News Iron Maiden News, Links, and Interviews
- Thread starter Hottysmiff
- Start date
Murder of Rue Morgue
They're never gonna find me!
Next tour'll open with "Always Look at the Bright Side of Life" + "Wasted Years", "Murders in the Rue Morgue" will be the closer.
Poto
Ancient Mariner
Time to drop Adrian.
Aggelos
Ancient Mariner
Sacrilege!
The doctor doctor moment, is the closest thing you're ever gonna get to an orgasm without having sex.
Period. The End.
Yax
Ancient Mariner
We must find a way to relay this information to all the incels out there.
Kalata
Out of the Silent Planet
Gli Iron Maiden e l’arte di conquistare il pubblico | Rolling Stone Italia
Intervista ad Adrian Smith: dai concerti underground allo show di giugno a San Siro. E poi, i prezzi dei biglietti, il documentario ufficiale, l’identità difesa con tenacia. I fenomeni dell’heavy metal festeggiano 50 (+1) anni
www.rollingstone.it
New interview with Adrian.
Is there a possibility of a new Maiden album?
Not at the moment. There are no plans. We still record in a very old-school way, all in the same place at the same time. We'd have to spend months together, away from our families, and it's a costly process, even personally. Maybe in the future, but not now.
As long as people want to come see us, we'll continue.
about the documentary film: I think fans will discover something new. It's nice to have a document of those years, from 1980 to today. It's a good portrait of the band and pairs well with the book that came out a few months ago.
If Iron Maiden started today, would they have the same impact?
Steve Harris is a unique person, he has incredible determination and over time he's made some very painful choices, which from the outside might seem cynical, just to keep this going. And our manager Rod Smallwood is like that too. With that attitude, in any era, it would have been a success.
And then there's my project with Richie, which gives me a great break from the war machine that is Iron Maiden. I'm singing, playing something more connected to my blues roots. It's a nice balance. And I have time for my family. It wasn't always like this, but now it is. And that's important. Melody is timeless. We try to combine that melodic quality with something rougher, more bluesy. After two albums, we're finally finding our place. It's a nice balance for me, because I can do something different than Maiden.
Burning Ambition, a documentary about your adventure, will be released in theaters in May. How did it feel to revisit 50 years of history in one go?
It's not easy to watch yourself on screen. Many actors say they don't watch their own films, and I understand. But I managed to watch it all without feeling uncomfortable. It's fantastic. It's incredible to think about where it all started, and if you're a fan, it's wonderful to relive these 50 years with him and us.
Because they're part of the song structure that the audience knows. Think about The Trooper: people want to hear that solo like it's on record. It's an integral part of the song. In Maiden, the solos are quite short, usually 16 bars. There are no long improvisations. There's not much room to wander, because everything is very structured. With Richie Kotzen, with whom I've been playing for a few years when Maiden was on hiatus, however, it's completely different, and this allows me to express that part of my musicianship. With Smith/Kotzen, we improvise a lot more; the format is more bluesy, more open. You can extend the songs, change things up every night. It's a different approach, and it's something I really enjoy.
I never wanted to play just to prove something technically, I just wanted to write beautiful songs. To play with gusto, from the heart. That's always been my goal. I admire technical guitarists, of course, but I soon realized that it wasn't my path.
I think the key was the work we did at the beginning. I had just joined the band, I didn't participate in the first album, but I actively participated in that madness of five guys who would give their lives to achieve what they wanted. We played a lot, often in atrocious places. If we went on tour, we tried to go everywhere, a bit with the mentality that the Ramones might have had. You could still feel the spirit of punk in this. We did it for many years, even after the disproportionate success of The Number of the Beast. It's the hardest road, it's certainly not glamorous, but it's the best way to build an audience. People remember that you came to them when you were just starting out. They remember that you didn't ignore them, that you played in places where there wasn't even equipment or a bathroom. We won over our audience. It didn't happen overnight. And then we stayed true to ourselves. We didn't follow trends. I think people sense that. They feel it's authentic.
Steve Harris is a unique person, he has incredible determination and over time he's made some very painful choices, which from the outside might seem cynical, just to keep this going. And our manager Rod Smallwood is like that too. With that attitude, in any era, it would have been a success.
