Vocalists that were auditioned for Bruce Dickinson's replacement in 1993

EresiA

Prowler
It all worked out for the best in the end.
Maybe but... really I would really say that everything went as well as what we previously knew. But not the same, Blaze's passage through the band brought changes in the band's composition structures. Let's say, it rose.
We will never know if with Doogie, with Lachman or with Russ they had never needed Bruce's return and how Iron Maiden would have evolved.
 

EresiA

Prowler
Continuing the issue of auditions to replace Bruce....
By the way, checking in my old emails, one of the vocalists I contacted, told me that there was a kind of pact between the band and the candidates. The absolute silence of not saying that they had auditioned if they were not elected in the end, the silence so as not to reveal that other candidates appeared for the auditions and the obvious sepulchral silence of the band of not revealing anything at all.

Another interesting fact is that, when they had a Top 5 of the final candidates, the band proposed a final challenge, so to speak.

Here I will discover two things...

The first is that, that challenge meant having to compose with the band (improvising about something already written) in a couple of songs that they already had structurally composed, to see what each one could contribute in terms of melodies, thematic in the lyrics and even arrangements for the song itself.
Interestingly, who had the best contributions was Blaze. Both in lyrics, arrangements and melodies since, it seems that it gave them some vision... let's call it a certain X Factor (something they could not describe) and that differentiated it from the rest of the candidates.
Here I understand that the band gave priority to the talent of composing with good chemistry that the voice itself, among those who presented themselves then, was vocally surpassed by some.

The second, to say that, these songs with which they played to test them, were songs that were already written, unfinished, sketches or left over from Fear Of The Dark era. Judgement of Heaven - Justice Of The Peace - Man on the Edge - Judgement Day.

The funny thing about Man on the Edge is that, despite the similarity in its structure with Be Quick Or Be Dead, Man On The Edge was previously written by Janick but ended up being stored in a drawer and instead appeared Be Quick. So earlier was the song that (already commented here) its beginnings date back to its time in White Spirit, specifically the song The Way You Want To See. Song that was not officially released and that belongs to the demo sessions for his second album and that was unreleased. You can find on the album Demo 1981 and... on this, you can find certain melodies that then later appear on other albums of the band... in Dance Of Death, The Final Frontier...

Anyway, these songs were arranged and ended up changing with respect to how they appeared on the album and in the singles and sometimes using or removing fragments.
The source of information, which is too detailed, I suppose you will know who could tell me... but, two other candidates also gave me details.
Another detail, Steve Harris, initially, his idea was to mix the parts he had of Judgement of Heaven with those that Janick had of Judgement Day.

I hope you liked to know a little more about this era of the band.
 

EresiA

Prowler
Well, in relation to Janick recycling some of his old riffs or songs, it's very common in music. They are still compositions of yours that, somehow have not come to light and, at certain times some fragment that fits with new ideas that you are working on may come to mind. Steve, Bruce... they all do it. Tears of the Dragon... for example, is a song that comes from far back, from the time of Somewhere in Time and that was changing and adapting... in Tattoed Millionaire it was about to be recorded. In 1992, he rescued her again and was given final form until he appeared in Balls To Picasso. Recall that, Balls, had three attempts before being edited. The third time was the charm but Bruce already worked it before in the sessions with Keith Olsen and before with the Skin musicians.
By the way, Man of Sorrows was also recorded in 1992 but ended up in Accident of Birth 5 years later.

It is something that all musicians do. I don't see it wrong, it is part of the creative process.
 

EresiA

Prowler
I forgot to say that, Tears of the Dragon, was previously called Tears of Pendragon or Pendragon's Tears, I don't remember well.
Another of the songs that Bruce presented in 1986 for Somewhere in Time, Arc of Space, called at the time, Dreams of Space and Time. The version we know today, after working with Roy Z. must be very different from those of those days.

