"The Book of Souls" - Official pre-release thread (CONTAINS ALBUM SPOILERS)

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I'm happy that the interview shed some light on the recording of the 18 min Bruce piece...I remember we had some talks about when exactly people are credited. In this case, Bruce had some ideas, went to Steve with them. Steve liked the melodies and the structures, told Bruce to keep working on it...When Bruce was done he took it back to the rest of the band who THEN build it it into an 18 min epic. So Bruce gets the lone credit for composing the melodies, the structures etc but the band as a whole worked it into what we get to hear.

As for the song being composed on piano and the possibility of Maiden actually for the first time in their career having a piano piece/section in one of their songs? Well...I guess it could become a reality. Certainly fits in with "It's Maiden, but like you've never heard it before..."

My own take on piano in Maiden. It could either be extremely good (a masterpiece like Steve says) or incredibly cheesy....
 
Jeffmetal said:
The nose thing apparentely went up to Eddie's brow (this is from the 'Apocalypto' movie).

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I did wonder about Apocalypto having some influence here. The breakdown of civilisation, the dark side of the human psyche.
 
I was thinking on what they could do for a stage show on the next tour.

I hope they go all out on the design, and not as basic as the Maiden England tour.
 
Night Prowler said:
Just because a song is really long doesn't mean it's progressive. I don't think Rime, Sign or Wild Wind are progressive at all. Starblind is much shorter than these songs, yet way more progressive.
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Depends how you define "progressive": Drawn out Dream Theater progressive, or a song that actually progresses from previous work (e.g. Blind Guardian)
 
I think Genghis Khan and Losfer Words (Big 'Orra) are very progressive. Not every long Maiden song is progressive as in the classic template of progressive bands (the 2 instrumentals I mentioned have more of these elements than lots of long Maiden songs)!

Maiden (Steve) created an unique way to make their own prog thing which has strong reference with being like a soundtrack to a storytelling.
 
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THESEVENTHMARINER said:
I was thinking on what they could do for a stage show on the next tour.

I hope they go all out on the design, and not as basic as the Maiden England tour.
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I imagine they will. They tend to go "all-out" on album tours: the scaffolding/wicker Eddie for BNW, castle elements and theatrics for DOD, sandbags/giant tank/searchlights for AMOLAD, and all the 3-D spaceship elements and towers for TFF.
 
Night Prowler said:
I'm happy at how thoughful Steve is about Bruce's cancer-scare. Compare that to behaviour of Kerry King when Jeff Hanneman got sick...
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This is the first thing that caught my mind in this interview. Him actually asking if he could tour with BL is really nice and tactful. The days when business came first are really far. I think this has put everything into different perspective, and I wouldn't be that surprised if it changed their future plans as a band.
 
SixesAlltheway said:
I remember we had some talks about when exactly people are credited. In this case, Bruce had some ideas, went to Steve with them. Steve liked the melodies and the structures, told Bruce to keep working on it...When Bruce was done he took it back to the rest of the band who THEN build it it into an 18 min epic. So Bruce gets the lone credit for composing the melodies, the structures etc but the band as a whole worked it into what we get to hear.
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I thought it was common sense to know that's how crediting is done.
 
This wasn't to me. When Harris alone is credited, he has written the song on his own, except the solos, so one could expect the same rule for the others. We've discussed it millon times before, but now we've got direct information from the band itself, and not our own speculation. But I could have missed something...
Edit. Reading it again and again (page 3 of the article), I can't see a proof that Bruce didn't strucure the whole thing himself. Am I wrong ?
 
I'm pretty sure structures (or arrangements, if you want to call it that), lead melodies and lyrics get you credits. Partitions of a respective instrument (drum track, bassline, guitar solos etc.) and textures don't. Sometimes a partition can make the song but the player(s) won't get credit for it. Think Dave Murray solo/Steve Harris bassline in Powerslave.
 
SixesAlltheway said:
I'm happy that the interview shed some light on the recording of the 18 min Bruce piece...I remember we had some talks about when exactly people are credited. In this case, Bruce had some ideas, went to Steve with them. Steve liked the melodies and the structures, told Bruce to keep working on it...When Bruce was done he took it back to the rest of the band who THEN build it it into an 18 min epic. So Bruce gets the lone credit for composing the melodies, the structures etc but the band as a whole worked it into what we get to hear.
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That's not what I read. The band recorded it. The eventual length is mentioned but not that the band necessarily expanded it. It might have been 18 minutes before he took it to the band. It is a logical thing to imagine that the band expanded it, but it wasn't said.
 
The Flash said:
Partitions of a respective instrument (drum track, bassline, guitar solos etc.) and textures don't. Sometimes a partition can make the song but the player(s) won't get credit for it. Think Dave Murray solo/Steve Harris bassline in Powerslave.
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The word you're looking for is "arrangement". It's something you'll see credited in jazz often.
 
I always thought music credits were odd .. I guess "publishing" is really an accurate term given they lyrics are what gets the credit. I kind of prefer bands that just credit the song to the band ... I know there is a financial hit to that, but in this day and age of limited actual music sales, I think it matters much less than it used to
 
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