DJMayes' Complete Ranking Of Maiden Songs
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Collin
Chasing Ponce De Leon's Phantoms
I'm proud of you.
The Flash
Dennis Wilcock did 9/11
Reading this list makes me realize I have no damn clue about my rankings anymore. It's been years since I've done one. (Are you happy @CriedWhenBrucieLeft)
CriedWhenBrucieLeft
Meme Only Account
Am I happy you aren't also doing a Maiden bottom to top ranking thread?
Or are you just asking, generally, if I'm happy? Thanks for asking if you were.
The Flash
Dennis Wilcock did 9/11
Am I happy you aren't also doing a Maiden bottom to top ranking thread?
No I remember you being pretty adamant about the redundancy of making lists.
CriedWhenBrucieLeft
Meme Only Account
Oh, yeh, I still fucking hate lists; but at least this is a list with commentary. Funnily enough, I'm always making lists myself; in notebooks, in word files, on scraps of paper...No I remember you being pretty adamant about the redundancy of making lists.
I remember a few years back there were, like, four or five people posting their own ranking (with commentary) at the same time. Jesus, that was fucking annoying. Please would no one start one of these until DJMayes has finished his. Thanks, Cried.
DJMayes
Ancient Mariner
Disappointingly few takers on the top 25 guesses so far. The list marches on, but I am doubtful that these 5 were going to feature on lists anyhow. Indeed, tonight we come face to face with a song that's been mysteriously missing up until now...
#100 - 96:
100 - The Assassin
To start off with, here's a song I have a real soft spot for. Like much of No Prayer, I don't think the writing on this song is top notch, but I think it's really fun nonetheless.
After the Fugitive style intro, we get into the verses. These are just spooky enough - especially when the guitar riff comes in - that I think it works. It suits the song.
Of course, the chorus doesn't really suit it as much. It's silly and completely at odds with the atmosphere I think the verses build up, but it's fun. I choose to embrace the silliness, and perhaps enhance it with the "Better watch out...'cause I'm feelin' sassy" mishearing someone posted on the thread.
The first solo is decent, and I think the second is pretty good. I still think the song perhaps picks up when it gets back to that wonderful verse. This all said, perhaps I have a different mental picture of an assassin to the author, but I always find the "you can kiss your ass goodbye" lyric hilarious. It's probably that contrast with the verses again.
99 - Transylvania
Transylvania is the exception to my general disdain for Maiden instrumentals, because it falls more in line with the instrumentals I like - that is, it has a clear musical theme rather than being a collection of fun musical moments stuck together. The glue is the section beginning at 0:51 and again around 1:20. This really makes Transylvania feel like a song, and so when the song lets loose around 2 minutes in, it feels much better for it. And boy, the song does let loose, with some wonderful soloing and riffing that still fits in with the song beforehand.
This song doesn't have the standout moment that Genghis Khan does, but it makes up for it by being much more cohesive as an instrumental. This said, Iron Maiden vs Killers seems to boil down to this almost in its entirety.
98 - Stranger In A Strange Land
Stranger In A Strange Land is a great song that I think deserves the accolades it gets. Nonetheless, it doesn't sit quite as easily with me as much of the rest of the album. Part of this is down to the pacing, with the nearest song to it off the top of my head being the much, much stronger Flight of Icarus. The verses have some interesting stuff going on, particularly the bass in the second verse and final pre-chorus, but the chorus is not one I've gotten into the same degree as much of the rest of the album. The pre-solo instrumental is similar - alright, but not one I'd write home about - but I do think the solo itself is pretty good.
The fade-out at the end is an interesting touch, and I do think that of the songs to include it on, this song feels appropriate. Nonetheless, I don't think a fade-out ending is a sufficient USP for a song.
97 - The Apparition
This is the most maligned song on this forum and certainly on this thread. I am aware that most people expected this to appear quite a while ago - and until nearly a year ago, so would I. My job is to try explain this change of heart to you. I'm not banking on changing many opinions on this song but there we go.
For me, this song didn't click when I was actively paying attention to it, and trying to find some good in what I thought was a worthless song. It wasn't until it had played a couple of times completely in the background that the groove of the song actually clicked - but when it did, I found myself enjoying it much more than I thought I ever would.
