CA Bryers
Ancient Mariner
I do wonder if Bruce was thinking ahead when he started talking about using his touring band to record future album(s), if he figured his working relationship with Roy was over by the time the tour was about to start.
He may have started talking about this before Roy left the tour, but my memory's not that good.
TaaviMaiden
Educated Fool
No, Bruce didn't say that before his tour started. Maybe he still believed for a while that everything would turn out all right.
Perhaps even Leana wanted to help. Remember how she tried to reach Roy on Facebook.
Although that would have been a strange way to go about it.
Perhaps even Leana wanted to help. Remember how she tried to reach Roy on Facebook.
Although that would have been a strange way to go about it.
Kalata
Out of the Silent Planet
"All had this feeling that it was something really momentous": Bruce Dickinson looks back on his solo albums and forward to Iron Maiden's big year
Bruce Dickinson reveals the solo album that should've been better and the song Iron Maiden play while he enjoys a cup of tea
New interview with Bruce.
Classic Rock described The Mandrake Project as “a grandiose vision”. Did the album turn out exactly how you’d envisaged, and were you surprised by the overwhelmingly positive reaction to it?
In sequence, no and yes! It didn’t turn out the way I thought. It was a constant work in progress. Rather than being a grand design, the album just sort of unfolded, because it was done in dribs and drabs from 2013 and even before that. There are elements of that album that go back twenty years! So if ever there was a work that was brewing in your subconscious that you never knew you were making, that was it. And when we’d finally done it, we were pinching ourselves going: “What have we done?” It was just a weird feeling I had – like when Maiden did The Number Of The Beast! We – my solo band – all had this feeling that it was something really momentous. And obviously it’s not going to be as momentous as The Number Of The Beast. Nothing ever will be. But there was that same sort of feeling that this was something really special.
And then, lo and behold, it comes out and everybody got it. Well, maybe one or two people didn’t get it, but they didn’t tell me. So yeah, it exceeded all my wildest expectations. And it’s great for going forward into doing another album, but at the same time I’m just trying not to think about any pressure.
The thing is, outside of Maiden this is my dream band. And I had the stage layout totally different to Maiden.
It must be satisfying to have this solo project accepted on its own merits.
Exactly. And I tried to do that with Balls To Picasso. But that album was weaker than it should have been. And not only that, the timing of it was crap. You’ve just walked out of everybody’s favourite heavy metal band on the planet, and then you ask people to listen to an album that’s really very different. People just found it unpalatable.
Speaking of Balls To Picasso, you’ve been working on a new version of that record.
We’re remixing my whole solo catalogue. I’ve done seven solo albums, half as many as I’ve done with Maiden, which seems kind of bonkers, really. With all the new technology, you can beef things up, and Balls To Picasso is the one we’ve done the most with. We’ve added more guitars, more keyboards, orchestration.
And the horn section on Shoot All The Clowns – wow! We found these guys, they’re Berklee music professors who happen to be trumpet and trombone maestros and also happen to be fans. With Shoot All The Clowns they said: “Can we just go to town and do the full Aerosmith on this horn section?” I went: “Good idea, boys!”
And oh my god, it rocks! All of this stuff brings out the colours of the songs so much more. So we’re going to retitle it More Balls To Picasso, just to differentiate it. That’ll be the first one to come out, next August. After that it will be Skunkworks and Tattooed Millionaire, then Accident Of Birth, and also Chemical Wedding which will have a few tracks that didn’t end up on the original record.
There’s one song from Senjutsu which is in pole position for people taking a trip to the loo – which they don’t – and that’s Death Of The Celts. It’s a long song, ten minutes, with a lengthy instrumental part that’s five minutes and twenty seconds. I know that because that’s how long I’ve got to have a cup of tea in the middle. You get to the end of that song and you look at the audience and you’re like: “Shit, we didn’t lose them, right? They are with us! They are paying close attention.” That’s when you know you’ve really got something.
Somewhere In Time is almost forty years old. The songs from it have aged well.
