's the best of the first three songs. 

There is a more overt metal sense to the riffing that was not in the band's classic work, but it's pretty effective and sounds relevant in 2026. "Man & Beast" should please most headbangers, but the punk rock side of their older fan base is not going to be into this, but oh well, it sounds fucking good to me. Though "Death the Leveller" is closer to their more punk side, as a whole, this album reclaims their place in the classic metal hall of fame. 

"As Bove So Below" gallops into darker regions draped in their pseudo Satanic musings whih are entertaining but not something I am going to stake a seriously as I did as a teenager. There is a faster thrashing to "Kicked out of Hell" that is not as effective as what they did on the previous song. "Legend" is darker and more epic, with a more deliberate stomp that brings Celtic Frost to mind. "Live Loud" works of a similar but more driving chug. The drummer proves himself to me on this song. You can't ignore the palm-muted chug to "Metal Bloody Metal" at the very least carries echoes of White Zombie. But it still works. The drumming on "Dogs of War" helps to seal the deal. 

"Deathwitch" is pretty powerful and heavy enough to punch above its weight class. These guys were once considered to be on the heavier side of the genre when they came on the scne but now, as times have changed, their earlier albums are more middle of the road, so this album shows where they stand in today's metal world. There is a creepier atmosphere, thanks to the subtle use of synths on the last song, which helps to create a more sinister mood.  I will round this album up to a 10 as it makes me a fan again, and Cronos is bringing the legacy of this band back to where it needs to be. Fans of metal should give this album a shot, it's impressive. and exceeding my expectations. Dropping on Noise Records.      

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Heavy Maytal- Iron Maiden's "Number of the Beast"

The big change happened here, and listening back to the album time and time again, it's clear what Bruce brings to solidify their sound. Bruce came on strong with an in-your-face ripper, and an underrated Miaden song, as this song does not get as much love as the other live staples from this album. It's one of my favorite songs from this album. The dark power ballad "Children of the Damned" finds a new snese of melody and dynamic being embraced in a way that only Bruce could have made possible, despite the band having already ventured in this direction with Paul. Beuce brought the intensity we now know as being metal into the song. 

I have always loved the syncopation of the drums leading into "The Prisoner," it's one of the album's best grooves. This song also shines a spotlight on the fact that when it comes to metal guitar solos, Miaden does it right by not just wanking off with shredding but using it to build on the melodic themes of their songs. Part 2 of the Charlotte saga continues on "22 Arcaia Ave ". This is darker than what they did on the "Killers." Then there is the title track, which is one of the best songs of all time, and has some tricky timing in the verses. 

What do I need to say about "Run to the Hills" aside from the fact that it's an iconic metal anthem? If you have heard any Maiden song, it has to have been that one. "Gangland" is my least favorite song on this album, but it still holds its own against their legacy. "Hallowed By Thy Name" closes the album in the most perfect manner possible. They took the epic songwriting formula they had been fine-tuning on the previous albums and made it bigger and darker. This is beyond being just a perfect album and hit a place that changed the shape of metal. I will give it the rare 11, setting it alongside the best albums ever made.

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Heavy Maytal : Iron Maiden's "Killers"

This is an important album for the band as it featured Adrian Smith, as well as being the first to be produced by Martin Birch. After the instrumental intro "Ides of March' they start kicking as with "Wrathchild", which might be the best of the Paul era songs. Paul's voice has more command here. The bass line also carries more grit. "Murders in the Rue Morgue" is more grandiose. At just over four minutes, they pack a bunch into this song. The verses are almost more punk-paced, where the chorus has a more signature Iron Maiden hook. Harris' bass playing is the obvious backbone that sets the stage for what was to come here. 

Smith and Murray's guitar harmonies are more fluid on this album than on the debut, with Dennis. "Another Life" finds Clive Burr's playing more confident. Riff-wise, these themes would get a more aggressive re-exploration with the feel of the "Powerslave" album that would come about years later."Genghis Khan" finds them locked in what we now think of as a variation of the Iron Maiden gallop. It's a compact instrumental under four minutes. Despite the opening bass line, "Innocent Exile" is more of a rock song. Di'Anno brings more of a swagger here. 

