Iron Maiden Eddie Action Figures

Iron Maiden are having action figures made of their Eddie the Head mascot for all the man children and comic book guys who loved Iron Maiden as teenagers and want Maiden to be up on that one shelf with all of their Star Wars and WWF merchandise. “The Trooper” Eddie and Eddie from the Killers cover will be available at Super7’s San Francisco’s store from July 1st to 8th to coincide with Iron Maiden’s show in Oakland on July 5th.

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Iron Maiden Being Sued Over Tribute Lyrics


Article by George Psalmanazar.

A member of 1970s British progressive rock band Beckett is suing Iron Maiden for a six line lyrical tribute in ‘”Hallowed Be Thy Name” off Number of the Beast to one of Steve Harris’s favorite prog rock songs, “Life’s Shadow”. Some random band manager Barry McKay is suing Iron Maiden on behalf of Brian “Ingham” Quinn, one of the two credited writers of “Life’s Shadow”. McKay is alleging that Iron Maiden came to a secret settlement with the other writer credited on the record, Bob Barton, and that Quinn really wrote the song himself back in 1969 rather than in the early 70s when both of them were in Beckett. Barton is also being sued and McKay is now trying to hit Iron Maiden up for a “few hundred pounds per live performance” for a license to perform their own music.

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Iron Maiden – Somewhere in Time (1986)

iron maiden somewhere in time

Article by David Rosales.

Released after Iron Maiden’s golden era, Somewhere in Time is touted by fans of heavy and power metal as a crown jewel of the band, exemplifying perfected expression and streamlined efficiency. This is not immediately convincing for metal hessians. Rightly so as the music became more sterile, hence, less credible. There is definitely a sense of “upgradedness” in both the production and the choice of stylistic voicings, allowing an inclusion of 80s pop coloration into the palette. This unclear, semi-sellout move demanded accountability, while at the same time the band boasted of accumulated experience fructifying the transformation, masterfully avoiding the typical degeneration that could be expected after the climax and summary of their original sound in 1985’s Live After Death.

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Iron Maiden working on their second video game

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Back in 1999, Iron Maiden released Ed Hunter, a greatest hits compilation that also included a video game of the same name. The game hasn’t aged well at all (and even in 1999, it was underwhelming). 17 years, though, have wrought enormous changes in the video gaming industries, and thusly, Iron Maiden’s second effort (at least, if you don’t count the minigame released for “Speed of Light”) is under development. Legacy of the Beast describes itself as “an epic free-to-play mobile role playing game, set in the expansive Iron Maiden universe,” and like any bandgame it understandably includes many songs from Iron Maiden’s career, as well as some live recordings that will remain exclusive to the game for some time. Little concrete information has been released on how this game will actually play, but a signup for a mailing list on the game’s webpage suggests upcoming information in the near future…

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Iron Maiden – The Book Of Souls (2015)

Iron Maiden - The Book Of Souls (2015)
Iron Maiden’s main strength in their 1980s heyday was their ability to incorporate progressive rock tropes (and therefore useful techniques for song variation and extension) into what was otherwise a fairly standard, if well executed poppy heavy metal sound. Not the rarest trick in the book, but more than enough to turn the band into a commercial juggernaut whose influence can sometimes be heard even in the deepest dregs of the underground.

On first impression, The Book of Souls ages gracefully, offering an aesthetic mostly similar to the band’s earliest recordings with Bruce Dickinson if understandably and obviously brought up to modern production standards. Like the rest of the band’s latter day material however, it leans ever closer towards its prog-isms, resulting in several enormous tracks and inflating the content into a full-fledged double album. The unfortunate weakness of these epics is that they are replete with filler of questionable value to a track, and as the length of these albums and tracks grow ever longer, so does the tedium, as Iron Maiden’s ability to extend a track beyond 7-8 minutes or so has not advanced along with them. Tracks end up overwhelmed by moments stunningly reminiscent of old hooks and hit singles (for instance, the intro of “Shadows of the Valley” seems to channel “Wasted Years” from Somewhere In Time), and the true nature of the band’s recent weakness reveals itself.

