GhostofCain
Ancient Mariner
I am as puzzled as you are!
Iron Maiden News, Links, and Interviews
- Thread starter Hottysmiff
- Start date
I am as puzzled as you are!
Fozzie
Scream for me Yorkshire
In the case of Maiden it is without doubt a better format in terms of the artwork , it looks way better in the bigger vinyl version than a CD. I also think younger people are finding the format for the first time and like it, retro is cool. Both my kids buy and display Vinyl on the wall as art more than playing it. I have a turntable so totally normal to buy vinyl, no CD player in the car anymore so that is the least favoured format for us.
I do agree it is expensive these days but so are many things not just related to the music industry.
UpTheIrons
Ancient Mariner
Because anyone buying vinyl is not buying it just to listen to the music, which is essentially free nowadays, but as a collector's piece. Therefore, the prices are jacked up to extort as much as possible out of the buyer, especially with anniversary re-issue type scenarios.
GhostofCain
Ancient Mariner
If I am not mistaken, there are also not that many vinyl pressing plants, which contributes to the increase in price.
UpTheIrons
Ancient Mariner
This is true, especially as a lot of big artists will now release a huge variety of colour variants etc. when they bring out a new album (often as they know the hardcore fans will buy multiple or even all of them). I have read and listened to a few pieces stating that this can actually be a nightmare for smaller artists, as there are major bottlenecks when the likes of Taylor Swift have upcoming releases.
Vaenyr
Ancient Mariner
is pretty funny, considering they're doing a 50th anniversary tour right now lol
Fozzie
Scream for me Yorkshire
The 2 things go hand in hand really, hard to celebrate an anniversary without looking back.
DorotheaMe
Educated Fool
Fan opinions reach them from time to time. You can tell that it must have happened occasionally.
Like in this case. Bruce also knows a lot of fans did not like Sonata as last song on his album etc.
MrKnickerbocker
clap hands
New Adrian interview with EonMusic: https://www.eonmusic.co.uk/intervie...aiden-playing-metallica-legends-greeny-guitar
Really cool stories in there, especially the bits about Kirk Hammett, the Back in the Village riff, and the nugget that Infinite Dreams almost made the recent tour setlist.
Really cool stories in there, especially the bits about Kirk Hammett, the Back in the Village riff, and the nugget that Infinite Dreams almost made the recent tour setlist.
GhostofCain
Ancient Mariner
Nice interview, thanks for sharing it!
Kalata
Out of the Silent Planet
Very nice interview. Thanks for sharing. Some curious things:
I listened to them the other day (the 2 Psycho Motel albums). I was quite surprised. It stood up pretty well. But anyway, yeah, I like to do stuff outside of Maiden. I always have, and now, of course, Steve is doing it, and Bruce has always done it, so it's good to be busy.
I love the fact that you can have two singers, swapping lines, harmonising. I've always wanted to do that, plus it takes a bit of weight off. I mean, I've done projects where I've done the whole shebang; fronted the band singing and playing, and it's really hard work; you don't get a chance to think about what you're doing. But with the two of us, we can share the load, and it's really a lot of fun.
Well, it's a kind of an unspoken thing, or even we may have spoken about it, but I think when we write a song, Richie and I, and record it, we both want to be represented on the track, so it's not like one track features Richie, one track features me. Maybe you get a little bit of that, but in the main, everything's fifty fifty, so it's no problem at all. It just fits together. With what we do, I'll play a bit more kind of stripped down, and I'm not so technical, probably, but I do have my technique. You know what? If you play it like you mean it, it's going to come across, whether you play a few notes, or many notes. I think the fact that we have different styles is another good thing, because it widens the palette we have to create a songs so, like, Richie will come up with a crazy line, like in 'Taking My Chances', he just came up with this jazz fusion bit in the middle where I wouldn't have done that, but it's great. So that's what it's all about; just working with different people and tapping into different ideas.
I thought 'Writing on the Wall', from day one, was a Maiden song, and I had the idea for the title and the rough melody for the chorus, and Bruce just kind of took it to another level.