This groove is a difficult one to describe, but it's present from the start throughout pretty much the whole of the song. I remember reading a technical description of it in the thread, but can't quote it. Either way, given lyrics I'm ambivalent about, the music gets me through to 1:22 where the song shifts - but that groove is still there. The solos, starting around 1:40, are ones I actually think are really good. The second in particular is really strong.
The second set of verses are pretty much the same description as the first. If you can bring yourself to enjoy the verse, the whole song gets a lot better. If not, I don't think there's anything in this verse that makes it stand above the first.
96 - Man on the Edge
When I first listened to X Factor, it felt very promising. Part of this was the strong beginning trio, of which this is a part. This song has a really good energy from the beginning, with a fun and fast verse, even if there's not a lot going on it. I love the bass transition to the chorus, which is decent and one of the better ones on the album.
The solos are again brimming with energy. I feel there's a general trend for the final solo in a song to be the fastest, and is often why I find myself saying that I prefer the latter stages of various solos.
#100 - 96:
100 - The Assassin
To start off with, here's a song I have a real soft spot for. Like much of No Prayer, I don't think the writing on this song is top notch, but I think it's really fun nonetheless.
After the Fugitive style intro, we get into the verses. These are just spooky enough - especially when the guitar riff comes in - that I think it works. It suits the song.
Of course, the chorus doesn't really suit it as much. It's silly and completely at odds with the atmosphere I think the verses build up, but it's fun. I choose to embrace the silliness, and perhaps enhance it with the "Better watch out...'cause I'm feelin' sassy" mishearing someone posted on the thread.
The first solo is decent, and I think the second is pretty good. I still think the song perhaps picks up when it gets back to that wonderful verse. This all said, perhaps I have a different mental picture of an assassin to the author, but I always find the "you can kiss your ass goodbye" lyric hilarious. It's probably that contrast with the verses again.
99 - Transylvania
Transylvania is the exception to my general disdain for Maiden instrumentals, because it falls more in line with the instrumentals I like - that is, it has a clear musical theme rather than being a collection of fun musical moments stuck together. The glue is the section beginning at 0:51 and again around 1:20. This really makes Transylvania feel like a song, and so when the song lets loose around 2 minutes in, it feels much better for it. And boy, the song does let loose, with some wonderful soloing and riffing that still fits in with the song beforehand.
This song doesn't have the standout moment that Genghis Khan does, but it makes up for it by being much more cohesive as an instrumental. This said, Iron Maiden vs Killers seems to boil down to this almost in its entirety.
98 - Stranger In A Strange Land
Stranger In A Strange Land is a great song that I think deserves the accolades it gets. Nonetheless, it doesn't sit quite as easily with me as much of the rest of the album. Part of this is down to the pacing, with the nearest song to it off the top of my head being the much, much stronger Flight of Icarus. The verses have some interesting stuff going on, particularly the bass in the second verse and final pre-chorus, but the chorus is not one I've gotten into the same degree as much of the rest of the album. The pre-solo instrumental is similar - alright, but not one I'd write home about - but I do think the solo itself is pretty good.
The fade-out at the end is an interesting touch, and I do think that of the songs to include it on, this song feels appropriate. Nonetheless, I don't think a fade-out ending is a sufficient USP for a song.
97 - The Apparition
This is the most maligned song on this forum and certainly on this thread. I am aware that most people expected this to appear quite a while ago - and until nearly a year ago, so would I. My job is to try explain this change of heart to you. I'm not banking on changing many opinions on this song but there we go.
For me, this song didn't click when I was actively paying attention to it, and trying to find some good in what I thought was a worthless song. It wasn't until it had played a couple of times completely in the background that the groove of the song actually clicked - but when it did, I found myself enjoying it much more than I thought I ever would.
This groove is a difficult one to describe, but it's present from the start throughout pretty much the whole of the song. I remember reading a technical description of it in the thread, but can't quote it. Either way, given lyrics I'm ambivalent about, the music gets me through to 1:22 where the song shifts - but that groove is still there. The solos, starting around 1:40, are ones I actually think are really good. The second in particular is really strong.
