Your Maiden blasphemy

By the way, I remember having often read in the past that When the Wild Wind Blows suffers from a similar problem, being a very long song without any real chorus (which is true) and also some criticisms on its melody. I don't share these criticisms. Also I don't have any problem with the song lacking a chorus because the tension built is regularly resolved.

I anyhow agree that it is a bit repetitive and in some points shows an evident lackluster of ideas.
 
Murder of Rue Morgue said:
De gustibus non est disputandum they say so I'm not questioning why you consider it weak, but I frankly don't understand this. What do you mean it's way too repetitive?
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I guess repetitive isn’t the word I’m looking for. It just kinda seems like the same thing in both the mellow and faster parts. I probably could’ve picked a better reason than it’s way to repetitive. I probably could’ve picked a different song to. This one just came to mind. Children of the Damned has never really clicked for me I guess.
 
Black Bart said:
because it is not every day that Maiden comes up with a good, melodic chorus.
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You must be joking?
Black Bart said:
"Fortunes of War" because of Dave's solo, an epitome of what his style is all about... and a lesson in tasty legato.
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So true.
Murder of Rue Morgue said:
By the way, I remember having often read in the past that When the Wild Wind Blows suffers from a similar problem, being a very long song without any real chorus (which is true) and also some criticisms on its melody. I don't share these criticisms. Also I don't have any problem with the song lacking a chorus because the tension built is regularly resolved.

I anyhow agree that it is a bit repetitive and in some points shows an evident lackluster of ideas.
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WTWWB doesn't need a chorus, but I miss it in a way. Maybe the verses after the intro could count as a chorus (as if the verses and chorus are swapped) and maybe they should have been repeated after the instrumental section, BUT the tension built is perfect throughout the song (especially with the verses after the instrumental section). Melodies, riffs, solos and drumming are great.

Lackluster of ideas? What?
 
Kalata said:
Lackluster of ideas? What?
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The second and third sections ('Have you heard what they said...' etc. and 'Have you seen what they said' etc. respectively) are the exact same thing, the only difference is that one has distortion and drums and the other one doesn't. Also the passage from the third section to the next ('He sees the picture on the wall' etc.) is the most predictable thing in heavy metal: stop, snare drum, restart.

He clearly had good ideas but couldn't come up with something to put them together. Not the first time, obv. Also the lyrics are too verbose and prolonged and take a lot of time to get to the point (just like The Reincarnation of Benjamin Breeg's).

A good piece overall, but could have been much better.
 
Kalata said:
You must be joking?
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I said "good". :D Of course, Maiden songs are part of the reason why I have high standards and why I cannot tolerate the likes of the choruses from "The Mercenary", "No More Lies" or "Mother of Mercy" (that's too bad in the case of the latter, because I really like the verses). What do you want: I've been spoilt. ;)
 
My only issue with WTWWB is the "wild" in the title and the lyrics. The book is "When the Wind Blows". It seems presumptious and disrespectful to stuff the extra word in there.
 
Black Bart said:
I said "good". :D Of course, Maiden songs are part of the reason why I have high standards and why I cannot tolerate the likes of the choruses from "The Mercenary", "No More Lies" or "Mother of Mercy" (that's too bad in the case of the latter, because I really like the verses). What do you want: I've been spoilt. ;)
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Mercenary chorus is quite melodic man, especially with that guitar (Janick?) in the background supplementing Bruce's voice.
 
CountryChurchyard said:
My only issue with WTWWB is the "wild" in the title and the lyrics. The book is "Where the Wind Blows". It seems presumptious and disrespectful to stuff the extra word in there.
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The original title of Coleridge's ballad is The Rime of the Ancient Mariner and Seventh Son of a Seventh Son is loosely based on O. S. Carson's Seventh Son. Are these titles also disrespectful?

____no5 said:
Mercenary chorus is quite melodic man, especially with that guitar (Janick?) in the background supplementing Bruce's voice.
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I think it is Dave and Adrian, high and low voice respectively. At least, in Rock in Rio it is.
 
The original title of Coleridge's ballad is The Rime of the Ancient Mariner
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Which is how Bruce introduces it on LAD. I wouldn't generally lose sleep over a definite article, and the lyrics wouldn't make grammatical sense without it. Though I suspect it might niggle if someone kept referring to your favourite band as "The Iron Maiden".

"Seventh Son of a Seventh Son" has older origins in folklore, and the album it is the title track of is not a direct retelling, so you could give it a pass, though the extra exposition of "of a Seventh Son" is a mild dumbing-down.

It's the "just another 'When the Wild Wind Blows'" in the lyrics I particularly bump on - there is no "When the Wild Wind Blows" prior to the Maiden song.
 
Bruce has a tendency to introduce songs without a the with a the. The Iron Maiden, The Flight of Icarus, The Rime of the Ancient Mariner, etc. It's a funny quirk since all those song titles work much better without it.
 
CountryChurchyard said:
Which is how Bruce introduces it on LAD. I wouldn't generally lose sleep over a definite article, and the lyrics wouldn't make grammatical sense without it. Though I suspect it might niggle if someone kept referring to your favourite band as "The Iron Maiden".

"Seventh Son of a Seventh Son" has older origins in folklore, and the album it is the title track of is not a direct retelling, so you could give it a pass, though the extra exposition of "of a Seventh Son" is a mild dumbing-down.

It's the "just another 'When the Wild Wind Blows'" in the lyrics I particularly bump on - there is no "When the Wild Wind Blows" prior to the Maiden song.
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He also introduces it as “this is what not to do if a bird shits on you”. So what?
 
Maybe I’m in the minority, but in my first complete listen of AMOLAD, the chorus of FtGGoG was the very first time the album piqued my interest. It was mostly background noise until that point.

I mean I love the album to pieces, but it’s so consistent throughout that on first listen nothing stood out, if that makes sense. But I still love the repetitive and melodic chorus of FtGGoG.
 
Kalata said:
You must be joking?

So true.

WTWWB doesn't need a chorus, but I miss it in a way. Maybe the verses after the intro could count as a chorus (as if the verses and chorus are swapped) and maybe they should have been repeated after the instrumental section, BUT the tension built is perfect throughout the song (especially with the verses after the instrumental section). Melodies, riffs, solos and drumming are great.

Lackluster of ideas? What?
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The successes of "The Parchment" and "Lost in a Lost World" show that Harris has improved as a songwriter since 2010.
 
chaosapiant said:
Maybe I’m in the minority, but in my first complete listen of AMOLAD, the chorus of FtGGoG was the very first time the album piqued my interest. It was mostly background noise until that point.

I mean I love the album to pieces, but it’s so consistent throughout that on first listen nothing stood out, if that makes sense. But I still love the repetitive and melodic chorus of FtGGoG.
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I'm not a big AMOLAD fan either. These Colours Don't Run, The Pilgrim, and FtGGoG are the ones I go back to most often and even then not that much.

my least-played reunion era album.

that being said, I'm a huge fan of Senjutsu - and it seems that AMOLAD and Senjutsu are beginning to be lumped together as similar (and epic-heavy albums).

Senjutsu is my most played reunion era album however.

that being said, there's some great melodic and thematic bits on Brighter than a Thousand Suns, but some of the sections don't mesh together as seamlessly as songs that came before or after AMOLAD did/have.
 
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