It's funny, yeah, I've never, although I'm a massive Lizzy fan, Wishbone Ash, all that sort of stuff. Obviously, we do a lot in Maiden. Steve is really, really into guitar harmonies, so he'll come up with endless guitar harmonies, but because I've always focused on writing shorter songs, I kind of don't. It's not a calculated thing, and with SK, with 'Muddy Water', we just needed an intro that sort of hooked you in a little bit, so we just came up with that. We never discussed doing harmonies. Richie harmonises stuff naturally, without me asking him, and it would sound right. So, yeah, maybe we should do more of it, but if you do it all the time, maybe it's not so effective. If you do it sparingly, maybe it's has a more impact. I don't know.
'Black Light' started off as another song. I think it was called 'Dressed up to the Nines' or something, or 'The Nines', and we finished it, and we looked at each other and went; "I don't know, nah", but there was something that we liked about it, so we kept the drum track and just rewrote it, and I was listening to drums and I came up with those chords and the vocals, sort of Phil Lynott-inspired, unashamedly, and then we took it from there, and then we came up with the title.
There's different configurations, but we are bringing out a 50th anniversary of that first 80s' Jackson, with a white headstock. That's going to be the original one. I've got a prototype here, and it's really, really nice. I've been playing it, so I'll probably use that on the next Maiden tour, but we'll see. But I don't use a lot. There's only use two guitars on the album (SK), and they're both the signature ones.
Yeah, I think when I first started with Maiden, I used to really work out my solos, and that's where the melodic side came from. I've always had that kind of sense of melody. It's also what you're playing over. I mean, probably what I actually play is not a lot different to what I play with Maiden, but obviously, what you're playing over is very different. The speed of the song is usually more up tempo in Maiden, but the sound is the same; it's in the hands, it's the vibrato, and the sound is kind of similar, but you put it against a different backdrop and it has maybe a different effect, and maybe the bluesier side comes out a little bit more.
Yeah, we'll definitely be playing some new stuff. I'm really excited to do that. I think some of the songs will really translate well to live. When we record we don't really go overboard on the overdubs and production is pretty straight, so I think those songs will work great live. And also we'll be playing some of the songs from the first album as well that were a cornerstone of the last set.
About playing ASAP, Psycho Motel or Urchin songs with SK: Yeah, I should give it some thought. Yeah, it might be interesting to do that. I do regret not doing that (''The Last Chain'') with the second version of Psycho Motel, because there was some cracking tracks on there.
'Back in the Village', the funny story about that song is, I bought a white flying V backstage at a show in the '80s. Somebody brought it in for for the Priest guys, and they didn't want it, so I bought it because it was $750, And I sat down, and the first thing I played on it was 'Back in the Village', the riff, and I never really played it much after that, but I've got a song out of it. You know, every guitar has got a song in it. You know, I'd forgotten about all these songs you're bringing up [laughing]!
Well Nicko's the sort of bloke who just likes to play music. So, I mean, back with The Entire Population Hackney, he suggested we get together. I had a few friends, and I think we did the Marquee club in London. Yeah, it's great. I mean, Nick's got such great energy. He played on the first SK album, and we got him up to do 'Wasted Years' and 'Solar Fire' with us at Islington, and yeah, it was a special moment. You know, he's a great guy, and people love him, don't they? Everyone loves him.
I mean London Stadium [2025], 73,000 people, just a great, great night. And the thing that pleased me about that gig was we were kind of on form. Sometimes, if you play London, there's so much pressure and so much aggravation with people wanting tickets, you just want to get it over with, but that was great, and there was a great audience. Everyone said the sound was really good, which is important. You don't always get that in big arenas. And, yeah, but of course, Knebworth's massive, so yeah, we're looking forward to that.