The second set of verses are pretty much the same description as the first. If you can bring yourself to enjoy the verse, the whole song gets a lot better. If not, I don't think there's anything in this verse that makes it stand above the first.
96 - Man on the Edge
When I first listened to X Factor, it felt very promising. Part of this was the strong beginning trio, of which this is a part. This song has a really good energy from the beginning, with a fun and fast verse, even if there's not a lot going on it. I love the bass transition to the chorus, which is decent and one of the better ones on the album.
The solos are again brimming with energy. I feel there's a general trend for the final solo in a song to be the fastest, and is often why I find myself saying that I prefer the latter stages of various solos.
CriedWhenBrucieLeft
Meme Only Account
SixesAlltheway
Ancient Mariner
CriedWhenBrucieLeft
Meme Only Account
Wait, all those songs have already been listed as outside the top 100?!
Black Bart
Ancient Mariner
Not "SIASL" (n°98). However, although I believe it is a good single and that the instrumental part is great, I think it instantly kills the mood live (judging from several live recordings from Somewhere on Tour and Ed Huntour). Besides, the fade-out is further detrimental to the song.Wait, all those songs have already been listed as outside the top 100?!
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Forostar
Ancient Mariner
It's not easy. I suspects lots from SIT, BOS and DOD... not sure yet about the songs.
@DJMayes I appreciate how you find (and tell us) so many good things about songs that are not high in your list. You're critical about the (for you) less interesting moments, but the negativity never dominates much. This doesn't happen that often out here. You are probably a broad Maiden fan, in a sense that you are able to appreciate more of the good than being put off by the "bad", from about every era. This is a strong foundation and it can only get better and better. I esteem that in some years you might get more used to Maiden's more complex/unusual (less straightforward/accessible) side. I could be wrong but I don't feel you dislike that side. Your words give me the idea that it's still a bit of an unknown side, that doesn't click as instantly as the stuff you like the most, at this point.
DJMayes' album order of first appearance
01) No Prayer for the Dying (least favourite song: Mother Russia, 160)
02) The X-Factor (least favourite song: Blood on the World's Hands, 159)
03) Powerslave (least favourite song: The Duellists, 158)
04) The Number of the Beast (least favourite song: Gangland, 156)
05) Brave New World (least favourite song: The Nomad, 154)
06) Killers (least favourite song: Innocent Exile, 150)
07) Piece of Mind (least favourite song: Quest for Fire, 149)
08) Seventh Son of a Seventh Son (least favourite song: The Prophecy, 148)
09) Iron Maiden (least favourite song: Running Free, 146)
10) The Final Frontier (least favourite song: Isle of Avalon, 143)
11) Fear of the Dark (least favourite song: Fear is the Key, 139)
12) A Matter of Life and Death (least favourite song: The Legacy, 136)
13) Virtual XI (least favourite song: Como Estais Amigos, 127)
14) Dance of Death (least favourite song: New Frontier, 125)
15) Somewhere in Time (least favourite song: Alexander the Great, 104)
16) The Book of Souls (least favourite song: The Man of Sorrows, 102)
There are no full albums in the top 100 of DJMayes complete ranking of Maiden songs.
There are no full albums outside this top 100.
DJMayes' non-album song order of appearance
01) Invasion, 153
02) Virus, 151
03) Burning Ambition, 135
04) I Live My Way, 132
05) Justice of the Peace, 124
06) Judgement Day, 114
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DJMayes
Ancient Mariner
Thanks for this. I don't think I particularly dislike the less accessible side either - more that I don't immediately think that more technical=better, a problem that is exacerbated when I try listening to really progressive stuff. I don't think technicality should get in the way of songwriting, which is why Dream Theater is probably the only progressive band I really enjoy listening to - and why I like some of their simpler stuff, like their new album and their ballads, as much as any of their other work.
In any event, I've been a bit lax on the list in the past few days. Let's jump back in, with...
#95 - 91:
95 - Still Life
Is that a burp? If so, who did it? Was it Nicko? I bet it was Nicko.
Still Life, for me, represents the cut-off point for the Piece of Mind album - the front half of it is incredibly strong, and the second half doesn't quite match that for me.