And then there's my project with Richie, which gives me a great break from the war machine that is Iron Maiden. I'm singing, playing something more connected to my blues roots. It's a nice balance. And I have time for my family. It wasn't always like this, but now it is. And that's important. Melody is timeless. We try to combine that melodic quality with something rougher, more bluesy. After two albums, we're finally finding our place. It's a nice balance for me, because I can do something different than Maiden.
Burning Ambition, a documentary about your adventure, will be released in theaters in May. How did it feel to revisit 50 years of history in one go?
It's not easy to watch yourself on screen. Many actors say they don't watch their own films, and I understand. But I managed to watch it all without feeling uncomfortable. It's fantastic. It's incredible to think about where it all started, and if you're a fan, it's wonderful to relive these 50 years with him and us.
Because they're part of the song structure that the audience knows. Think about The Trooper: people want to hear that solo like it's on record. It's an integral part of the song. In Maiden, the solos are quite short, usually 16 bars. There are no long improvisations. There's not much room to wander, because everything is very structured. With Richie Kotzen, with whom I've been playing for a few years when Maiden was on hiatus, however, it's completely different, and this allows me to express that part of my musicianship. With Smith/Kotzen, we improvise a lot more; the format is more bluesy, more open. You can extend the songs, change things up every night. It's a different approach, and it's something I really enjoy.
I never wanted to play just to prove something technically, I just wanted to write beautiful songs. To play with gusto, from the heart. That's always been my goal. I admire technical guitarists, of course, but I soon realized that it wasn't my path.
I think the key was the work we did at the beginning. I had just joined the band, I didn't participate in the first album, but I actively participated in that madness of five guys who would give their lives to achieve what they wanted. We played a lot, often in atrocious places. If we went on tour, we tried to go everywhere, a bit with the mentality that the Ramones might have had. You could still feel the spirit of punk in this. We did it for many years, even after the disproportionate success of The Number of the Beast. It's the hardest road, it's certainly not glamorous, but it's the best way to build an audience. People remember that you came to them when you were just starting out. They remember that you didn't ignore them, that you played in places where there wasn't even equipment or a bathroom. We won over our audience. It didn't happen overnight. And then we stayed true to ourselves. We didn't follow trends. I think people sense that. They feel it's authentic.
We know they work in secret, but such an answer is so disappointing and like not serious. But Maiden to continue without new music... they don't want to be a cabaret act, right! I never thought there would come a time when Maiden members (except Bruce, kudos to him) wouldn't be motivated by new music, even after doing it for so long. The solo stuff is easier for them now, less pressure. At least Adrian talks about the future.
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Gli Iron Maiden e l’arte di conquistare il pubblico | Rolling Stone Italia
Intervista ad Adrian Smith: dai concerti underground allo show di giugno a San Siro. E poi, i prezzi dei biglietti, il documentario ufficiale, l’identità difesa con tenacia. I fenomeni dell’heavy metal festeggiano 50 (+1) anni
New interview with Adrian.
Is there a possibility of a new Maiden album?
Not at the moment. There are no plans. We still record in a very old-school way, all in the same place at the same time. We'd have to spend months together, away from our families, and it's a costly process, even personally. Maybe in the future, but not now.
As long as people want to come see us, we'll continue.
about the documentary film: I think fans will discover something new. It's nice to have a document of those years, from 1980 to today. It's a good portrait of the band and pairs well with the book that came out a few months ago.
If Iron Maiden started today, would they have the same impact?
Steve Harris is a unique person, he has incredible determination and over time he's made some very painful choices, which from the outside might seem cynical, just to keep this going. And our manager Rod Smallwood is like that too. With that attitude, in any era, it would have been a success.
And then there's my project with Richie, which gives me a great break from the war machine that is Iron Maiden. I'm singing, playing something more connected to my blues roots. It's a nice balance. And I have time for my family. It wasn't always like this, but now it is. And that's important. Melody is timeless. We try to combine that melodic quality with something rougher, more bluesy. After two albums, we're finally finding our place. It's a nice balance for me, because I can do something different than Maiden.
Burning Ambition, a documentary about your adventure, will be released in theaters in May. How did it feel to revisit 50 years of history in one go?
It's not easy to watch yourself on screen. Many actors say they don't watch their own films, and I understand. But I managed to watch it all without feeling uncomfortable. It's fantastic. It's incredible to think about where it all started, and if you're a fan, it's wonderful to relive these 50 years with him and us.