The reason why Tears of the Dragon and Man of Sorrows are so similar in their structures, resembling the same sessions, are evident as they were arranged at the same time. Janick recorded the guitars in Man of Sorrows 1992 version... and somewhere I read that Gers came to play and rehearse Tears... but I don't remember where. Maybe in some old Rock Hard or Rip interview.
 

karljant

Ancient Mariner
Man of Sorrows, Arc Of Space and Tears Of A Dragon would make a really good album out of Fear Of The Dark. Just Imagine:

Be Quick Or Be Dead
Afraid To Shoot Strangers
Chains Of Misery (a brief filler)
Man Of Sorrows
Childhood's End
The Fugitive (another filler)
Tears Of A Dragon (a more "Maidenized" version)
Judas Be My Guide
Fear Of The Dark
Arc Of Space

Now that would be nice.
 
Last edited:

EresiA

Prowler
Man of Sorrows, Arc Of Space and Tears Of A Dragon would make a really good album out of Fear Of The Dark. Just Imagine:

Be Quick Or Be Dead
Afraid To Shoot Strangers
Chains Of Misery (a brief filler)
Man Of Sorrows
Childhood's End
The Fugitive (another filler)
Tears Of A Dragon (a more "Maidenized" version)
Judas Be My Guide
Fear Of The Dark
Arc Of Space

Now that would be nice.
Well, it would not be a bad combination to put those songs there... but it is known that Harris, acoustic songs, very orchestrated or slow development did not like much at that time. At least, not in the way Dickinson composed them. That is why he rejected Tears of the Dragon for Fear of the Dark (also in its original 1986 version). I don't know if he presented Arc of Space for the Fear album.
The funny thing is that, the Harris composer of today, allows such compositions with slow, elaborate passages, etc... maybe he changed his way of seeing the evolution of the band and realize that that would not damage Maiden's style if not that would rather enrich it.
 

srfc

Ancient Mariner
Well, in relation to Janick recycling some of his old riffs or songs, it's very common in music. They are still compositions of yours that, somehow have not come to light and, at certain times some fragment that fits with new ideas that you are working on may come to mind. Steve, Bruce... they all do it. Tears of the Dragon... for example, is a song that comes from far back, from the time of Somewhere in Time and that was changing and adapting... in Tattoed Millionaire it was about to be recorded. In 1992, he rescued her again and was given final form until he appeared in Balls To Picasso. Recall that, Balls, had three attempts before being edited. The third time was the charm but Bruce already worked it before in the sessions with Keith Olsen and before with the Skin musicians.
By the way, Man of Sorrows was also recorded in 1992 but ended up in Accident of Birth 5 years later.

It is something that all musicians do. I don't see it wrong, it is part of the creative process.
Exactly. 22 Acacia Avenue springs to mind as well.
 

karljant

Ancient Mariner
Well, it would not be a bad combination to put those songs there... but it is known that Harris, acoustic songs, very orchestrated or slow development did not like much at that time. At least, not in the way Dickinson composed them. That is why he rejected Tears of the Dragon for Fear of the Dark (also in its original 1986 version). I don't know if he presented Arc of Space for the Fear album.
The funny thing is that, the Harris composer of today, allows such compositions with slow, elaborate passages, etc... maybe he changed his way of seeing the evolution of the band and realize that that would not damage Maiden's style if not that would rather enrich it.
100% facts... Songs like Como Estais Amigos, Blood Brothers, Dance Of Death, Face In The Sand, Jouneyman, Out Of The Shadows and ultimately Empire Of The Clouds are proof of Steve's change of heart regarding those elements on later recordings. The only strange thing is, while Harris' overhall lack of empathy for slow, semi acoustic and calm songs was a trait back in the day, why a weak track (IMO) within that same molde like Wasting Love is featured in FOTD while Arc Of Space or Tears Of A Dragon are infinitly better? Hell... if AOS was too calm and acoustic they could make a crescendo with distorted guitars in the refrain and bridge and remove the Raggae part on TOAD if it was a problem for Harris ( I personally like both songs as they are).
 