Absolutely! And to put that album front and centre is great. Somewhere In Time was not exactly forgotten as an album, but somehow it always seemed to live in the shadow of what came before it – the Holy Trinity of The Number Of The Beast, Piece Of Mind and Powerslave – and what came after it, Seventh Son Of A Seventh Son. But there are some cracking songs on Somewhere In Time. I fucking love Stranger In A Strange Land, it’s got such a great groove.
Looking ahead to this year, Iron Maiden will be celebrating their 50th anniversary with the Run For Your Lives tour, performing songs from the debut album all the way up to Fear Of The Dark.
You want the greatest hits, right? Well, we can’t do them all, because we’re going to stop at a certain album. It’s the greatest hits up till then. But the production is going to be out of this world. And we’ve got a set-list that’s going to knock people’s heads off!
In sequence, no and yes! It didn’t turn out the way I thought. It was a constant work in progress. Rather than being a grand design, the album just sort of unfolded, because it was done in dribs and drabs from 2013 and even before that. There are elements of that album that go back twenty years! So if ever there was a work that was brewing in your subconscious that you never knew you were making, that was it. And when we’d finally done it, we were pinching ourselves going: “What have we done?” It was just a weird feeling I had – like when Maiden did The Number Of The Beast! We – my solo band – all had this feeling that it was something really momentous. And obviously it’s not going to be as momentous as The Number Of The Beast. Nothing ever will be. But there was that same sort of feeling that this was something really special.
And then, lo and behold, it comes out and everybody got it. Well, maybe one or two people didn’t get it, but they didn’t tell me. So yeah, it exceeded all my wildest expectations. And it’s great for going forward into doing another album, but at the same time I’m just trying not to think about any pressure.
The thing is, outside of Maiden this is my dream band. And I had the stage layout totally different to Maiden.
It must be satisfying to have this solo project accepted on its own merits.
Exactly. And I tried to do that with Balls To Picasso. But that album was weaker than it should have been. And not only that, the timing of it was crap. You’ve just walked out of everybody’s favourite heavy metal band on the planet, and then you ask people to listen to an album that’s really very different. People just found it unpalatable.
Speaking of Balls To Picasso, you’ve been working on a new version of that record.
We’re remixing my whole solo catalogue. I’ve done seven solo albums, half as many as I’ve done with Maiden, which seems kind of bonkers, really. With all the new technology, you can beef things up, and Balls To Picasso is the one we’ve done the most with. We’ve added more guitars, more keyboards, orchestration.
And the horn section on Shoot All The Clowns – wow! We found these guys, they’re Berklee music professors who happen to be trumpet and trombone maestros and also happen to be fans. With Shoot All The Clowns they said: “Can we just go to town and do the full Aerosmith on this horn section?” I went: “Good idea, boys!”
And oh my god, it rocks! All of this stuff brings out the colours of the songs so much more. So we’re going to retitle it More Balls To Picasso, just to differentiate it. That’ll be the first one to come out, next August. After that it will be Skunkworks and Tattooed Millionaire, then Accident Of Birth, and also Chemical Wedding which will have a few tracks that didn’t end up on the original record.
There’s one song from Senjutsu which is in pole position for people taking a trip to the loo – which they don’t – and that’s Death Of The Celts. It’s a long song, ten minutes, with a lengthy instrumental part that’s five minutes and twenty seconds. I know that because that’s how long I’ve got to have a cup of tea in the middle. You get to the end of that song and you look at the audience and you’re like: “Shit, we didn’t lose them, right? They are with us! They are paying close attention.” That’s when you know you’ve really got something.
Somewhere In Time is almost forty years old. The songs from it have aged well.
Absolutely! And to put that album front and centre is great. Somewhere In Time was not exactly forgotten as an album, but somehow it always seemed to live in the shadow of what came before it – the Holy Trinity of The Number Of The Beast, Piece Of Mind and Powerslave – and what came after it, Seventh Son Of A Seventh Son. But there are some cracking songs on Somewhere In Time. I fucking love Stranger In A Strange Land, it’s got such a great groove.
Looking ahead to this year, Iron Maiden will be celebrating their 50th anniversary with the Run For Your Lives tour, performing songs from the debut album all the way up to Fear Of The Dark.