This is still a good song though. The initial intro always gives me To Tame A Land vibes, though the initial verse is closer to a ballad style until the full band kicks in. The chorus for this song is interesting. For a while, I wasn't a fan - I found it quite piercing on the ears, to be honest. I've got over this since though, and think it's quite an enjoyable one, followed by a nice solo. Very abrupt ending though.
94 - Journeyman
Journeyman isn't the strongest closer on an album that I can think of, but it makes up for that by being a really interesting one.
The tone of this song is weird - Prodigal Son is probably the closest thing to it, but still not quite there. The background (synth? not sure) works really well, and matches the acoustic guitars wonderfully. For such a titan of heavy metal, Bruce really works here too.
Given that this song is relatively "stripped down", I think it's impressive that the song doesn't feel too samey. In large part this is due to the synth, which sets up wonderful different moods during the verses and choruses which the acoustic guitar probably couldn't manage on its own.
Whilst there isn't a solo as such, I think the instrumental section works very nicely.
I also love the electric version of this song from the No More Lies EP, but felt I should rate the version from the studio album. I haven't listened to the electric version enough to place it but I don't think it would be much higher - whilst on the whole I prefer electric songs I do think this song works really well as an acoustic one. In general I like the alternate versions from the Dance of Death period though - especially the orchestral versions of the title track and Paschendale.
93 - Out Of The Shadows
I've always thought this one was an underrated gem. The intro is simple but memorable, and we get straight into a nice, ballady style verse, underscored by some nice guitar licks. Combined with the strong chorus, this song feels quite reminiscent of Wasting Love. We get the guitar licks as well under the chorus, a nice touch that stops it from getting stale.
The solo into another chorus is an idea I like when it's pulled off - I remember it also from Shadows of the Valley. The repeat of the intro refrain (at 3:30) works really nicely (in fact, it's slight muting works better than at the start, in my opinion). A stronger solo to follow would have worked well here, but as it is this is still an enjoyable song that I feel always gets left out of the conversation about aMoLaD.
92 - Sanctuary
Perhaps it is a bargain bin Breaking the Law, but whilst Sanctuary isn't that good this is still a great song and I understand why it's such a live hit. The intro riff is killer, and whilst I don't really rate the verses the chorus is a great melody to sing along, even if it's a little short for my tastes.
The short, sharp solos on this are really enjoyable. Don't get me wrong, I like extended solo sections as well, but this is a good length for live playing, as I'm aware people leave during e.g. Seventh Son of a Seventh Son. The really short outro solo works fantastically as well.
91 - Be Quick Or Be Dead
Be Quick Or Be Dead is actually the one song from Fear of the Dark I feel I consistently underrate compared to the rest of the forums. To clarify that, I think most people view this as one of the top three songs on the album alongside the title track and Afraid to Shoot Strangers, and in many cases as one of the few good tracks there. I don't think this song is a standout part of the album, but I certainly think that it's an enjoyable opener, a strong song in and of itself and capable of standing up to their material from any other era.
The opening riff to this song hits you like a truck, as does Bruce's short scream. Whilst I like Bruce at the start, it doesn't last long because Bruce does some stuff on this song I don't really like. In particular, this feels like his raspiest song, with several sections (1:32) where he sounds like he's retching. Indeed, the vocals for this song (beyond "see who pulls the strings") are the limiting factor, because the music is wonderful.
bornless1
Messiah Supreme. True Leader of Men.
I would have still life like 90 slots higher. And out of the shadows about 85 higher. But the others are spot on. OOTS is a beautiful and certainly overlooked little tune. And Still Life is POM in a nutshell: dark and macabre and has a killer build up. Was my # 1 for years.
Forostar
Ancient Mariner
You're welcome. I didn't (purely) mean technicality. Songs with more variation, and especially unexpected, less predictable parts (sudden changes).
StormTheTrooper
Running to the Hills
DJMayes is, so far, mixing relatively well the more prog-technical songs with the simpler-short rocks. In the end, every Maiden analysis will be subjective (if a guy likes TAATG chorus, it's his ears in the end), but i can't see a pattern nealing to more simple or more complex songs.