The title track is a little darker. It is also the only song Paul is credited with co-writing with Harris. Some of the album's best lyrics are featured here. "Prodigal Son" is more of a ballad, which finds strummed guitars rather prominent and some of the album's best guitar solos. It is one of Paul's best vocal performances. "Purgatory" is one of the album's faster songs, with a frantic bass line moving it. "Drifter" is another more rock-oriented song, but it works with the mood of this album, which did not find the band in a total metal prog direction yet. 

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Heavy Maytal : Iron Maiden's "Iron Maiden" debut album

 

This 1980 classic redefined Heavy Metal with a sound that carried an even more punkish aggression than Judas Priest, but also the songwriting smarts of progressive. Steve Harris and Dave Murray, the only original members who played on this, are also in the current incarnation of the band. Drummer Clive Burr had a raw, energetic style that would evolve, with Harris' bass playing the most nuanced element in a song like "Sanctuary." The twin harmony parts that we now think of when it comes to this band were not at the forefront.

Paul Di'Anno's vocal style is grittier than Dickinson's more operatic belting, but he worked well for what the band was doing at the time, which was not far removed from bands like Thin Lizzy. Murray's playing feels more dominant than Dennis Stratton's. The yare both following the wandering path Harris leads them down on the power ballad "Remember Tomorrow," which also shows that Paul can actually sing really well when he puts his mind to it, though his voice breaks into falsetto way before Bruce's. Midway into the song, they are the gallop we know them for. 

The more upbeat "Running Free" follows the formula for what would become their anthemic arena rousing side. It remained one of their live staples. "Phantom of the Opera" is more overtly progressive than the other songs up to this point.  The guitar solo on this is clearly a Murray, as it showcases his melodic phrashing. Dennis is handling the higher background vocals, a role Adrian Smith would later take on. The instrumental "Transylvania" was written by Steve Harris for his previous band Smiler. It has faster riffs that would go on to inspire thrash bands to come. "Strange World" is another strong ballad that Paul shines on. Perhaps even more than "Remember Tomorrow".  There are more interesting guitar tones and phrases on this one as well. 

The more in your face "Charlotte the Harlot" is the first of four songs Dave Murray would write about this prostitute that he claims is based on a true story. I like the melodic middle section of this one. The album closes with the eponymous theme song, which they still play live. I will give this album a 10; it's one of the strongest debuts from a metal band. I would rank above the debuts of Priest, Slayer, and Metallica. 

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R.I.P - Paul Di'Anno

 

I am listening to the "Killers" album, as I write this. To be honest, I am only a fan of his work with Maiden, and though over the years I was at times curious, about his post- Maiden work, I do not recall ever listening to his work after Maiden. At 66, I should not be surprised that Di'Anno lived as long as he did given how hard he lived his life. What made him a unique star, would be his demise, but such is the fate of those who can not find a middle path.  Even paying tribute to Di'Anno I have to say I am in the Bruce camp, but there is no denying the groundwork Paul laid for the band to grow into. He played his last show with Maiden in 1981 before they recruited Bruce from Sampson.

 Over the years the reasons for his firing have ranged from Di"Anno not wanting to tour, to drugs and alcohol, he did not approve of the way Stever Harris and manager Ron Smallwood ran the band, but the results tell the truth, as apparent in Maiden's success without him.  His street-wise nature gave them the edge they needed. His life up until his death was littered with trips in and out of prison. He was a wrathful person lashing at the world around him, which is what makes his songs feel grounded.  Most punk rockers prefer the first two albums, for this reason,  they are raw. His voice is distinct in a different manner from Bruce's. 

He went on to front Battlezone and Killers, but they were far from anything he did with Maiden. Perhaps drugs were the problem that hindered his career the most. Perhaps it was living in the shadow of a band that went on to become one of the biggest in metal without him. Still, the first two Iron Maiden albums serve as his legacy, and they are two albums better than what most bands can muster, so it speaks to Di'Anno being an incredible singer in his own right.