You want the greatest hits, right? Well, we can’t do them all, because we’re going to stop at a certain album. It’s the greatest hits up till then. But the production is going to be out of this world. And we’ve got a set-list that’s going to knock people’s heads off!
So the remixes are all going to plan (they added more guitars, more keyboards, orchestration) and the first one will be released next August (BTP - which will be retitled to More Balls To Picasso, just to have a difference). Then Skunkworks and the debut, then AOB and TCW - for the latter he said that it will have a few songs that didn't end up on the original album!!! So that one song from 1998 won't be saved for his next album or? Without TOS, it seems.
He also said BTP is weaker than it should have been and that it wasn't the right time for it.
TMP didn't turn out the way he thought. Constant work in progress, rather than a grand design. Done in parts since 2013. But it exceeded all his wildest expectations. He compared the vibe of it with TNOTB, in a way ofc. And it's great for the next album - for which he's not gonna put pressure on him.
Regarding Maiden - it seems he likes SIT album and for next year said: ''You want the greatest hits, right''! They can't do them all, that's why until 1992, but the production is going to be out of this world. He said the setlist will knock people's heads off! More hype from him, as usual.
Diesel 11
As you scream into the web of silence...
Probably “Return of the King”, “Real World”, and “Confeos”.
Kalata
Out of the Silent Planet
Likely, but why would Bruce highlight that. And remix will be like a reissue. Also, not for the other albums? BTP has a lot (he likes Breeding House, iirc). Anything is possible.
Sth2112
Ancient Mariner
This is what I’m thinking. But cool if they remix those as well
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GhostofCain
Ancient Mariner
"All had this feeling that it was something really momentous": Bruce Dickinson looks back on his solo albums and forward to Iron Maiden's big year
Bruce Dickinson reveals the solo album that should've been better and the song Iron Maiden play while he enjoys a cup of teawww.loudersound.com
New interview with Bruce.
Classic Rock described The Mandrake Project as “a grandiose vision”. Did the album turn out exactly how you’d envisaged, and were you surprised by the overwhelmingly positive reaction to it?
In sequence, no and yes! It didn’t turn out the way I thought. It was a constant work in progress. Rather than being a grand design, the album just sort of unfolded, because it was done in dribs and drabs from 2013 and even before that. There are elements of that album that go back twenty years! So if ever there was a work that was brewing in your subconscious that you never knew you were making, that was it. And when we’d finally done it, we were pinching ourselves going: “What have we done?” It was just a weird feeling I had – like when Maiden did The Number Of The Beast! We – my solo band – all had this feeling that it was something really momentous. And obviously it’s not going to be as momentous as The Number Of The Beast. Nothing ever will be. But there was that same sort of feeling that this was something really special.
And then, lo and behold, it comes out and everybody got it. Well, maybe one or two people didn’t get it, but they didn’t tell me. So yeah, it exceeded all my wildest expectations. And it’s great for going forward into doing another album, but at the same time I’m just trying not to think about any pressure.
The thing is, outside of Maiden this is my dream band. And I had the stage layout totally different to Maiden.
It must be satisfying to have this solo project accepted on its own merits.
Exactly. And I tried to do that with Balls To Picasso. But that album was weaker than it should have been. And not only that, the timing of it was crap. You’ve just walked out of everybody’s favourite heavy metal band on the planet, and then you ask people to listen to an album that’s really very different. People just found it unpalatable.
Speaking of Balls To Picasso, you’ve been working on a new version of that record.
We’re remixing my whole solo catalogue. I’ve done seven solo albums, half as many as I’ve done with Maiden, which seems kind of bonkers, really. With all the new technology, you can beef things up, and Balls To Picasso is the one we’ve done the most with. We’ve added more guitars, more keyboards, orchestration.
And the horn section on Shoot All The Clowns – wow! We found these guys, they’re Berklee music professors who happen to be trumpet and trombone maestros and also happen to be fans. With Shoot All The Clowns they said: “Can we just go to town and do the full Aerosmith on this horn section?” I went: “Good idea, boys!”
And oh my god, it rocks! All of this stuff brings out the colours of the songs so much more. So we’re going to retitle it More Balls To Picasso, just to differentiate it. That’ll be the first one to come out, next August. After that it will be Skunkworks and Tattooed Millionaire, then Accident Of Birth, and also Chemical Wedding which will have a few tracks that didn’t end up on the original record.
