Recycled Songs?

Maturin said:
It's Steve who's pushing the tempo. Nicko lets it happen, yes, but Steve's bass is always slightly ahead of the kick. Had they recorded to a click-track, they would have lost this entirely. Take "The Wicker Man" or "Lord of Light" as examples. It's so wrong... But it makes the songs feel so eager that I can't help but love it.

Kevin Shirley commented on this, and named it as his main reason for letting the band record "live" in the studio.
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Correct. However, what I said was, Nicko "interprets" tempos very freely, not that he's necessarily pushing the tempo. I'm referring to the slight decelerations and accelerations when he plays fills, switches grooves, or moves to new sections in a song. He has a looser grip on the speed of a tune than the fairly metronomic Clive, letting the song's natural ebb and flow (and indeed, Steve's playing ahead of the beat) come out more in his playing and, thus, be translated onto record.

Some examples: his intro fills in Wickerman, the breakdown in Longest Day, and the way he changes the feel of the bridge coming out of the solos in 2 Minutes live.
 
Ah. I've definitely noticed how he sets new tempos and feels for different sections. I've listened to Iron Maiden so much that I'm so used to it though, so it feels like the normal way. It's one of the reasons I rarely listen to the old albums with Clive.
 
Same here. Actually, I wrote a piece for this fantastic blog Maiden Revelations on Nicko's playing, and I mention Sign of the Cross from RiR as such a perfect example of his "tight but loose" playing, and what an important part of Maiden's sound he is. I'll throw the link in the "Nicko's technique" thread, since it really belongs there! :P
 
Sorry for necroing but I noticed that at 7:30 in The Rime Of The Ancient Mariner the tune that plays is similar to the tune in The Clairvoyant.
 
From memory, Im pretty sure that theres a section of Losfer Words that was recycled in Alexander the Great.
I dont mind it though, recycling a section from an album track, especially an instrumental, doesnt seem as bad as trying to replicate the main riff from a hit single, gor some reason
 
Face in the Sand & Dance of Death intros obviously. I have no problem with this, compare the leitmotif* of The Wall's Another Brick in the Wall pt. 2 & Hey You, Waiting for the Worms, The Trial.

*A leitmotif or leitmotiv /ˌlaɪtmoʊˈtiːf/ is a "short, constantly recurring musical phrase"

When it comes to composing, like 90% of Maiden songs are written in E minor.
 
I believe that Janick(?) plays the same few notes in the beginning of his solos in Fear of the Dark, The Red and the Black & Phantom of the opera (live).
 
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MarcoHietalaIM said:
Also the intro riffs of Flash of the Blade & Back in the Village are very similar at least in the matter of style and tempo.
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I think it is hardly the case. Basically, someone who doesn't play the guitar can pull off the intro of "Flash of the Blade" within one hour of practice whereas the riff of "Back in the Village" requires much more skills and a real sense of rhythm.

Besides, can we really talk about "recycling" when the two songs were released at the same time and involve two different writers (the music of FOTB is Bruce, on BITV it's Adrian)?
 
Black Bart said:
I think it is hardly the case. Basically, someone who doesn't play the guitar can pull off the intro of "Flash of the Blade" within one hour of practice whereas the riff of "Back in the Village" requires much more skills and a real sense of rhythm.

Besides, can we really talk about "recycling" when the two songs were released at the same time and involve two different writers (the music of FOTB is Bruce, on BITV it's Adrian)?
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Maybe it's just me. I am relatively new at Powerslave's little-known tracks.
 
I know that they are unique but the "oh, oh, oh" parts of Heaven Can Wait & The Red and the Black felt like the same as my first thought.
 
Lego said:
Correct. However, what I said was, Nicko "interprets" tempos very freely, not that he's necessarily pushing the tempo. I'm referring to the slight decelerations and accelerations when he plays fills, switches grooves, or moves to new sections in a song. He has a looser grip on the speed of a tune than the fairly metronomic Clive, letting the song's natural ebb and flow (and indeed, Steve's playing ahead of the beat) come out more in his playing and, thus, be translated onto record.

Some examples: his intro fills in Wickerman, the breakdown in Longest Day, and the way he changes the feel of the bridge coming out of the solos in 2 Minutes live.
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What has always struck me in this regard is the tempo in "Chains of Misery" when the chorus resumes after the solos.
 
Not Maiden vs. Maiden, but I like how Bruce rips himself off with the trailing vocal lines from "Sea of Madness" and "Trumpets of Jericho"
at about 4:52 and 5:16 respectively.
 
Do recycled riffs count? "The Legacy" middle part - "Empire of the Clouds" middle part. Blatant.
Also, some parts of "The Book of Souls" (faster riff in the middle, melody at the end) remind me on "Montsegur".
 
Shadow of The Valley intro - Wasted Years - Losfer Words melody after Adrian's solo (I think it's even played on high E string, also)
Book of Sould speeding part - intro riff of Losfer Words
Empire of the Clouds speeding part - The Legacy speeding part
Run Silent Run Deep harmony before the last verse- Deja Vu harmony after the 1st chorus and main riff
Mother Russia slow part after the intro riff - Seventh Son middle section
 
The chorus of "Fates Warning" is like a dumbed down version of the chorus of "The Clairvoyant" (though I still like it).
 
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