Maiden settles the Hallowed Be Thy Name claim in full

I think the number 2 on TNOTB is from one of the earlier episodes, maybe the 4th or 5th one.
 
GhostofCain said:
I bet many people in those bands were not even aware the band White Spirit had even existed, Riot and Accept in particular.
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Quite possibly, although they still might have to prove it if it was ever challenged (which I don't expect it will be). But I wasn't trying to make a serious point, I only flagged it up for interest value since someone else had raised the subject.

I'm fundamentally of the opinion that music follows a law of nature, there's nothing new under the sun (or very little) and what goes around comes around. I think it's highly likely that Janick's riff was influenced by Gallagher, Maiden's riff was influenced (however subconsciously) by White Spirit and that basically everyone that came after was influenced to some degree by Maiden. But no direct copying has happened at any stage here.

Musical plagiarism is an inherently complicated issue (unless the copying is very direct and obvious, as with the "men down under" case, or Vanilla Ice/Queen). Lyrics are much simpler.
 
GhostofCain said:
Yes, the number 2 featured on TNOTB is from one of the earlier episodes.

Episode number 4:


Episode number 5:

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that's the version from the album on both those clips alright, but I don't think it's the same actor in either of the episodes?

I thought the intro was re-recorded for each number 2, maybe it wasn't? It's certainly the same intro in both those two clips.
 
srfc said:
that's the version from the album on both those clips alright, but I don't think it's the same actor in either of the episodes?

I thought the intro was re-recorded for each number 2, maybe it wasn't? It's certainly the same intro in both those two clips.
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The intro certainly varied from episode to episode, but for episodes 4 and 5 it seems to be the same (or incredibly similar) even though the actors playing Number 2 were different.
 
Hello Folks. Having been closely involved in the HBTN/Life's Shadow/Nomad issue from the very start (even though much had already been said on this forum before I first discovered it in March 2010) I can tell you that there is nothing I do not know about the entire affair (or if there is - I didn't know about it) and I want to put the record straight on one very specific point:
Barry McKay, who has been a distant friend of mine, Bob's and Brian's since the '60s (1960s not 1860s; although it feels that long) has not earned a single cent from this entire affair. Barry has all the money he could ever need and does not lust after more. He became involved on behalf of Brian purely on a friendship basis.
Yes, Barry has much experience in litigious processes, that was why he agreed to help Brian. But, to paraphrase what Barry so eloquently expressed in response to being labelled a 'serial litigant': musicians who have been plagiarised deserve a fighting chance when faced with the HUGE judicial firepower that Mr Smallwood can deliver. Barry can match that kind of firepower with ease; and did in this case.
I know I said 'one point' but this needs saying:
As I have never met Steve Harris I have stated many times, in many locations, the opinion expressed by my dear friend Kenny Mountain (RIP) - the writer of Rainbow's Gold and part of the Entire Population of Hackney project - and I will state it yet again: "Steve Harris is a Diamond Geezer". "He is simply very badly advised at times."
OK. Actually, everything you need to know to fully understand this entire adventure is out in the open, you just need to search and pay attention.
 
fisherenterprises said:
Hello Folks. Having been closely involved in the HBTN/Life's Shadow/Nomad issue from the very start (even though much had already been said on this forum before I first discovered it in March 2010) I can tell you that there is nothing I do not know about the entire affair (or if there is - I didn't know about it) and I want to put the record straight on one very specific point:
Barry McKay, who has been a distant friend of mine, Bob's and Brian's since the '60s (1960s not 1860s; although it feels that long) has not earned a single cent from this entire affair. Barry has all the money he could ever need and does not lust after more. He became involved on behalf of Brian purely on a friendship basis.
Yes, Barry has much experience in litigious processes, that was why he agreed to help Brian. But, to paraphrase what Barry so eloquently expressed in response to being labelled a 'serial litigant': musicians who have been plagiarised deserve a fighting chance when faced with the HUGE judicial firepower that Mr Smallwood can deliver. Barry can match that kind of firepower with ease; and did in this case.
I know I said 'one point' but this needs saying:
As I have never met Steve Harris I have stated many times, in many locations, the opinion expressed by my dear friend Kenny Mountain (RIP) - the writer of Rainbow's Gold and part of the Entire Population of Hackney project - and I will state it yet again: "Steve Harris is a Diamond Geezer". "He is simply very badly advised at times."
OK. Actually, everything you need to know to fully understand this entire adventure is out in the open, you just need to search and pay attention.
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Thanks a lot for coming back to clarify things. It is appreciated. :)
 
