GhostofCain
Ancient Mariner
Good shot!
Iron Maiden News, Links, and Interviews
- Thread starter Hottysmiff
- Start date
Good shot!
GhostofCain
Ancient Mariner
Here’s hoping he will get well soon.
I did test positive in 2022. I bet Kevin really hoped I would get well soon (I missed my - possibly last - chance to see Van der Graaf Generator live as a result of that). Oh, wait, I did not feel the need to post a photo of my positive test online.
By the way, is mattb4rd Tony Newton?
TheMercenary
Ancient Mariner
Finally, the Lord Of The Lost has lost... 
It doesn't really pay off to mix blood with glitter on Eurovision...
Only glitter is allowed in this cartoonesque show of really grandiloquent "mauvais goût"...
It doesn't really pay off to mix blood with glitter on Eurovision...
Only glitter is allowed in this cartoonesque show of really grandiloquent "mauvais goût"...
Last edited:
MindRuler
Ancient Mariner
La France wasn´t that great either. Spain was one of the worst though (sorry @The_7th_one )Finally, the Lord Of The Lost has lost...
It doesn't really pay off to mix blood with glitter on Eurovision...
Only glitter is allowed in this cartoonesque show of really grandiloquent "mauvais goût"...
TheMercenary
Ancient Mariner
I didn't watch this show in TV yesterday. The last time I did it was in 2006 because of Lordi. And yeah, I do agree with you, La Zarra was one of the worst contestants this year.
New interview with Adrian in "Metal Hammer" Germany
Part 1
My translation:
"Thrill at the Cemetery
Titans inbound: Before IRON MAIDEN hit the country's biggest stages to celebrate "The Future Past," guitarist ADRIAN SMITH takes time to rant about cheating colleagues, ponder bodyquard Eddie and reminisce about the SOMEWHERE IN TIME recordings and a creative root canal in a METAL HAMMER interview.
METAL HAMMER: Adrian, all of Germany is eagerly awaiting the upcoming performances of Iron Maiden! Is there a favorite tour
in your career?
ADRIAN SMITH: Oh, not an easy one to start with. There were several, but if I had to choose one, I would choose the "Ed Hunter Tour" from 1999, where I rejoined the band after a nine year break.
It was simply unforgettable to come back, especially since it worked wonderfully between me and the other two guitarists, Dave Murray and Janick Gers. At first I wasn't sure if I was supposed to play only half of the songs and the others the rest. We tried it and realized we were a perfect fit.
MH: Is there anything that makes the German fans special for Maiden?
AS: Germany has always been one of the biggest supporters of Iron Maiden and heavy metal in general.
Ever since we toured there for the first time in the early eighties, we've always had a great time. You guys know all the songs as well as we do. It's a real thrill to hear you singing along to the lyrics. It's amazing how many people we play in front of in Germany - I feel like Iron Maiden are getting bigger and bigger. That's not only true for our own shows, but also at Wacken, for example, where a real sense of camaraderie exists between us and the fans.
MH: Do you also have a personal connection to Germany?
AS: Before the "Somewhere In Time" tour in 1986, I spent a lot of time there, and we were also based in Frankfurt for a longer time. I made great trips to the Rhine Valley to see all the castles, rivers and beautiful landscapes. With my german friend Lutz I still meet for fishing when I have a break in Europe. I also have fond memories of recording with Michael Kiske of Helloween in Hamburg.
MH: Do you maintain a set routine before a concert?
AS: Oh yes. I try to be there about an hour before the gig. Then I check out the main dressing room, say hello to the other guys and go to the catering to have a quick bite to eat. After that, I go to my warm-up room, where a guitar and a small amplifier are set up so that I can play a few scales and do some warm-up exercises with my fingers for about 15 minutes. After that, I get myself ready, which takes a bit of time with the rest of the band, and then it's time to go on stage. I don't have any superstitions or anything before a show. I like to leave the venue directly from the stage and go somewhere where I can have a well-deserved glass or two of wine."
...
Part 1
My translation:
"Thrill at the Cemetery
Titans inbound: Before IRON MAIDEN hit the country's biggest stages to celebrate "The Future Past," guitarist ADRIAN SMITH takes time to rant about cheating colleagues, ponder bodyquard Eddie and reminisce about the SOMEWHERE IN TIME recordings and a creative root canal in a METAL HAMMER interview.
METAL HAMMER: Adrian, all of Germany is eagerly awaiting the upcoming performances of Iron Maiden! Is there a favorite tour
in your career?
ADRIAN SMITH: Oh, not an easy one to start with. There were several, but if I had to choose one, I would choose the "Ed Hunter Tour" from 1999, where I rejoined the band after a nine year break.
It was simply unforgettable to come back, especially since it worked wonderfully between me and the other two guitarists, Dave Murray and Janick Gers. At first I wasn't sure if I was supposed to play only half of the songs and the others the rest. We tried it and realized we were a perfect fit.
MH: Is there anything that makes the German fans special for Maiden?
AS: Germany has always been one of the biggest supporters of Iron Maiden and heavy metal in general.