There’s one song from Senjutsu which is in pole position for people taking a trip to the loo – which they don’t – and that’s Death Of The Celts. It’s a long song, ten minutes, with a lengthy instrumental part that’s five minutes and twenty seconds. I know that because that’s how long I’ve got to have a cup of tea in the middle. You get to the end of that song and you look at the audience and you’re like: “Shit, we didn’t lose them, right? They are with us! They are paying close attention.” That’s when you know you’ve really got something.
Somewhere In Time is almost forty years old. The songs from it have aged well.
Absolutely! And to put that album front and centre is great. Somewhere In Time was not exactly forgotten as an album, but somehow it always seemed to live in the shadow of what came before it – the Holy Trinity of The Number Of The Beast, Piece Of Mind and Powerslave – and what came after it, Seventh Son Of A Seventh Son. But there are some cracking songs on Somewhere In Time. I fucking love Stranger In A Strange Land, it’s got such a great groove.
Looking ahead to this year, Iron Maiden will be celebrating their 50th anniversary with the Run For Your Lives tour, performing songs from the debut album all the way up to Fear Of The Dark.
You want the greatest hits, right? Well, we can’t do them all, because we’re going to stop at a certain album. It’s the greatest hits up till then. But the production is going to be out of this world. And we’ve got a set-list that’s going to knock people’s heads off!
So the remixes are all going to plan (they added more guitars, more keyboards, orchestration) and the first one will be released next August (BTP - which will be retitled to More Balls To Picasso, just to have a difference). Then Skunkworks and the debut, then AOB and TCW - for the latter he said that it will have a few songs that didn't end up on the original album!!! So that one song from 1998 won't be saved for his next album or? Without TOS, it seems.
He also said BTP is weaker than it should have been and that it wasn't the right time for it.
TMP didn't turn out the way he thought. Constant work in progress, rather than a grand design. Done in parts since 2013. But it exceeded all his wildest expectations. He compared the vibe of it with TNOTB, in a way ofc. And it's great for the next album - for which he's not gonna put pressure on him.
Regarding Maiden - it seems he likes SIT album and for next year said: ''You want the greatest hits, right''! They can't do them all, that's why until 1992, but the production is going to be out of this world. He said the setlist will knock people's heads off! More hype from him, as usual.
Thanks for sharing!
Classic Rock Magazine said:
Bloody hell, their brownnosing knows no limits!
Bruce has already mentioned working on new songs, so that's not something that should be kept secret. It's really interesting that this plays no role at all when they speak about upcoming projects.
PhantomOfTheOpera
Ancient Mariner
Interested about the remixes (even if might feel that do we really need them?) and the formats they're released on.
Kalata
Out of the Silent Planet
My pleasure.
I think he's developing the new ideas with Roy (writing in parts, again) and some on his own - and will use them, but they'll be recorded with his solo band. Someone should ask Bruce or Roy. As for the remixed albums, I assume he's working with Roy too.
Well, Bruce has revived his solo career and since he's not in a hurry with the next album, you have to be relevant to say with something. He knows they will be popular and (especially for BTP) he just wants to upgrade the sound and some parts, although why would anyone want all albums to sound the same, heavier and modern production like TMP, right. And without TOS it seems. I'm most interested in the sound of BTP and wonder if they've added more parts to some of the other albums. Also, bonus songs from back then?
I thought the first remixed album was going to be released this year, not next. Could it be because of Roy? We're still not sure about their relationship after everything. It's difficult to say now, but I think Bruce will make a compromise again (not sure at all), despite everything. He loves and writes easy with him. It feels different this time and especially with Bruce mentioning wanting to record with his solo band. Maybe he is preparing. No new info about him and Roy continue to write ideas and songs, but they should be asked in interviews after all. It would be sad, but if Roy won't be 100% like on TMP, what to say.
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TaaviMaiden
Educated Fool
I also think it's Roy's remixes, although it's strange that the video doesn't mention this project. It would be Roy's most popular project.
Did someone else finalise it in the end?
Did someone else finalise it in the end?