EresiA

Prowler
100% facts... Songs like Como Estais Amigos, Blood Brothers, Dance Of Death, Face In The Sand, Jouneyman, Out Of The Shadows and ultimately Empire Of The Clouds are proof of Steve's change of heart regarding those elements on later recordings. The only strange thing is, while Harris' overhall lack of empathy for slow, semi acoustic and calm songs was a trait back in the day, why a weak track (IMO) within that same molde like Wasting Love is featured in FOTD while Arc Of Space or Tears Of A Dragon are infinitly better? Hell... if AOS was too calm and acoustic they could make a crescendo with distorted guitars in the refrain and bridge and remove the Raggae part on TOAD if it was a problem for Harris ( I personally like both songs as they are).
I also like songs as they appeared on Bruce's albums.
Arc of Space and Tears of the Dragon didn't appear because Steve already seemed too many concessions with Wasting Love. Supposedly a power ballad. What he did make clear is that he didn't want Keith Olsen's mix to appear on the album.
This makes me think that when Bruce was working with Maiden on Fear of the Dark, he was recording his album with Keith Olsen. The dates would match.
 

EresiA

Prowler
What do you think of the candidates and the story I wrote on page 11?
Have you heard any of Cloven Hoof, Gargoyle, Midnight Blu, Mindfeed, Eleventh Hour, Threshold... albums to hear their voices? Some of these guys would have been very good in Maiden.
 

EresiA

Prowler
True, but I think (I might be alone in this though) that Janick tends to recycle the same type of ideas over and over. That being said, he has written some great songs following that approach.
Well, Janick really is not the one who has been able to do it, in any case, it is Adrian Smith who has recycled more ideas.
 

karljant

Ancient Mariner
Well they were all good voices back then (ones better than others) and IMO better picks than Blaze back in the day. If it was Blaze nowdays (the man is singing 1000 times better) a #D downntune would be enough for things to be perfect.
But there are some issues regarding some of the candidadates:
  • André Matos had an enormous voice but his accent was too strong (descanse em paz).
  • Doogie White and Damian Wilson both have too soft vocal tones for the aggression of almost half of Maiden's catalogue.
  • North and Grimmet are way too falseto Power Metal proned.
  • I confess I had to search for this Glynn Morgan guy since I've never heard about him. And damn the ma has fire on his belly! His voice can go really rough and also hit tenor like tones as well as falsetto. I think it would have been a really interesting choice.
Regarding the other rumours:
  • Falaschi has the same problem than Matos.
  • Scheepers would've create an Iron Priest kind of thing with a bit accent.
  • DiAnno singing Dickinson's material? naaaah....
  • Belladona could work despite the the nasal tone and american accent (the man has an excellent operatic ring)
So, to sum it up, here are the 3 guys I think would fit the job better back in the early 90's (audictioned or not):
  • Michael Kiske - Yeah he uses lots of falseto and has a tad bit of accent... but has an incredible tenor tone (just check A Little Time) and is a one in a lifetime talent.
  • Tony Martin - This is a no brainer.... that Dioesque fire on his attack, tenor like voice and experience would work out really well
  • Glynn Morgan - For the reasons I pointed before... and if Maiden were searching for a more modern edge this would have been a great pick.
 

EresiA

Prowler
Exactly. 22 Acacia Avenue springs to mind as well.
Exactly. Good point.
Countdown (formerly called Countdown Billy) was 22 Acacia Avenue was in the time of Urchin.
Life in the City would later become The Sheriff Of Huddersfield.
Other ideas and songs of Urchin ended up in Silver & Gold by A.S.A.P. either on the album or in the singles (When She Is Gone, School Days, Silver & Gold, Fighting Man) and also in The Untouchables as City of Dreams... such as Watch Me Walk Away, Life Time, Steal my Heart.
Fallen Heroes of Silver & Gold was presented for the sessions of Somewhere in Time... This song, Maideniced, would have been a hymn for the live shows.
Also, many of the structures of their solos and some riffs from the time of Killers and The Number can be found in Urchin. The structures of My Lady leave no doubt.
There are also two songs by Adrian that he brought from Urchin that he introduced Steve to Killers and he did not like enough. Also, for the Album Killers they had too many songs written.
For The Number, Adrian presented the Madman song that looked a lot like the song style like Twilight Zone but, it didn't come in.
I would have preferred it before Gangland.

Ahh... a curious fact, Adrian gave the song Need Someone (previously called Someone Like You) to a Spanish band called Obus and the song is called Alguien.
This song if you pay attention, ended up being Reach Out.
 
Top