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There wasn't exactly a fourth history re-release DVD to attach part four of the documentary to anyway. Don't think it's a huge mystery why it was never finished, they ran out of shit to put out. With physical media sales dwindling fast it's honestly a bit of a blessing we even got Maiden...

I really don't understand how anyone can stand Wasting Love. Incredibly annoying chorus melody, forgettable verses, and the whole product is even more cynical than From Here to Eternity in simply aping a popular rock staple with no original ideas. If it was made by any other band, nobody would...

I demand archive releases of shit like the AMOLAD live album that never was and the missing two cover takes from the album sessions if they're gonna retire.

WotW is easily the best-produced song on Senjutsu and no surprise, they actually re-recorded the guitars rather than using the live off the floor takes. It's so annoying because that's what they should've done all along, preserve the live rhythm section but redo the stuff on top like guitars and...

I think what killed this for a lot of bands was simple physical distance. Convening together to rehearse and livestream or record material would've been easy enough even in the middle of corona if everyone lives relatively close by. Not so easy when the whole band's spread out over the globe...

Powerslave was definitely there just for the hell of it though. There's no reason why they would've played it for another tour after its inclusion on TBOS.

I don't really need 22AA to return. At one point I really wanted it, but ultimately now that I'm aware of the Waldrock performance I've no real desire for a rerun but worse. There's no topping that one. Also after thinking about it: I'm almost tempted to say the same for Killers. We have a...

I dunno. I just noticed after it was pointed out that the vocal line is just yelling in key and the guitars solely seem to mostly just play notes rather than a riff or anything melodic. The middle part sort of gets there, but it's short and mostly copying the bassline so it barely counts. It's...

I genuinely have no idea what you're talking about, so either it wasn't me or I was really drunk when I said that.

I used to dislike RTTH, then I liked it, and now I dislike it again. Annoyingly simplistic melody, disco beat, blah. Similarly I enjoyed NOTB until somebody on Maidenfans mentioned that it's a completely unmelodic song and (thanks for that) now I really can't stand it either.

I think it's incredibly funny that we've gotten to the point where somebody vaguely alluding to playing with feel results in others getting upset at the notion, because it implies music isn't just notes on a paper.

I resigned myself to the possibility of yet another instance of Aces Low happening as soon as I realized there really aren't any other opener choices that would have the desired impact on casual audiences. Hearing it used alongside RTTH and NOTB in radio ads furthered this belief. The only thing...

Entirely unrelated but my one wish that there was one decently big name band that would be willing to play nothing but Dio-era Black Sabbath songs on the 5th of July this year. Maiden will not and cannot ever be it, but surely there's at least one act willing to commit to one last bit of...

Thank you for furnishing me with this information ChatGPT.

I've always called it a Pantera cover band, because it is. It's a little sad to see Anselmo's pet project probably making a decent sum out on tour when the actual heart and soul of the band have both died.

That was the most puzzling thing I've seen Bruce do in a while. It vexes me.

I was just listening to Ullevi earlier today and while WED wasn't that far into the set, I could certainly see why he wanted it to be the second song of the night for LOTB. That's a bitch of a song and even at his peak back in 2005, evidently it should've been the show opener since while he...

They had an intermission, I believe. It's also notable beyond its length for being the one Iron Maiden gig where Michael Kenney played keyboards on the stage throughout the show (so not just as a dressed-up setpiece for one section of one song like with SSOASS).

Not to mention personally meeting with regional managers or similar for their American record company way back in the day in anticipation of future success, thus guaranteeing full support and enthusiasm from that side for whatever the band was about to release next. Something many other managers...

I hope so, and yes. This is Maidenfans after all.