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Judas Priest : "Invincible Shield"

 

Going into this album, we need to make a few things clear. First, this is Judas Priest, they are supposed to be considered one of the greatest metal bands of all time. They are thought of as equals to Black Sabbath and Iron Maiden. Thus this album will be weighed with those expectations in place. Secondly, they are largely the original members since KK Downing is the only missing piece and Scott Travis played on "Painkiller" one of their best albums so that counts. Third Halford is 72. Which makes it even more impressive that he hits the notes he does on the second song of this album. I do not know how much love he is getting in the studio in this regard, as I saw him 13 years ago and he struggled with some of the higher notes live.  There are also clearly way more effects on his voice on this album.  

The opening track works and has more fire than I expected these guys to carry 18 albums into their career. The title track touches more on the 'Free Wheel Burning" rock n roll side of what they do, with just enough attack to make this metal. They have to ride the line between having their classic sound but not recycling what they have already done and it is a delicate balance here. They play it a little safe and stick to what is tried and true. I prefer what they did on "Nostradamus" as it found them taking more risks, but this is fun enough. If you like shredding guitar solos there is no shortage of those on this album. 

"Devil in Disguise" is the first song that clicks with me and feels like the Judas Priest I want to hear. It has a groove and the melody works well with it. In contrast "Gates of Hell" feels like they asked AI to write a Judas Priest song and it created something that is what a computer would expect Judas Priest to sound like. "Crown of Thorns" is familiar enough, but has some more melodic moments that feel more heartfelt. They get heavier and thrash it out a little on "As God is My Witness" Rob sounds convincing on this one.  "Trial By Fire " was one of the lead singles from the album, and now listening to it in the context of the album it is one of the stronger songs. 

They can still rip out some killer riffs as evident on the one that opens up 'Escape From Reality". The way the verses give the vocals room to breathe creates a great dynamic feel to ramp up with the chorus. I like the way the vocals are doubled up on the chorus as well. The use of effects on Rob's voice in this song is very effective. 'Sons of Thunder' is another that could have been created by an AI if fed every decent Judas Priest album, though it is on the more aggressive side, but not "Painkiller" aggressive. The more deliberate chug to "Giants in the Sky" works better, though it is not the first moment on this album when I am reminded of solo Ozzy. 

They do recycle some riffs as "Fight of Your Life" has a few riffs that could have been from "Better By You Better Than Me". Scott's drumming saves the song. I had to give "Vicious Circle" a second listen. Rob's vocals are worthwhile but the riffs feel like generic metal. Things end with a more interesting melodic tone with "The Lodger" . I will round this one down to an 8.5, as it plays it a little too safe, and finds them recycling too many ideas from other songs, but Rob sounds great, and the band still has a fire. 

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Girlschool : "WTFortyfive"

These gals have been around since 1978. Kim McAuliffe is 64 and the only other original member here is drummer Denise Dufort who is also 64. Perhaps the same age as your grandmother. For some grannies they bring it pretty well. At 64 years old, makes them the same age as Joan Jett , whose band beat them to the punch at being the first female rock band by two years. However Girlschool, has crank out a harder brand of rock that comes closer to being metal. They have some moments on this album. One of the stand out's being the darker more metal leaning 'Cold Dark Heart". Which has both the edge and the hooks to keep my interest. Things are by and large very simple when it comes to their song writing formula, which explains why normally the people into these gals are often big Motorhead and AC/DC fans , they like things simple. Perhaps even dumbed down. 

Lyrically things can not get much dumber than the CO-VID themed "Invisible Killer" which might not tout the popular narrative of the day regarding it, but the meter of the vocal phrasing makes the awkward delivery worse. I mentioned AC/DC earlier and with good reason when I hear "Believing In You" which almost rips it off. There is also a Slade vibe to their sounds at times. The arena rocking major chords are often too happy for my tastes, but if like to take your Camaro out for a sunday afternoon drive, this might be a good soundtrack for you. For what they do, the production on the album works at recapturing the era they are from. The social commentary of "It's a Mess" works for me, though what you might expect from a 64 rocker mom.