Ever since we toured there for the first time in the early eighties, we've always had a great time. You guys know all the songs as well as we do. It's a real thrill to hear you singing along to the lyrics. It's amazing how many people we play in front of in Germany - I feel like Iron Maiden are getting bigger and bigger. That's not only true for our own shows, but also at Wacken, for example, where a real sense of camaraderie exists between us and the fans.
MH: Do you also have a personal connection to Germany?
AS: Before the "Somewhere In Time" tour in 1986, I spent a lot of time there, and we were also based in Frankfurt for a longer time. I made great trips to the Rhine Valley to see all the castles, rivers and beautiful landscapes. With my german friend Lutz I still meet for fishing when I have a break in Europe. I also have fond memories of recording with Michael Kiske of Helloween in Hamburg.
MH: Do you maintain a set routine before a concert?
AS: Oh yes. I try to be there about an hour before the gig. Then I check out the main dressing room, say hello to the other guys and go to the catering to have a quick bite to eat. After that, I go to my warm-up room, where a guitar and a small amplifier are set up so that I can play a few scales and do some warm-up exercises with my fingers for about 15 minutes. After that, I get myself ready, which takes a bit of time with the rest of the band, and then it's time to go on stage. I don't have any superstitions or anything before a show. I like to leave the venue directly from the stage and go somewhere where I can have a well-deserved glass or two of wine."
...
Part 2
MH: Are you a guy who is quite self-critical after a gig, or do you think that mistakes are part of a real live show?
AS: I'm very critical and like getting everything right with my playing. That's why I get upset if I don't pull everything off. I don't experiment on stage; I'm not the type for that. With three guitarists, there is not much freedom. If the solos are 16 bars long, for example, you want to perform
them accurately. There are not many mistakes that happen with Iron Maiden - we have been doing this for quite a while... If something does go wrong, we tend to laugh about it. Even if you think that it was catastrophic, in most cases hardly anyone notices.
MH: There is a big discussion about the fact that rock and metal bands use backing tracks during shows. What is your point of view on this topic?
AS: I think it's just pathetic and dishonest. It's really cheating. I think we offer damn good live versions of our studio material. And even though the music is getting more and more complex, we would never replace anyone or anything with a tape.
MH: Since this tour is called "The Future Past", do you personally enjoy more playing the newer songs?
AS: Classics like "Hallowed Be Thy Name" feel great because you get amazing reactions from the fans. But of course these numbers we've been playing forever. So it's all the more to present new songs because they are the lifeblood of lron Maiden. We are not a greatest hits band, but we are always pushing our music and challenge ourselves. I love and need that! Some of the pieces on "SENJUTSU" are very complex - not only the length of the pieces, but also in terms of arrangements.
MH: Are you a guy who is quite self-critical after a gig, or do you think that mistakes are part of a real live show?
AS: I'm very critical and like getting everything right with my playing. That's why I get upset if I don't pull everything off. I don't experiment on stage; I'm not the type for that. With three guitarists, there is not much freedom. If the solos are 16 bars long, for example, you want to perform
them accurately. There are not many mistakes that happen with Iron Maiden - we have been doing this for quite a while... If something does go wrong, we tend to laugh about it. Even if you think that it was catastrophic, in most cases hardly anyone notices.
MH: There is a big discussion about the fact that rock and metal bands use backing tracks during shows. What is your point of view on this topic?
AS: I think it's just pathetic and dishonest. It's really cheating. I think we offer damn good live versions of our studio material. And even though the music is getting more and more complex, we would never replace anyone or anything with a tape.
MH: Since this tour is called "The Future Past", do you personally enjoy more playing the newer songs?
AS: Classics like "Hallowed Be Thy Name" feel great because you get amazing reactions from the fans. But of course these numbers we've been playing forever. So it's all the more to present new songs because they are the lifeblood of lron Maiden. We are not a greatest hits band, but we are always pushing our music and challenge ourselves. I love and need that! Some of the pieces on "SENJUTSU" are very complex - not only the length of the pieces, but also in terms of arrangements.
matic22
Ancient Mariner
The Legacy of the Beast World Tour was a concert tour by British heavy metal band Iron Maiden, named after the comic and mobile game released by the band in 2017.
With 140 shows, it was the longest tour with Bruce Dickinson on vocals since the "Somewhere on Tour" in 1986–1987. The tour started in Tallinn, Estonia in May 2018 and concluded in October 2022 in Tampa, Florida.
The_7th_one
Ancient Mariner
…Dental floss salesmen from Montana
GhostofCain
Ancient Mariner
Personal interjection: Sorry to break it to you, Adrian, but we do notice.
Thanks for the translation!
____no5
Free Man
Greece had the best position of them all for such a contest, be jealous, be very jealous!
Personal interjection: Sorry to break it to you, Adrian, but we do notice.
Ask him about the production!
…
Ask him about the production!
Yeah, still working on it, maybe tomorrow.
AncientMariner_Essex
Ancient Mariner
Hey Kev, the pandemics over mate. You don't need to make a big deal about getting COVID anymore as its just a cold these days and not the potential killer it was 3 years ago
I had it recently and it is a shitter, you'll feel like crap for 2 days then a bit tired for a couple more after then you'll be fine. Get well soon.