The forum tends to prefer more progressive songs, whatever it's fast paced or slow paced, as far as i could see. For myself, i don't have problem with more proggressive songs, as long as they are heavy. That's why I like The Red and the Black and don't like Starblind so much.
Point is: Music lists, politics and sports will always lift questions. We must be good persons and argue a lot, because this is what's internet about
The forum tends to prefer more progressive songs, whatever it's fast paced or slow paced, as far as i could see. For myself, i don't have problem with more proggressive songs, as long as they are heavy. That's why I like The Red and the Black and don't like Starblind so much.
Point is: Music lists, politics and sports will always lift questions. We must be good persons and argue a lot, because this is what's internet about
DJMayes
Ancient Mariner
I'm going to catch up on the past couple of days by posting another set of 5 songs tonight.
#90 - 86:
90 - Heaven Can Wait
Heaven Can Wait is an interesting song. I don't think it's close to the best song Somewhere In Time has to offer - yet I can understand why, after Wasted Years, it's the next most popular.
I enjoy most of Maiden's upbeat work, and this is no exception. This doesn't apply as much to the verses, but the chorus is upbeat and fun to sing along to even if it can get repetitive quickly. Still, the main body of the song isn't what has carried this song so far forward. It's the bridge and the "Whoa-oa" section that does that. It's one of the better ones in my opinion, in large part due to the variation within it, and the build up in the synth behind it as it goes along. And this works wonderfully live in every rendition I've seen. The solo is another fantastic part - with my highlight being the section around 5:00 in.
89 - Speed Of Light
I admit to not initially being enthused with this song. Indeed, it wasn't until hearing it after If Eternity Should Fail that it clicked. This is a song that really benefits from its placing on the album, and has grown on me a lot since then.
I hear a lot of discussion about the retro feeling for this song, and I agree. It's not just the main riff either, with the cowbells having that sort of effect. The verses work well with a lot of musical variation in them compared to others. The chorus is a definite grower. I initially didn't rate it but it has a way of catching in the brain and not letting go.
The solo section is decent. I think it's possibly the tone of some of the solos on this album, but there are few that I think are really, really good. That's a minor complaint when the music is this good though.
Massive shoutouts to both the physics pun and the wonderful music video.
88 - Out Of The Silent Planet
Out Of The Silent Planet is an odd choice for a single in my opinion, and I've always felt The Fallen Angel would have been a more natural choice, but I like it nonetheless. The intro is somewhat odd, but I can dig the repetition of the title when it's got guitars this cool going on beneath. The verses are great, with some great guitarwork underneath. The chorus is solid too - the vocal backing is noticeable, but I think it works here to inject an interesting tone here. The introduction of some guitar licks to the gallop does wonders to make it more interesting too.
I don't think the transition from the second chorus to the instrumental bridge is the smoothest, but the transition from that into the solos works wonderfully. The more relaxed solo section is an interesting contrast to the rest of the song, but again I think it works well enough here. The added bass crunch underneath the final repetitions of the chorus is a nice finishing touch as well.
87 - Chains Of Misery
Here comes another song I like much more than the majority of people. Chains of Misery would perhaps feel more appropriate on a hard rock album than a Maiden album but I really enjoy when they do songs like this. It's the band going out of their genre and doing something I still like more than many of the standout hits of the genre they adopt.
The verses aren't the most interesting here, the pre-chorus section aside, but I adore the chorus. It's incredibly catchy, and the AC/DC style gang vocals really work. The first, slowed down solo (albeit with vocals) is really enjoyable, though I think the second solo it transitions into isn't among their best.
86 - The Longest Day
The Longest Day is, in places, perhaps the most wonderfully atmospheric song the band have written. Quite simply, the verses are superbly written, with a real sense of desperation evident in the music.
It's a shame then, that I've never thought the chorus matched up to it. Whilst the sudden shift in the pre-chorus works to some degree, I feel like the atmosphere is gone by the time we get to the chorus, which even in and of itself isn't a particularly great one.
Lest I sound overly negative about this song, I'm going to skip straight to 4:30. The instrumental section of this song is one I've always liked. The bridge is not the most interesting, but it leads into a solo that I think works really well for this song. 5:50 is the magic moment though. This stripped down section is my favourite part of the song, which is no mean feat when the verses are so good. I find it difficult to verbalise precisely why I like it so much, because I'm not sure it's even interesting on a musical level. But damn does it work here.