Yeah, people say that. I mean, it's wonderful, isn't it? I have to say though that the band's philosophy has always been, always to take music out to the people, because it was never music that was going to get mass radio play. And I think when you build a career like that, it lasts a bit longer than just having a few big hit records. You know, we've actually gone to all these places; we used to do fifteen-date tours in France, and go to every little city in England as well, and all over the world. It hasn't always been us playing massive gigs and everyone coming to see us; we've always took it out there. People remember that, and I think that has stood the band in good stead later in our career, because people remember that. It's like an honest way of building a career.
Yeah, I mean, this is my music room, and I'm always sitting messing around, coming up with riffs. I like be creative. I seem to be getting more creative as I get older, so I need an outlet for it. So, yeah, why not do a third album? I'm not thinking directly about it yet, but let's get this tour done and then see where we are, but yeah, I would say so.
I love the fact that you can have two singers, swapping lines, harmonising. I've always wanted to do that, plus it takes a bit of weight off. I mean, I've done projects where I've done the whole shebang; fronted the band singing and playing, and it's really hard work; you don't get a chance to think about what you're doing. But with the two of us, we can share the load, and it's really a lot of fun.
Well, it's a kind of an unspoken thing, or even we may have spoken about it, but I think when we write a song, Richie and I, and record it, we both want to be represented on the track, so it's not like one track features Richie, one track features me. Maybe you get a little bit of that, but in the main, everything's fifty fifty, so it's no problem at all. It just fits together. With what we do, I'll play a bit more kind of stripped down, and I'm not so technical, probably, but I do have my technique. You know what? If you play it like you mean it, it's going to come across, whether you play a few notes, or many notes. I think the fact that we have different styles is another good thing, because it widens the palette we have to create a songs so, like, Richie will come up with a crazy line, like in 'Taking My Chances', he just came up with this jazz fusion bit in the middle where I wouldn't have done that, but it's great. So that's what it's all about; just working with different people and tapping into different ideas.
I thought 'Writing on the Wall', from day one, was a Maiden song, and I had the idea for the title and the rough melody for the chorus, and Bruce just kind of took it to another level.
It's funny, yeah, I've never, although I'm a massive Lizzy fan, Wishbone Ash, all that sort of stuff. Obviously, we do a lot in Maiden. Steve is really, really into guitar harmonies, so he'll come up with endless guitar harmonies, but because I've always focused on writing shorter songs, I kind of don't. It's not a calculated thing, and with SK, with 'Muddy Water', we just needed an intro that sort of hooked you in a little bit, so we just came up with that. We never discussed doing harmonies. Richie harmonises stuff naturally, without me asking him, and it would sound right. So, yeah, maybe we should do more of it, but if you do it all the time, maybe it's not so effective. If you do it sparingly, maybe it's has a more impact. I don't know.
'Black Light' started off as another song. I think it was called 'Dressed up to the Nines' or something, or 'The Nines', and we finished it, and we looked at each other and went; "I don't know, nah", but there was something that we liked about it, so we kept the drum track and just rewrote it, and I was listening to drums and I came up with those chords and the vocals, sort of Phil Lynott-inspired, unashamedly, and then we took it from there, and then we came up with the title.
There's different configurations, but we are bringing out a 50th anniversary of that first 80s' Jackson, with a white headstock. That's going to be the original one. I've got a prototype here, and it's really, really nice. I've been playing it, so I'll probably use that on the next Maiden tour, but we'll see. But I don't use a lot. There's only use two guitars on the album (SK), and they're both the signature ones.
Yeah, I think when I first started with Maiden, I used to really work out my solos, and that's where the melodic side came from. I've always had that kind of sense of melody. It's also what you're playing over. I mean, probably what I actually play is not a lot different to what I play with Maiden, but obviously, what you're playing over is very different. The speed of the song is usually more up tempo in Maiden, but the sound is the same; it's in the hands, it's the vibrato, and the sound is kind of similar, but you put it against a different backdrop and it has maybe a different effect, and maybe the bluesier side comes out a little bit more.