TheMercenary
Ancient Mariner
The_7th_one
Ancient Mariner
Thanks for sharing!!!
Kalata
Out of the Silent Planet
Great choice, Adrian. Ed Hunter 1999!
Great answers.
He's right though. Lots of Hits tours (some of them shouldn't have been 3 years), yeah, but also plenty of new album tours with lots of new songs being played.The Legacy of the Beast World Tour was a concert tour by British heavy metal band Iron Maiden, named after the comic and mobile game released by the band in 2017.
With 140 shows, it was the longest tour with Bruce Dickinson on vocals since the "Somewhere on Tour" in 1986–1987. The tour started in Tallinn, Estonia in May 2018 and concluded in October 2022 in Tampa, Florida.
Part 3
MH: Since the upcoming "The Future Past" tour focuses on "SOMEWHERE IN TIME" and "SENJUTSU": Do you think that these two albums have something in common?
AS: "SOMEWHERE IN TIME" was the first work on which we started to move in a direction that people call progressive; "SENJUTSU" is also a very progressive album, so maybe there's actually some sort of connection.
MH: How do you describe the atmosphere in the band when writing and and recording "SOMEWHERE IN TIME" and "SENJUTSU" - what do you think are the differences?
AS: We have an additional guitarist now, which makes a difference. But I think the biggest difference lies in the cooperation with the producers Martin Birch and Kevin Shirley. On "SOMEWHERE IN TIME" we used overdubs on the guitars. Dave and I recorded our instruments and solos twice, separately. Then it was layer upon layer upon layer.
With Kevin Shirley, we work much more live. The digital recording technique is completely different. You can correct, tweak, add. It's a great feeling recording with the other guys in the studio instead of isolated in a small room with a control window.
I enjoyed the challenge of performing my solo in front of Steve and Kevin - you have to be on point!
Funnily enough, I was recently thinking about my solo for "Out Of The Shadows' from "A MATTER OF LIFE AND DEATH" (2006), which I had hit perfectly. It went directly onto the album. A great moment for me.
MH: "SOMEWHERE IN TIME" was a sound surprise for some fans. What was your personal opinion about the synthesizers?
AS: I remember: We were in Japan, when employees of Roland showed us one of the first guitar synthesizers. I was fascinated by it, so I started
started playing it. In Jersey, where we would often meet for songwriting before we went to Nassau to record, we gathered in the big ballroom of the hotel. I turned on the synthesizer, and this sound it was spitting out inspired me to make a riff - it was the riff from "Wasted Years". Then Steve also became interested in synthesizers, because he was fond of a lot of bands that used keyboards. I liked the approach, because I felt like I could smooth out some of the edges. On "SEVENTH SON OF A SEVENTH SON" (1988) we switched to keyboards, because it was difficult to catch the right point with the synthesizers and to record precisely.
...
MH: Since the upcoming "The Future Past" tour focuses on "SOMEWHERE IN TIME" and "SENJUTSU": Do you think that these two albums have something in common?
AS: "SOMEWHERE IN TIME" was the first work on which we started to move in a direction that people call progressive; "SENJUTSU" is also a very progressive album, so maybe there's actually some sort of connection.
MH: How do you describe the atmosphere in the band when writing and and recording "SOMEWHERE IN TIME" and "SENJUTSU" - what do you think are the differences?
AS: We have an additional guitarist now, which makes a difference. But I think the biggest difference lies in the cooperation with the producers Martin Birch and Kevin Shirley. On "SOMEWHERE IN TIME" we used overdubs on the guitars. Dave and I recorded our instruments and solos twice, separately. Then it was layer upon layer upon layer.
With Kevin Shirley, we work much more live. The digital recording technique is completely different. You can correct, tweak, add. It's a great feeling recording with the other guys in the studio instead of isolated in a small room with a control window.
I enjoyed the challenge of performing my solo in front of Steve and Kevin - you have to be on point!
Funnily enough, I was recently thinking about my solo for "Out Of The Shadows' from "A MATTER OF LIFE AND DEATH" (2006), which I had hit perfectly. It went directly onto the album. A great moment for me.
MH: "SOMEWHERE IN TIME" was a sound surprise for some fans. What was your personal opinion about the synthesizers?
AS: I remember: We were in Japan, when employees of Roland showed us one of the first guitar synthesizers. I was fascinated by it, so I started
started playing it. In Jersey, where we would often meet for songwriting before we went to Nassau to record, we gathered in the big ballroom of the hotel. I turned on the synthesizer, and this sound it was spitting out inspired me to make a riff - it was the riff from "Wasted Years". Then Steve also became interested in synthesizers, because he was fond of a lot of bands that used keyboards. I liked the approach, because I felt like I could smooth out some of the edges. On "SEVENTH SON OF A SEVENTH SON" (1988) we switched to keyboards, because it was difficult to catch the right point with the synthesizers and to record precisely.
...
Kalata
Out of the Silent Planet
That's true.
Haha.
Out Of The Shadows solo is cool. Adrian's slow solos are always great.
The musical direction of SIT and SSOASS was the best that could have happened to the Maiden sound imo. It fits them very well.