Iron Maiden has become a band split between two souls that they are unable to effectively reconcile. Their urge to extend their songwriting and write metal epics is held back by their need to continuously sound like Iron Maiden and the corresponding need to push hit singles. Paring down some of the worst excesses would probably be the most profitable option, since the band has demonstrated many times through their career that they can handle some degree of extension. Even then, Iron Maiden is competing with their own past; a past that is more virile (if not as slickly produced or musically experienced) and still easily experienced at their live concerts. I expect this album to jump off the shelves of record shores for still being recognizably Iron Maiden, for having some memorable and well-written moments and for being a valid way to financially support the band, but as a work of music, I don’t expect it to retain much listener interest after its marketing blitz subsides.

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Iron Kingdom – Ride for Glory (2015)

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Sounding like an Iron Maiden with the annoying voice from Queensryche’s vocalist from back in the day, Iron Kingdom make melodic heavy metal with the flexibility and propriety of conscious progressive rock. A very clear image of the character, lyrical theme and direction of the music arises through discrete but carefully-considered decisions to express the next clause with a literal musical change to match its change in words.

While the music could be described as progressive upon first impression, the result is closer to an extended and twisted pop-song format in which the pieces and functions are maintained but considerable variety is introduced. While some would object to this description, this is precisely what a progressive music arising from verse-chorus-bridge music should sound like: music that evolves to underpin the lyrical events taking place in the story being told. The vocals are kept within the framework of the music in a unified way through a composition of the melody line that strictly adheres to the moving harmony under it, rather than flying around in opera-like expression that takes a slow-moving support harmony as licence and liberty to stand out on its own. In here, the voice is a melodic instrument working in between the guitars and riding them (see Ozzy Obourne), not jumping on them as if they were trampolines (see Bruce Dickinson, Ronny James Dio).

Succeeding over the grandpa metal with progressive pretensions of post-2000 Iron Maiden by injecting a dose of proper progressive music with the influence of Queensryche, Iron Kingdom give us songs that actually progress and not just long, over-drawn affairs with over-extended bridge sections. While Ride for Glory is undeniably a song collection, the amount of content, its purpose within each song and their consistency track after track in all aspects while giving a distinctive-enough identity to each song give the album a chapters-in-a-story-like feeling of succession that while not altogether literal, can be felt from the music. Obviously an experienced band, Iron Kingdom know exactly what they are doing and more importantly the music is full with purpose, giving Ride for Glory a strong feeling of meaningfulness.

https://www.facebook.com/ironkingdom

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MP banned from Maiden T-shirt in House of Commons

A Conservative MP and music fan was not able to completely fulfil on his pledge to his Hove constituents to wear his Iron Maiden T-shirt in the House of Commons.

Mike Weatherley said he had worn it in Westminster Hall, but added: “It’s not allowed in the Commons, I asked the Speaker if he’d give me permission and he said no.”

He was on the Daily Politics discussing the links between music and politics. – BBC

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Introduction to Power Metal, Part II: The First Wave of European Power Metal

[The epic continues!  Read part I of Johan’s journey here and listen for yourself via this playlist]

While working with what was intended to be the second part of a tripartite article series covering the history and general properties of the power metal subgenre, it soon became clear that a sufficiently thorough treatment of the subject would require more space and time than what was originally intended. This insight subsequently led to the conclusion that individual parts needed to be subdivided and portioned out in order to not grow out of proportion. The initial plan to present the material into three consecutive parts has thus been revised.

Another related issue that arose during “research” concerns the historical development of European power metal. As have been noted in previous articles on this site relating to the history of metal music, artistic “movements” or periods of development tend last about five years speaking in generalized terms. This phenomenon can be observed in European power metal as well. After having studied Euro-power metal as a composite phenomenon, a rough sketch outlining the developmental trajectory of said music began to take form:

1984-1989: The first wave of European power metal.

1990-1995: Intermediate period.

1996-2001: The second wave of European power metal.

While not a perfect model, this rough periodic division will be used as a framework for discussion in the articles to follow. The relatively lengthy timespan that has passed since the putatively defined second wave of European power metal will be left out for the moment, primarily (and regrettably) because there hasn’t really occurred much of a development in power metal since the early 2000s. If anyone sits on information that invalidates the above statement, feel free to chip in – this writer would be very pleased to be proven wrong on this front.

Accordingly, the second part of this article series will be mainly devoted to the development and characteristics of the first wave of European power metal and the intermediate period that followed in its wake. Instead of approaching the subject in thoroughly generalized manner, a ???-track compilation will be used as source material to make observations about the historical development and specific traits of first wave Euro-styled power metal. Please not that this collection of tracks is by no means intended as a “best of”-compilation but should rather be viewed of as a springboard for further discussion.

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