"Into the Night" sounds better for her on the verses vocally, but the overall song writing feels a tad dialed in, though it's better than most of this album. 'Are You Ready" is likely what fans of this band want, and they deliver. The problem here being I was never a fan, and always felt if they had not been the rare all-female metal band in the 80s less people would have made such a big deal about them because when compared to their supposed peers , like fellow Brits Iron Maiden, there is no comparison and they do not come close. "Party" is the anthem they can not make any one with half a brain believe as they are older than the Golden Girls. I am not sure guest spots are what this band needs , though there are plenty willing to show up. Numbered among them are Duff, Phil Campbell and Biff Byford. I will give this rocky trip down memory lane a 6.5. Met the low expectations I had for it. 

The Class of 82- Budgie : "Deliver Us from Evil"

 

In 1982 there was a more relaxed definition of metal. While the guitar has more edge to it some of the gallops on the verse of the first song. "Don't Cry' is more energetic, but not as tightly hewn of the song. While for these guys the synth heavy syncopation to the chorus of "Truth Drug" is heading in a more mainstream direction in terms of where music was going at this time. It still manages to be a pretty worthwhile song, even if in some way it seeks to cash in on the success of bands like Priest and the Scorpions. But they were never really a band for the radio. Yet what they are doing here could have earned that spot for them. Another band perhaps missing windows of opportunity.  

When it comes to "Young Girl" you can hear where perhaps they were trying to follow the lead of Styx. Perhaps the record company did not have faith in them to do their own thing. The vocals are crisp. Even in their more radio grabbing moments they have interesting punches. You can here where Metallica was inspired to write their own power ballads, atter hearing a song like "Flower in the Attic". The chord progression and feel is very similar to "Fade to Black". It builds into a riff that might have you wondering just how original Metallica really is. 

You can also see where they might have wanted to find their place alongside bands like Rush with "N.O.R.A.D". The drumming is more progressive in its groove.  This song along proves how underrated drummer Steve Willaims is. The keyboards get pretty out of control here. "Give Me Truth" falls into the status quo of arena rocking at the time. The very commercial ballad "Allison" seems too Beatles like for what these guys do. While still a slick sheen, " Finger on the Button" is less middle of the road and more aggressive. This carries over in the last song to find the album ending strong. I will round this album down to a 9 as the commercial aspirations hold it back at times, but there are enough of those metal moments that shaped the genre as we know it today to be found here.     

Haunt : " Windows of your Heart"

Been a fan of Trevor Church since the Beastmaker days, and of all the bands doing the retro middle of the road NWOBHM thing, these guys have been doing it best. The opening track is marginally moodier and darker enough to make me happy as some of the previous albums under this moniker flirted with heading in too happy and upbeat a direction. The whole major chord thing never resonated with me, even when Judas Priest does it. "Running Hard" finds him adding a little grit to his voice in the punches, but the chorus is brighter than the previous song, so it does not catch me in the same way.  "Barricade" might not pack the same punch, and something is weird in the overall production of this album, but it works better than "Running Hard".

While I like "Father Time" it felt like an extension of the previous, so there is a uniformity of sonic going on that is causing things to bleed together a bit, so could stand to hear more dynamics. Instead, things begin to take on more of a Van Halen feel with the title track. I suppose this could also be compared to Thin Lizzy , but there is some Vah Halen nuance to the guitars even with the guitar harmonies in the mix. There is more of the Van Halen feel but set against more Diamond Head like metal, that brings things together in a more effective manner for what they are best at. Guitars are more thrashing on the faster "No Control".  "Dream on It' is hookier and reminds me more of the first few albums he released as Haunt.

"Frozen in Time" works within the wheelhouse of what they do and while I will not go as far to call it filler, I am not sure if it catches me as inspired as when these guys are on their A-game. There is more of a foot on the monitor 80s feel to "Defender" that closes out the album. Overall, this album works really for what it is, I will round it down to a 9 as it could use a wider range of sonic colors to provide a more dynamic range. But even these guys on cruise control are better than most bands can to at their peak.    