fisherenterprises said:
I know I said 'one point' but this needs saying:
As I have never met Steve Harris I have stated many times, in many locations, the opinion expressed by my dear friend Kenny Mountain (RIP) - the writer of Rainbow's Gold and part of the Entire Population of Hackney project - and I will state it yet again: "Steve Harris is a Diamond Geezer". "He is simply very badly advised at times."
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So basically it is a case of #IblameRod
 
Maiden should get a pass. How many times have we heard music that is desperately trying to get the "Maiden sound", seen artwork mimicking the Maiden look, Lyrics/themes following the Maiden style?
They have influenced so many existing artists and spawned many others attempting to harness the very uniquely-Maiden characteristics. And ultimately attempting to achieve MAIDENs success, fame and fortune.
Learning of and hearing The bits of Hallowed and Nomad are slightly irritating to me. But in the scheme of things, as someone mentioned earlier, Becket or whoever should be majorly proud and complimented to have a snippet or two of their own work infused as parts of the legendary IRON MAIDEN songs.
Get your fractional royalty. Bragg a bit at cocktail parties... then move on.
 
fisherenterprises said:
Hello Folks. Having been closely involved in the HBTN/Life's Shadow/Nomad issue from the very start (even though much had already been said on this forum before I first discovered it in March 2010) I can tell you that there is nothing I do not know about the entire affair (or if there is - I didn't know about it) and I want to put the record straight on one very specific point:
Barry McKay, who has been a distant friend of mine, Bob's and Brian's since the '60s (1960s not 1860s; although it feels that long) has not earned a single cent from this entire affair. Barry has all the money he could ever need and does not lust after more. He became involved on behalf of Brian purely on a friendship basis.
Yes, Barry has much experience in litigious processes, that was why he agreed to help Brian. But, to paraphrase what Barry so eloquently expressed in response to being labelled a 'serial litigant': musicians who have been plagiarised deserve a fighting chance when faced with the HUGE judicial firepower that Mr Smallwood can deliver. Barry can match that kind of firepower with ease; and did in this case.
I know I said 'one point' but this needs saying:
As I have never met Steve Harris I have stated many times, in many locations, the opinion expressed by my dear friend Kenny Mountain (RIP) - the writer of Rainbow's Gold and part of the Entire Population of Hackney project - and I will state it yet again: "Steve Harris is a Diamond Geezer". "He is simply very badly advised at times."
OK. Actually, everything you need to know to fully understand this entire adventure is out in the open, you just need to search and pay attention.
Click to expand...
Fair enough and thanks for the clarification, but this is still bothering me: in your first post on this forum (quoted below so people can "zip" across to them if they wish) you state unequivocally that Bob Barton wrote the song. You then reiterated this in post #15, also on page 1, and in post #36 on page 2 you tell us that you were "with Bob when he was crafting that song", and also add that you were sharing a house at the time. You didn't mention Brian Quinn/Ingram at any point.

