Iron Maiden’s second album ‘Killers’ was released in the UK in February 1981, just ten months after their debut LP. Not so much “born into a scene of angriness and greed, dominance and persecution” as born of haste following EMI’s request for a speedy follow up, it was a “second album” in almost every conceivable sense. Faced with the prospect of having to deliver a new product amid relentless touring, they looked to their archive of already written material and plundered it for all it was worth. Years of honing their sound on the road and the fact the debut included just eight tracks, they found themselves in the fortunate position of having a cushion of material – and while it’s sometimes obvious why some of the tracks were not considered first division material when compiling the debut, Maiden’s “leftovers” were still strong, with some tracks having already become firm fan favourites by the time Steve Harris and company re-entered the studio.
As the 1990s dawned and Iron Maiden entered their second decade as recording artists, their eighth studio album presented the band’s first real misfire. Sure, 1981’s ‘Killers’ may have used of a lot of leftover material but it had a lot of heart, but ‘No Prayer For The Dying’ (released in October 1990) is the first Maiden release that could be considered bad. Maybe that’s harsh. To put it another way: it is one of those albums which sounds solid enough at first, but dig a little deeper and repeated listens show it to be generally unremarkable. And obviously, compared to Maiden’s previous heights – following a decade where the band could barely put a foot wrong – that’s not so good. Since its predecessor ‘Seventh Son of a Seventh Son’ offered especially memorable material in ‘Infinite Dreams’, ‘Can I Play With Madness’ and ‘The Evil That Men Do’, it didn’t seem like too much of a leap of faith to expect ‘No Prayer…’ to deliver a similar standard of goods, but most of the album sounds genuinely flat by comparison with any of its forebears.
At an unspecific point in 1979, my dad arrived home from work carrying a long playing record. It turned out to be the new Police album. At this point, ‘Message In a Bottle’ had been all over the radio and I knew I liked this new music. My mum, on the other hand did not have quite the same enthusiasm; she’s a bit put out that this does not have ‘Roxanne’ on it. Presumably, the album – like others – had been purchased at Barnaby’s, a record shop (no longer there) very near my dad’s then place of employment; a giant tin shed in which he worked with dangerous acidic chemicals and little regard for health and safety. That Police album (‘Reggatta De Blanc’) got played a lot. If I think hard, I can still see Dad sitting by his Fidelity stereo system lifting the needle onto the record and playing the title track over and over and I remember thinking how fitting it was that the word emblazoned on the front looked a bit like the word fiddle. That piece of music must have spoken to him: decades later, he would still attract my attention by calling my name to the tune of that track.
The sight of my dad coming home with new music in this way was not entirely uncommon.
Iron Maiden are one of the world’s most enduring hard rock/classic metal bands. Henry Rollins once claimed they have “fans in any country that has electricity”. The band’s appeal has stretched beyond their 80s breakthough and they’ve survived shifting line ups, while tours have seen them circle the globe many, many times.
Maiden’s fans are some of the most committed, so it was unsurprising that the internet went into a mini-frenzy when it was announced that a new studio album had not only been completed and scheduled for release in September 2015, but it was also to be the band’s first two-disc studio release, and it was also to include the longest song they’ve written to date.
In 1995 the Iron Maiden catalogue was made available as special edition CDs. These briefly available “special editions” didn’t really live up to expectations – each had a bonus disc containing a handful of b-sides that almost every Maiden fan already owned. They were nice to have, especially for those missing a few items in their collections, but hardly special by any stretch. In 2002, the albums were reissued as “definitive remasters”, this time without bonus discs and with an extra track inserted into the running order of the first three releases. Hardly definitive – and to add insult to injury, the sound on these reissues (presumably okayed by Steve “Bomber” Harris) appeared compressed and not always sounding as good as any of the previous issues.