 

Saxon : "Carpe Diem"

After hearing people online saying this album was better than Iron Maiden's most recent album "Senjtutsu" I decided to give it a shot. Though such claims seem far-fetched from the get-go as Saxon's waning popularity was largely due to the fact their sound has not evolved greatly from the 80s. where Iron Maiden over time transitioned from the 80s metal sound over the years to a more progressive sound that did not wear the 80s as heavily on its sleeve.  Biff Byford and Paul Quinn serve as the only two original members, though their drummer has been with the band since their fourth album "Denim and Leather". The opening track upholds my suspicions as it does not find the band venturing past the sound of their 80s work. 

The first song that shows any other 89s fist pumping is the third song "Pilgrimage". The chords ring out in a manner similar to AC/DC's "Hell's Bells". Though I am not sure anyone would accuse these guys of being the most original band in the world.  While defending the faith and sticking to what works is an admirable trait, think of an album like "Painkiller" where Judas Priest did this but without remaining stuck in 1984, "Dambusters" almost sounds like a parody of 80's metal or a Deep Purple b-side. At 71 Byford is eight years older than Dickinson, his voice has held up pretty well. Though In the studio the same could be said of Rob Halford, yet Rob's voice shows the wear and tear of the years live. Despite the Priest like attack of the opening riff "Remember the Fallen" would be rock n roll if not for Byford's dramatic vocal stylings. The chorus is more like their "Innocence is No Excuse "era work where their sound became watered down as an attempt to go for a more commercial sound.  

"Super Nova" is more Preist style in its attack. Byford's falsetto highs are good for a man his age but layered as more of background affect rather than given the spotlight. Granted the metal yodel is a keystone of the 80s and not something embraced by metal today. The more melodic section the guitar solo erupts upon is pretty cool, but nothings really mind blowing and in term of technicality these guys do not come anywhere near what Maiden pulls off. "Lady in Gray" might show a side of the band that influenced Queensryche, but Geoff Tate and the boys did this better in their heyday. But for what this is "Lady in Gray" is one of the album's better songs, melodic passages while sticking to a chug out of 1987. 

"All For One" sounds like it could have come from a Fastaway album. Though the chorus is a little more upbeat than what they would have done. For cheesy might be another way to say it. Byford's voice does not have the same balls to it that Bruce's does. "Black is the Night" might have the heaviest riff on the album. Though the vocals kind drag it back into the realm of spandex. While this is impressive in terms of power, even one of the album's strongest moments seems rather regressive when compared to what Maiden does. Too many of the cooler riffs just seem like wasted landscape for guitar solos. The song title "Living Living on the Limit" says it all when it comes to the scope of originality to be found here. No wonder these guys were the inspiration for Spinal Tap. 

If you think about all the great artists, they never end where they begin The Beatles , David Bowie, Led Zeppelin all had careers that saw their sound grow, even metal bands like Sabbath, Maiden and Slayer all found their sound progress rather than allow themselves standing in one place, when Saxon changed the ebb and flow was more about watering down or solidifying something they did in one fixed era of time. I will give this album an 8.5 as they are great at encapsulating the 80s, but 24 albums later they should have a wider range than they show here. A lesson they should have learned back when they got dropped by their label in 1988. So if your tasted are still stunted in one period of time, you have already heard them do this before, but they are still great at being a one trick pony.           

Iron Maiden : "Senjutsu"

Here is the band's 17th album. They have a more consistent track record than any other metal band. With any Maiden album my first concern is What shape is Bruce's voice going to be in ? At 63 this is a fair question to ask, since for me it is a defining part of their sound. Bruce belts it out well on the title track that opens the album. The guitar has more teeth than what we have heard from the band in more recent albums.  The chorus is big and epic it's easy to hear how these guys are the god fathers of power metal. Though they have a great deal more balls than your average modern day power metal band. It is impressive here considering the fact Producer Kevin Shirley has also produced  Journey, Rush and Dream Theater. However Steve Harris co-produced it so I am sure he was actually running the show here.  The lost art of the guitar solo is well honed here. The guitar solos all tastefully serve a purpose in the melodic theme of the song.

One thing that does strike me as different is even on the Steve Harris written "Death of  the Celts" the bass is not hammering you with it's gallop. The folkish metal  that haunts the song takes you back to "Piece of Mind" era prog musings as well as reminds you Maiden was a huge influence on folk metal. This song embraces their classic song in a way we have not heard for a few albums.  Even in the more frolicking passages they still keep you very engaged. The gallop is back with "Stratego" which is everything I could want for in Iron Maiden. Are these Bruce's highest notes?  No, but he gets up higher than I expected from him at this stage in the game. 