#90 - 86:
90 - Heaven Can Wait
Heaven Can Wait is an interesting song. I don't think it's close to the best song Somewhere In Time has to offer - yet I can understand why, after Wasted Years, it's the next most popular.
I enjoy most of Maiden's upbeat work, and this is no exception. This doesn't apply as much to the verses, but the chorus is upbeat and fun to sing along to even if it can get repetitive quickly. Still, the main body of the song isn't what has carried this song so far forward. It's the bridge and the "Whoa-oa" section that does that. It's one of the better ones in my opinion, in large part due to the variation within it, and the build up in the synth behind it as it goes along. And this works wonderfully live in every rendition I've seen. The solo is another fantastic part - with my highlight being the section around 5:00 in.
89 - Speed Of Light
I admit to not initially being enthused with this song. Indeed, it wasn't until hearing it after If Eternity Should Fail that it clicked. This is a song that really benefits from its placing on the album, and has grown on me a lot since then.
I hear a lot of discussion about the retro feeling for this song, and I agree. It's not just the main riff either, with the cowbells having that sort of effect. The verses work well with a lot of musical variation in them compared to others. The chorus is a definite grower. I initially didn't rate it but it has a way of catching in the brain and not letting go.
The solo section is decent. I think it's possibly the tone of some of the solos on this album, but there are few that I think are really, really good. That's a minor complaint when the music is this good though.
Massive shoutouts to both the physics pun and the wonderful music video.
88 - Out Of The Silent Planet
Out Of The Silent Planet is an odd choice for a single in my opinion, and I've always felt The Fallen Angel would have been a more natural choice, but I like it nonetheless. The intro is somewhat odd, but I can dig the repetition of the title when it's got guitars this cool going on beneath. The verses are great, with some great guitarwork underneath. The chorus is solid too - the vocal backing is noticeable, but I think it works here to inject an interesting tone here. The introduction of some guitar licks to the gallop does wonders to make it more interesting too.
I don't think the transition from the second chorus to the instrumental bridge is the smoothest, but the transition from that into the solos works wonderfully. The more relaxed solo section is an interesting contrast to the rest of the song, but again I think it works well enough here. The added bass crunch underneath the final repetitions of the chorus is a nice finishing touch as well.
87 - Chains Of Misery
Here comes another song I like much more than the majority of people. Chains of Misery would perhaps feel more appropriate on a hard rock album than a Maiden album but I really enjoy when they do songs like this. It's the band going out of their genre and doing something I still like more than many of the standout hits of the genre they adopt.
The verses aren't the most interesting here, the pre-chorus section aside, but I adore the chorus. It's incredibly catchy, and the AC/DC style gang vocals really work. The first, slowed down solo (albeit with vocals) is really enjoyable, though I think the second solo it transitions into isn't among their best.
86 - The Longest Day
The Longest Day is, in places, perhaps the most wonderfully atmospheric song the band have written. Quite simply, the verses are superbly written, with a real sense of desperation evident in the music.
It's a shame then, that I've never thought the chorus matched up to it. Whilst the sudden shift in the pre-chorus works to some degree, I feel like the atmosphere is gone by the time we get to the chorus, which even in and of itself isn't a particularly great one.
Lest I sound overly negative about this song, I'm going to skip straight to 4:30. The instrumental section of this song is one I've always liked. The bridge is not the most interesting, but it leads into a solo that I think works really well for this song. 5:50 is the magic moment though. This stripped down section is my favourite part of the song, which is no mean feat when the verses are so good. I find it difficult to verbalise precisely why I like it so much, because I'm not sure it's even interesting on a musical level. But damn does it work here.
Black Bart
Ancient Mariner
I like it a lot too. The only thing that bugs me is when the chorus resumes, after the instrumental section: it really seems the drums slow down dramatically and at the same time, it doesn't sound as if it was really intended. This tempo slip is particularly surprising from Nicko's part (just focus on the tempo from, say, 2'30 to 2'50).
So, mistake or not?