It could have been worse.
Danced and glanced. Danced and minced?
Danced and glanced. Danced and minced?
Or make "glory" rime with "doily".It could have been worse.
Danced and glanced. Danced and minced?
Looks like it's going to inch into the top 15 fairly soon. #6 last year!Definitely ten or so spots too low.
That one's a pipe dream.I'm still salty about The Fugitive not being in the top 50.
I've come to prefer Dance of Death over Paschendale lately.
Probably because it returned to the setlist in 2010/11. Bring it back!You can say this one was "resdiscovered" in 2010 or so for sure
I always have. One of the ultimate Maiden songs for me.I've come to prefer Dance of Deah over Paschendale lately.
Wrong.Hard to believe that should even be in doubt. Dance of Death is close to an all-time classic (the use of "prance" notwithstanding) while Paschendale is a misspelled disjointed onslaught of prosody.
This is pretty much everything I think. It's not my all time favorite Adrian song, it's not my all time favorite epic, but it's definitely high up there on my list, and one of the first songs I think of when I hear the word 'epic'. I am betting on a Top 10 placing with this one.Paschendale is certainly a more involving song than Dance of Death, which is the musical equivalent to telling ghost stories around the fire. But it's a mistake to think of the track as anything other than a masterpiece, one wherein each stop, each change in time, each new crescendo isn't part of a masterpiece of drama, building to the violent and predictable conclusion. If Paschendale is disjointed, it is because the event itself was. It evokes its subject in more than lyrics, but in every note of the song - something very few songs of any genre ever manage to do. Every note is perfectly arranged to meet that climax, to bring you closer one step at a time to the inevitable, senseless, violent death of the viewpoint character. To think otherwise is to mistake the song. Much like Empire, you may not like the outcome, but to believe the outcome is anything less than deliberate arrangement by Adrian is not only laughably incorrect, but completely insulting to the concept of what he tried to do.
It is, and remains, Adrian's crowning achievement in Iron Maiden, an epic to match any Steve Harris and Bruce Dickinson and Janick Gers ever wrote.
bow down to the lord! What Steve does on this track is simply amazing! All in all this is definitely one of Maiden's best moments.
In terms of atmosphere, an early triumph. I probably read Dune around the same time Steve did, and the mood fits the novel, so the lyrics never really bothered me. The last two minutes are awesome but it could have used more momentum getting there.
This song has huge potential but doesn't quite deliver the knockout blow. The intro is promising but the verses lack something. The solo is good and different but the bridge out of it doesn't compliment it enough. One of the better tracks from the album.
But song things need more translation when changing artistic mediums. These lyrics being one of them. It is hard to feel the message and intended emotion of the song when I don't care for the source material or the main character of the song.
This has some of 'Arry's most ambitious songwriting, and although I have never read Dune (one of my many plans), it somehow puts me there. I know I'm being inconsequential, but the lyrics don't bother me on this one. Maybe that is because they simply have no meaning to me, I just pretend they're some different language I don't speak. Or simply that Bruce is telling me a good story.
The whole song is full of awesome ideas, starting with the cinematic intro (a gaze over a big sandy wasteland, dunes). The double duo collaboration and interaction in this song (right before the fast part) is pretty original, when Steve and Dave play the melody together while Adrian and Nicko hit the chords in sync. Bruce is really in top shape as well, especially when he goes high.
here are a lot of nines on Piece of Mind to my ears that don't quite make it to a perfect ten, and this is one of the stronger ones along with 'Revelations'. The lyrics do sound a bit ridiculous, but I'll have to read the book to make sense of them. I know Albeniz' 'Asturias' very well, and there are similar riffs here, but the main melody of 'Asturias' is never quoted exactly. 'Spanish Caravan' by the Doors steals it much more blatantly.
I feel bad for this song. Not only does it have to end the album, but it also has to perform after two dreadful songs. And it isn't quite enough to save the second half of this album in my opinion, but it's still a good song. I love the homage to Dune, and while the lyrics are a little cheesy, I think you have to understand the source material to get it. The best aspect of this song is that it really makes you feel like you're in the desert world where Dune takes place.
The song isn't flawless, the lyrics suffer from Steve's wordiness and it is not one of my go-to Maiden epics.
There's no words which can describe how perfect Killers is. From the very hi-hat hit, the awesome bass line, the fierce and stunning screams (which Bruce never could make properly), passing from the astonishing "knife going down" riffs, the vocal melodies, to the fucking great solos (specially Dave's) and the gran finale with parts of the lyrics being repeated slightly different, this song is nothing but perfect.
The quintessential Paul song. Everything about this track screams early Iron Maiden. Steve sounds heavy, the guitars duel constantly throughout the song, and both Davey and H just murder it. Paul is on fire, and he gets into the sound too. And even Clive is great. It has raw energy in buckets, and to be honest, I don't think this song ever sounded the same with Bruce. It should, however, have been a live staple for Blaze. Aw well.
This is one of the best tracks in the entire Maiden catalogue. The bass intro creates a unique, haunting atmosphere that the entire song manages to live up to. It chills you and pumps you up at the same time, which makes it part of the rare breed of songs that only Maiden can do with such perfection.
Perhaps the high water mark in terms of Paul's achievement within Maiden. The whole band is fucking cooking on this track, but Di'anno comes through with a vocal savageness that outshines everything. I am always struck, when watching footage of this number, at just how hard the lads are working.
That intro is thrilling indeed.Steve knows how to make songs that express the feelings he wants.Those screams are classic and even though I'm still writing for the intro, the song goes on just as great.There's not a single less great moment in this one.Best song on the album.