Things get much more proggy with "the Parchment" . At twelve minutes and thirty nine seconds it is still shorter than "Rhyme of the Ancient Mariner" . The chugged riff at the two minute is hard not to head bang to. This might be the first song since Gers joined in 1990 that I have noticed all three guitarists playing distinct parts at the same time. Some I have always paid more attention to live. This song is a testament to the playing of all three guitarists as each of them shine.  When I first heard the lead single  "Writing on the Wall"  the bluesy tone struck me as more rock n roll than metal. My thoughts might not have changed on that part , but has grown on me more .

 There is a more trippy intro  to the more introspective beginning of "Hell on Earth". It is just the calm before the more triumphant gallop they are known kicks in. The guitar harmonies are still present they just do not feel the need to return to the 80s formula popular from songs like "The Trooper" . It is also not as hooky or anthemic in nature, but has their signature to it in a manner than does not feel recycled. If I had to pinpoint an era it has the most in common with I would say "7th Son.." There has never been a shortage of dynamics when it comes to these guys and this up holds that standard. "Lost in a Lost World" also ups the irons in a manner that could have come from 1988, but is not these guys punching the clock and coloring by the numbers. Midway in is another mandatory head banging riff sure to pump up arenas. "the Time Machine' has a certain brightness to is going to grow on me though there is a really killer riff leading into the solo section. 

If you do not know if you like Iron Maiden or not , then you must be 12 years old and are not reading this. If you clicked on this , then you know what you want from these guys and this album is going to give you that in a fresh way that does not feel like a band trying to recapture the glory days because they never left. There is never a moment that doesn't not click or gel with who they are. There is no real filler on this album, the first single is the weakest song on the album and that is a relative term as it is still better than anything another band trying to be them could do, and a solid song in it's own right even if it is not just what I showed up for,  so I will give this album a 10 any way as everything balances out in that regard.  If this is their last album it is a fine summary of their legacy.     

Coltre : "Under the Influence"

Following the tire tracks left by bands like Thin Lizzy and Rainbow, this British band has a rawer and more aggressive spirit to them. Perhaps not as dark as In Solitude who has more of a Mercyful Fate going, these guys are in the same sonic realm. The boldly belted vocals are more Diamond Head than King Diamond. There is also more of a gallop coming from these guys . They also employ the New Wave of British Heavy Metal sense of guitar harmonies without coming across as frolicking power metal. The vocals are boldy belted. "Crimson Killer" has more of a rock n roll swagger to it. They go more hell bent for leather in fist pumping granduer of "Fight". The guitars are the focus of the spot light most of the time here. The vocals are solid, but sit on the riffs rather than the riffs being fashioned to accomodate them. The first time the vocals get more thought put into them production wise is going into the second verse of this song.

The riffs might not be the most original things ever written in their devoation to the era of inspiration, they are however preformed with convincing attitude. I have not seen what these guys look like but I am expected their hair to be feathered. Things get heavier with the more intense proto thrash gallop of "Plague Doctor" which is lyrically timele. The way the vocals fall is more along the lines of early Metallica, which also falls back to the Diamond Head comparison I made earlier. He is not as angry and Hetfield. At over 9 minutes it is a rather ambitous piece guitar solo and all. Things stay very uptempo aside from the more melodic break down in the middle of the song.

They are splitting the difference between metal in the more traditional sense and rock n roll on the last song. Kids these days might not think this is metal at all as it takes you back to the late 70s early 80s when the definition was different. I did listen to lots of old Judas Priest as a kid and the riffs here owe a great deal to those days. Guitar solos take up the space where the vocals would fall in this one. It is more about a sound than being a song. I am not sure flashiness is the best justifacation for an instrumental, then there is Edgar Winter's "Frankenstein'. This is less about groove and thrashes along on cruise control. I am sure this is fun live. I will give this one an 8 and keep my ears open for where these guys go from here. This is being released on Dying Victim Productions July 31st.