The Genesis of Somewhere in Time

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All versions of the official Iron Maiden biography fail to acknowledge Bruce’s songwriting contributions on TNOTB.

I have taken picture of the pages talking about the songwriting credits.
 

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^ why incriminate yourself. You'd have to explain that you legally didn't have rights to write for major-label Iron Maiden record, and that you broke that deal. For what reason, credits redistribution? Samson and their publisher would sue for damages and that would be some money involved (TNOTB is one of the most sold metal records of all time).

As mentioned the proof is in the pragmatic - live 1995 - 1999 ;) I don't think anything more has to be said. If you are follower of his solo career you know he played his own songs to prove a point.
 
Zare said:
^ why incriminate yourself. You'd have to explain that you legally didn't have rights to write for major-label Iron Maiden record, and that you broke that deal. For what reason, credits redistribution? Samson and their publisher would sue for damages and that would be some money involved (TNOTB is one of the most sold metal records of all time).

As mentioned the proof is in the pragmatic - live 1995 - 1999 ;) I don't think anything more has to be said. If you are follower of his solo career you know he played his own songs to prove a point.
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Of course. The point I was trying to make is that Maiden had not acknowledged Bruce’s contribution in the official biography, that’s all.

That being said, Rod mentions Bruce co-wrote The Prisoner on 12 Wasted Years. :)
 
I wonder if Paul Samson's death has anything to do with Bruce outright stating he co-wrote Run to the Hills in recent years.
 
Zare said:
While he was out of Maiden, he did not play Maiden covers, he played his songs.

Prisoner, Run To The Hills, Flight of Icarus, 2 Minutes To Midnight, Powerslave.
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He co-wrote Run to the Hills with Harris
 
Zare said:
He cowrote everything from that list excluding Powerslave. Still his songs. His lyrics, his theme, his idea.
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Yep but your phrase "not maiden covers" might have confused some readers into thinking that Steve wasn't involved with Run to the Hills at all, and for the sake of accuracy I added the correction.
 
srfc said:
Yeah but there was always a kind of wink wink element to his claim e.g. the "moral contribution", whereas only recently did he explicitly state, to paraphrase him, " I wrote Run to the Hills melody, it's based on My Way"
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In that case, he waited more than a decade after Paul Samson’s death to make that claim. :lol:

Either way, wasn’t Children of the Damned the song that Paul Samson claimed had riffs that were presumably his?
 
Yeah, I wasn't think straight there, the issue with RTTH wasn't with Samson but with the record company, so Samson's death would have had no relevance to why Bruce was being more explicit about it. Probably he just thinks there's too much water under the bridge to remaining being coy about it.
 
If I had to guess, members of Samson have long know what songs Bruce helped write, prior to Bruce even saying anything. But as his name is not credited on the album, that’s the official documentation.

Also, maybe someone can answer this: is there/would there be a statute of limitations on something like this? Like, say, after 25 years you really can’t sue Bruce for shit regarding who wrote what?
 
chaosapiant said:
If I had to guess, members of Samson have long know what songs Bruce helped write, prior to Bruce even saying anything. But as his name is not credited on the album, that’s the official documentation.

Also, maybe someone can answer this: is there/would there be a statute of limitations on something like this? Like, say, after 25 years you really can’t sue Bruce for shit regarding who wrote what?
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I don't think it was anything to do with Samson members, more their record company. Samson owed the record company a fortune at the time and probably would have taken all Bruce's royalties [speculation from me]
 
____no5 said:
I’m almost sure that music was not exactly the same as in NPFTD.
Waiting for @Luisma to confirm.
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bringing this interesting read up hoping that Luisma could to tell some more details about Run Silent Run deep beeing the 9th song of SIT that got rejected. I have to admit that I would give a lot to be able to hear these demos from 1986 myself.
 
flat iron said:
bringing this interesting read up hoping that Luisma could to tell some more details about Run Silent Run deep beeing the 9th song of SIT that got rejected. I have to admit that I would give a lot to be able to hear these demos from 1986 myself.
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The song got as far as being pre-recorded by the band (guide vocals, bass, drums, and a bit of guitars), then it was taken to Wisseloord studio and it was polished a bit but during the mixing it was discared because it didn't quite fit the album theme. Also, the song was a bit more bluesy than the version that ended up in No Prayer For The Dying
 
Wow, that's killer information, thank you very much, mate. Having this in mind it also seams clearer that editing in Holland was definitely done down to entire song structures.
I've mentioned it before, for example, I see zero chance that the instrumental breaks of Deja Vu and RSRD would have both ended up on the album the way they are. They just sound too similar for that. So maybe Deja Vu was put together only after RSDR was sorted out? I find that very exciting.
 
flat iron said:
Wow, that's killer information, thank you very much, mate. Having this in mind it also seams clearer that editing in Holland was definitely done down to entire song structures.
I've mentioned it before, for example, I see zero chance that the instrumental breaks of Deja Vu and RSRD would have both ended up on the album the way they are. They just sound too similar for that. So maybe Deja Vu was put together only after RSDR was sorted out? I find that very exciting.
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You're welcome, mate! The song structures and even the dynamics changed in Holland. As confirmed in an interview, parts that were originally intended for some songs were changed, cut, or added to others. As for Deja-Vu, its final shape came together in Holland. However, since Davey already had the demo and Harris knew he'd have to work extra hard once they got there, he already had ideas for the song.
 
Luisma said:
You're welcome, mate! The song structures and even the dynamics changed in Holland. As confirmed in an interview, parts that were originally intended for some songs were changed, cut, or added to others. As for Deja-Vu, its final shape came together in Holland. However, since Davey already had the demo and Harris knew he'd have to work extra hard once they got there, he already had ideas for the song.
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Hi Luisma

Really interesting info!

If you feel OK in answering, it'd be really good to know -

1. When did you hear the SIT demo songs?

2. Who played them to you?

3. Are they still under control of the band?

4. Will the demos potentially be released officially?

5. Are the demos the final versions of the Nassau recordings before they went to Holland or are there various versions of the demos showing development of the songs during the Holland sessions too?

6. Was ATG originally just a shorter instrumental and if so, which parts of the song we know were in the original instrumental?

Thanks
 
Regarding Wasted Years

I have the feeling that the Wasted Years was at the end of Silver and Gold's (the song) demo. That's why Steve stated that the demo itself was too pop orientated, but he loved that riff and Adrian wrote Wasted Years around it and the original lyrics during the chorus were likely a bit different, as seen during The Untouchables gig.

Silver and Gold itself was a guitar synth heavy song originally (as heard on The Entire Population of Hackney). The original intro of Silver and Gold later merged into Walking On Glass.
 
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