Dennis Wilcock

harrisdevot said:
Aren't we talking about a live recording ?
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Looks like we're talking about three different things at least. The 30 seconds previews mentioned above are from a rehearsal owned by Barry "Thunderstick" Purkis. There's the bootleg that Chudmyster posted about here three years ago in the "Dennis Wilcox is alive" thread. Then there seem to be a couple more at least. My impression is that Dennis Willcock wants to be recognized as a co-author of several tracks (together with other ex-members). I don't expect this to happen but if it does there would be "some financial reward" obviously. As for the rehearsal and bootlegs, they have different owners so they are apparently all different cases. (These are all my own speculations of course, based on what I've read on the relevant FB pages - Maiden77, V1, Barry Purkis etc.)
And yes, I too would like to see these cases settled and the material released.
 
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harrisdevot said:
You are right. It was played as a cover then, and then bought ? I know it has been done by countless artists (David Bowie being the fist name that comes to my mind with the Let's Dance album) but Harris has always said that he didn't want anybody exterior to the band involved in the songwrtiting process (Hooks in You being the only - partial - exception) ; in the light of this, it would rather strange to learn that they had bought a song from someone else.
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Well it's not just someone else, is it? Bob Sawyer aka Rob Angelo had this song before he joined Maiden and they obviously went on playing it and wanted to keep it after he was no longer part of the band.
 
Magnus said:
Well it's not just someone else, is it? Bob Sawyer aka Rob Angelo had this song before he joined Maiden and they obviously went on playing it and wanted to keep it after he was no longer part of the band.
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I meet him once working for a music magazine. He was paid a sum for the rights to the song. Great man with great stories.
 
tonylmiles said:
Wilcock doesn't sack people directly, he's cleverer than that. He just gets others to do his dirty work for him.
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I can understand your feelings about the GV1 situation Tony but I thought you were moving on. I mean, I saw how you modified the announcement on the GV1 fb page a few times to make it less confrontational which I thought was a good move.

On a different note, as a proud owner of the Spaceward Super Sessions CD, and much enjoying both demos, thank you for making all this possible. Keep rocking, and good luck.
 
Magnus said:
I can understand your feelings about the GV1 situation Tony but I thought you were moving on. I mean, I saw how you modified the announcement on the GV1 fb page a few times to make it less confrontational which I thought was a good move.

On a different note, as a proud owner of the Spaceward Super Sessions CD, and much enjoying both demos, thank you for making all this possible. Keep rocking, and good luck.
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Yes, it all started back around 2009 when a couple of IM collectors, who you probably know, got in touch with me about the Gibraltar tapes and also how to track Dennis down, he had disappeared from the scene for years. A lot of effort went into finding him and also supporting him on his return. But unfortunately, from my point of view, it seems to have been a waste of time. However, I am pleased that the Gibraltar tracks got be properly released, that at least has been a positive. But, yes, we move on! :)
 
Magnus said:
Thank you Fekso, good job. Never knew Terry Rance recommended Dave Sullivan.
But please don't mix East and West London again, locals can be very touchy about that.
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It was actually the printer that corrected it to west for some reason. I wrote east in english, and it became vänstra London:grumble:
 
Luisma said:
Why not? What happened with Fekso?
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Perun said:
Let's stop all the guesswork now. There are a few known facts that establish how Maiden deal with outside songwriters.

  • On the Samson album Head On, there is a track called Thunderburst. It is exactly the same song as The Ides of March, except for the fact that it's a different recording and the arrangement is slightly different. On Head On, it is credited to the Samson band (apparently, the all shared writing credits) and Steve Harris. On Killers, it is credited to Harris only. This speaks volumes about the willingness of giving credit to writers outside of Iron Maiden in those days. I seem to recall reading somewhere that the Samson blokes weren't too happy about that. I think it is also known which individual co-wrote the song with Steve, but I don't remember who it was.
  • Bruce co-wrote several tracks on The Number of the Beast, but he is credited nowhere because he was still signed with Samson at the time.
  • Blaze co-wrote several tracks on Brave New World, but is credited nowhere. He was not informed of this and was gutted when he learned later on.
  • Hallowed be thy Name and The Nomad lift elements from the song Life's Shadow by Beckett. Nobody from Beckett is credited, but the band did cover a Beckett song and release it as a B-Side, with additional information given on it in the Eddie's Archive compilation. They did not seem to want to make a secret out of it, but the Beckett guys were still not informed of this, as several posts that appeared on this board in the past indicated.
  • Paul Di'anno sold all his royalty rights to Maiden after he got kicked.
  • The Maiden77 claims fit perfectly in this picture, and some information has leaked in the past on ex-members writing songs they were not credited for. It is well-known for example, that Dave Sullivan wrote the riff for Iron Maiden.
  • Adrian was credited for Hooks in You. He was in the band when it got written, he was out of the band when it was recorded. This seems to contradict Blaze's treatment, but the circumstances were different. Hooks in You was written for the No Prayer album, and everybody expected H to be on it - he only left weeks before recording started. It's possible that he still had contractual claims for the writing credit, and it's possible that the boys left the credit because they were so upset with his leaving. Writing and recording for Brave New World started long after Blaze was already out of the band and obviously, they used leftovers from the previous writing process.
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Also, Paul Day claims he wrote the melody for Strange World
 
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