Because they're part of the song structure that the audience knows. Think about The Trooper: people want to hear that solo like it's on record. It's an integral part of the song. In Maiden, the solos are quite short, usually 16 bars. There are no long improvisations. There's not much room to wander, because everything is very structured. With Richie Kotzen, with whom I've been playing for a few years when Maiden was on hiatus, however, it's completely different, and this allows me to express that part of my musicianship. With Smith/Kotzen, we improvise a lot more; the format is more bluesy, more open. You can extend the songs, change things up every night. It's a different approach, and it's something I really enjoy.
I never wanted to play just to prove something technically, I just wanted to write beautiful songs. To play with gusto, from the heart. That's always been my goal. I admire technical guitarists, of course, but I soon realized that it wasn't my path.
I think the key was the work we did at the beginning. I had just joined the band, I didn't participate in the first album, but I actively participated in that madness of five guys who would give their lives to achieve what they wanted. We played a lot, often in atrocious places. If we went on tour, we tried to go everywhere, a bit with the mentality that the Ramones might have had. You could still feel the spirit of punk in this. We did it for many years, even after the disproportionate success of The Number of the Beast. It's the hardest road, it's certainly not glamorous, but it's the best way to build an audience. People remember that you came to them when you were just starting out. They remember that you didn't ignore them, that you played in places where there wasn't even equipment or a bathroom. We won over our audience. It didn't happen overnight. And then we stayed true to ourselves. We didn't follow trends. I think people sense that. They feel it's authentic.
We know they work in secret, but such an answer is disappointing. But Maiden to continue without new music...
Those seem strong reasons why a new album would not be a priority for the band, but the reasons are undermined by the fact that half the band are finding the time to make solo albums.
Also, I guess writing and rehearsing new material on the road is an alien idea for them.
And likewise, the idea of recording just one or two tracks for a ‘single’ release or EP is also something they would not consider.
A few legacy acts have adapted to the idea of EPs and single releases in place of albums, but seemingly Maiden will not do so.
Cat Milk Supreme
Ancient Mariner
Yah, it could well be that recording with their solo projects is more fun than recording with Maiden. Maybe writing and recording for Maiden is a bit more intense and they have to conform to a certain extent.
Poto
Ancient Mariner
Bruce and Adrian at least. British Lion's last album was released in 2020.
Trevoire
Ancient Mariner
Hopefully these are some poor excuses intended to not spill the beans, otherwise we're finally hitting the cabaret era of Maiden.
They have to spend months together to make an album?
But somehow spending months on the road is totally different and not a problem.
They miss their families?
Bring them to Paris for a holiday. It's not like they all need to go work their 9-5 to pay the bills.
It's a costly process?
The band (minus Simon) are all millionaires. The money doesn't come out of their own pockets, it's a business expense.
Maybe they're all bored after doing it for so long, it seems like no one except Bruce can be bothered to do anything outside of playing the hits.
They have to spend months together to make an album?
But somehow spending months on the road is totally different and not a problem.
They miss their families?
Bring them to Paris for a holiday. It's not like they all need to go work their 9-5 to pay the bills.
It's a costly process?
The band (minus Simon) are all millionaires. The money doesn't come out of their own pockets, it's a business expense.
Maybe they're all bored after doing it for so long, it seems like no one except Bruce can be bothered to do anything outside of playing the hits.
It's good that you summarize it that way.
I was wondering why I didn't understand these reasons. It's actually more pleasant to be in one place for a while while recording. It's a bit like spending a few months in your vacation home, which, as we all know, many people enjoy doing.
I was wondering why I didn't understand these reasons. It's actually more pleasant to be in one place for a while while recording. It's a bit like spending a few months in your vacation home, which, as we all know, many people enjoy doing.
GhostofCain
Ancient Mariner
I wholeheartedly agree mate!
matic22
Ancient Mariner
TO be honest, I have a feeling that Steve isn't as driven as he used to be with Maiden. I don't know why. And some interviews since TBOS indicate that. I think something changed back then with the passing of some of his close friends.
MrK
clap hands
The guy is turning 70 years old next week and has led his band to two magnificent eras of stadium-filling success. I wouldn't be as driven, either. What more does he have to prove?
Azas
Fluffy
Hmm, if that’s true, then maybe Steve has entered ‘seize the day’ mode. Maybe he sees no point in stressing out for several months while putting together a new Maiden album. It might be better to enjoy life—and make some more money along the way.