Yeah, we'll definitely be playing some new stuff. I'm really excited to do that. I think some of the songs will really translate well to live. When we record we don't really go overboard on the overdubs and production is pretty straight, so I think those songs will work great live. And also we'll be playing some of the songs from the first album as well that were a cornerstone of the last set.
About playing ASAP, Psycho Motel or Urchin songs with SK: Yeah, I should give it some thought. Yeah, it might be interesting to do that. I do regret not doing that (''The Last Chain'') with the second version of Psycho Motel, because there was some cracking tracks on there.
'Back in the Village', the funny story about that song is, I bought a white flying V backstage at a show in the '80s. Somebody brought it in for for the Priest guys, and they didn't want it, so I bought it because it was $750, And I sat down, and the first thing I played on it was 'Back in the Village', the riff, and I never really played it much after that, but I've got a song out of it. You know, every guitar has got a song in it. You know, I'd forgotten about all these songs you're bringing up [laughing]!
Well Nicko's the sort of bloke who just likes to play music. So, I mean, back with The Entire Population Hackney, he suggested we get together. I had a few friends, and I think we did the Marquee club in London. Yeah, it's great. I mean, Nick's got such great energy. He played on the first SK album, and we got him up to do 'Wasted Years' and 'Solar Fire' with us at Islington, and yeah, it was a special moment. You know, he's a great guy, and people love him, don't they? Everyone loves him.
I mean London Stadium [2025], 73,000 people, just a great, great night. And the thing that pleased me about that gig was we were kind of on form. Sometimes, if you play London, there's so much pressure and so much aggravation with people wanting tickets, you just want to get it over with, but that was great, and there was a great audience. Everyone said the sound was really good, which is important. You don't always get that in big arenas. And, yeah, but of course, Knebworth's massive, so yeah, we're looking forward to that.
Yeah, people say that. I mean, it's wonderful, isn't it? I have to say though that the band's philosophy has always been, always to take music out to the people, because it was never music that was going to get mass radio play. And I think when you build a career like that, it lasts a bit longer than just having a few big hit records. You know, we've actually gone to all these places; we used to do fifteen-date tours in France, and go to every little city in England as well, and all over the world. It hasn't always been us playing massive gigs and everyone coming to see us; we've always took it out there. People remember that, and I think that has stood the band in good stead later in our career, because people remember that. It's like an honest way of building a career.
Yeah, I mean, this is my music room, and I'm always sitting messing around, coming up with riffs. I like be creative. I seem to be getting more creative as I get older, so I need an outlet for it. So, yeah, why not do a third album? I'm not thinking directly about it yet, but let's get this tour done and then see where we are, but yeah, I would say so.
Adrian's answer about guitar harmonies in Maiden is odd, isn't it? You can have harmonies in shorter songs. Steve has endless guitar harmonies... why not play them on the album? He said maybe they should do them more often, but not all the time, to be more effective.
I like that he said he's always messing around coming up with riffs and (again said) he likes to be creative (he, Bruce and Simon are ready to record). He's more creative now than ever so he needs an outlet.
He came up with the rough melody for ''The Writing On The Wall'' chorus. The white V guitar was for Priest, funny story.
GhostofCain
Ancient Mariner
"It was a time of turmoil. Writers had it in for us: 'Oh my God, haven’t you died yet? Don’t you know, grunge is here!'" The story behind the underrated Iron Maiden classic that helped keep them alive in the 90s
Iron Maiden looked in real trouble after Bruce Dickinson left. They regrouped, brought in a new singer and produced some of their darkest material
Kalata
Out of the Silent Planet
Interesting to read that Blaze encouraged Steve not to care about the criticism or feedback, good call from him. It seems like Steve cared about such stuff at the time. Thanks for sharing."It was a time of turmoil. Writers had it in for us: 'Oh my God, haven’t you died yet? Don’t you know, grunge is here!'" The story behind the underrated Iron Maiden classic that helped keep them alive in the 90s
Iron Maiden looked in real trouble after Bruce Dickinson left. They regrouped, brought in a new singer and produced some of their darkest materialwww.loudersound.com