As I understand it this lawsuit arose because it turned out that Bob Barton did not write that song. Sorry but I can't shake my impression that there's something else going on here.
fisherenterprises said:
First, let me apologise for starting a new topic on a subject that appears all over this forum, but I wanted to draw everyone's attention to this subject and interest appears to be, as I said before, widespread. I was the drummer in Beckett back in 73/4 when Steve and Adrian were coming to watch the band on a regular basis. They liked the band a lot and cited us as a major influence. Nicko played with a band called Streetwalkers, and its singer, Roger Chapman from Family, introduced him to the Beckett album, which he had produced for us. Nicko liked my drumming on Rainbow's Gold, and suggested to Maiden that they cover it. Nicko and Adrian were also involved with Kenny Mountain and Terry Slesser (both from Beckett) in an outfit called The Entire Population of Hackney; although Steve and Bruce invariably ended up on stage with them at their gigs. I have lived in Los Angeles for a long time and was unaware of any Maiden/Beckett connections until I posted the Old Grey Whistle Test video on Youtube, then I began to discover the unaccredited and unrewarded use of our song Life's Shadow in The Nomad and Hallowed be Thy Name. So to put the record straight: we were not informed of their use of our material, nor were we paid any fees. I love what they have done with all our material; I love Nicko's drumming on Rainbow's Gold, and I consider it a compliment that they should use our material and bring it to the attention of the world and out from obscurity where it had resided for a long time. However... the matter is now under discussion amongst the principle members of Beckett; in particular Bob Barton who wrote Life's Shadow. Further developments at our end will be posted here for your edification. Ciao, Keith.
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fisherenterprises said:
Hello Jeff, and thank you for your calm, sensible and very rational response. Terry and Kenny have indeed associated with the band, and they tell me it was a most excellent occasion too. Kenny told me just yesterday that he has never in all his years in the music business met such an exceptionally friendly bunch of players as The Irons. Life’s Shadow was definitely not discussed however. It could not have been; none of us knew anything about Hallowed and Nomad at that time; and please don’t take that as a slur against The Irons success. Bob, however, who wrote the song, told me that he was not there anyway. I (my name is Keith, by the way) must proclaim myself something of an outsider in all of this, having spent the majority of my life out of this country (England).

Hello Mr. Habberdasher. You will note that in my response to JeffMetal I proclaim the virtue of ‘Arry’s delightful temperament; I only wish I could make such a proclamation about myself, but I’m afraid I can’t: I don’t have such an equable disposition by half! However, I do enjoy a balanced outlook on the world. That said, I will no longer take issue with your initial response, and rather, enjoy your latest contribution to the discussion, which is decidedly pertinent: this is a happy occasion, and I relish this opportunity of finally making clear what many supporters of the Irons have queried in the past. I am astonished just how much interest has been generated since I posted the OGWT video of Beckett on Youtube; most of which has come from Iron Maiden fans. I wish, in my life, I had benefitted from the unswerving dedication to the cause of Heavy Metal supporters. Unfortunately, I never got the opportunity of playing with a Metal band.
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fisherenterprises said:
I have to confess I was strangely thrilled, during the performance of Hallowed’ in the Flight 666 movie the other night, when I heard Bruce singing Bob’s lyrics. I was with Bob when he was crafting that song (we used to share a house together back then) so it feels like a piece of personal history. I didn’t realise that Hallowed was such a major event at their gigs. They use a line from Rainbow’s Gold in there too.
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To be honest, though, I don't want Hallowed back in future setlists anyway. The most recent live versions have been...not very good. They've increased the tempo of it which I don't think works for it and Bruce is clearly showing signs of struggling while singing it.

I think Hallowed has been a fine long-standing live number which has always endured as a fan favourite but I think they should leave it in the can now.
 
On the way in to work this morning, I heard three different songs that used a variation of the "I don't know where I'm going/I know where I've been" lyric. Perhaps some obscure band from the 70s can sue for damages....
 
soundwave said:
On the way in to work this morning, I heard three different songs that used a variation of the "I don't know where I'm going/I know where I've been" lyric. Perhaps some obscure band from the 70s can sue for damages....
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Someone could sue for references to "this life" or "this world" in lyrics.
 
Hallowed is the most magical live song Maiden have. The first minute with Bruce's low singing, the audience clapping with Steve.. the mood it creates is magic, and the song never lets down no matter how Bruce sings it.
 
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