Friday 21 February Saturday 22 February Sunday 23 February Monday 24 February Tuesday 25 February Wednesday 26 February Thursday 27 February Friday 28 February Saturday 29 February Sunday 1 March Monday 2 March Tuesday 3 March Wednesday 4 March Thursday 5 March Friday 6 March Saturday 7 March Sunday 8 March Monday 9 March Tuesday 10 March Wednesday 11 March Thursday 12 March Friday 13 March Saturday 14 March Sunday 15 March Monday 16 March Tuesday 17 March Wednesday 18 March Thursday 19 March Friday 20 March Saturday 21 March Sunday 22 March Monday 23 March Tuesday 24 March Wednesday 25 March Thursday 26 March Friday 27 March Saturday 28 March Sunday 29 March Monday 30 March Tuesday 31 March Wednesday 1 April Thursday 2 April Friday 3 April Saturday 4 April Sunday 5 April Monday 6 April Tuesday 7 April Wednesday 8 April Thursday 9 April Friday 10 April Saturday 11 April Sunday 12 April Monday 13 April Tuesday 14 April George or you're David and you always killed the beast Times change very quickly And you had to grow up early A house in smoking ruins and the bodies at your feet [Chorus:] You'll die as you lived In a flash of the blade In a corner forgotten by no-one You lived for the touch For the feel of the steel One man, and his Honour.
The smell of resined leather The steely iron mask As you cut and thrust and parried at the fencing master's call He taught you all he ever knew To fear no mortal man And now you'll wreak your vengeance in the Screams of evil man. The Duellists [Harris] He threw down a glove you made the mistake Of picking it up now you're gone The choosing of guns or fighting with swords The choice of weapons is gone He'll tear you apart as soon as you start You know you don't have a chance Oh, oh.
Fight for the honour Fight for the splendour Fight for the pleasure Oh, oh. Fight for the honour Fight for the splendour Fight for your life!
Ready to start the duel begins The best man wins in the end A lunge and a feint, a parry too late A cut to the chest and you're down Seeing the stain then feeling the pain Feeling the sweat on your brow The fighting resumes, a silence looms The swordsmen move 'gainst each other A cut and a thrust, a parry, a blow A stab to the heart and you're down The angel of death hears your last breath Meanwhile the reaper looks on Oh, oh.
Fought for the honour Fought for the splendour Fought for the pleasure Oh, oh. Fought for the honour Fought for the splendour Fought to the death 6. Shell-shock in the kitchen. Tables overturned Back in the village again In the village, I'm back in the village again.
Throwing dice now, rolling loaded I see sixes all the way, In a black hole and I'm spinning As my wings get shot away.
Questions are a burden And answers are a prison for oneself Shell-shock in the kitchen Tables start to burn. Back in the village again In the village, I'm back in the village again. No breaks on the inside, Paper cats and burning barns, There's fox among the chickens, And a killer in the hounds.
If we were to say 8 minutes or longer, that list would expand by a handful. It doesn't get any better than this. Digging: Ulthar - Providence. Iron Maiden Powerslave 4. Review Summary: A work of art. Every member of the band reaches the peak of their instrumental game here. Dave Murray and Adrian Smith become the best riffing and soloing twin guitar act in the business, executing rhythm tracks that, sure, you could make like James Hetfield and down-pick them, but why would you want to give yourself carpal-tunnel syndrome in your twenties?
As a bass player especially, he has brilliant moments all over the album but where he seems to shine the most are on the songs he didn't even write, practically stealing the show right back under from Adrian and Bruce.
Some critics would say that sometimes 80's Maiden epics go on for too long, and where I come from thems are fightin' words. But that said, there is one teensy, tiny nitpick I have with this album that prevents me from awarding the full 5. The soloing section of the Duelists just goes on for too long.
There's even an awkward moment at where everyone, including the listener is wondering "weren't we talking about a sword fight? But let's talk about the positives, like the fact that the harmony riff to Aces High is so perfectly realized in the studio, it seems practically impossible to play live without eliminating that atonal harmonic or at least the one that sounds like it's being played by an amateur.
Let's talk about Losfer Words, a very strong contender for the greatest instrumental of Maiden's career. The only other piece keeping it from taking the top spot in metal is Orion and La Villa Strangiato, if your definition of metal stretches to that.
Mine does, but others don't. Let's talk about how Bruce Dickinson with a little arranging help from Steve came up with arguably the 7th wonder of Maiden's catalogue, the title track. Those Phrygian scale riffs in the verse AND in the pre-chorus! By the way, in case anyone thinks that absolutely sublime third guitar solo at is Adrian, it is in fact Dave. Adrian's solo at is certainly nothing to sneeze at, but this is one of two times where it's not even close, and he is hopelessly outclassed by Dave Murray.
Then there are the two songs which for many people, are the be all, end all of Iron Maiden. Pure brilliance. Sadly, Maiden pretty much never made an album that absolutely, definitively ruled from start to finish, hence the oft said "great albums overall, but with some filler tracks". Musically it's actually very good, but compared to the first five songs it just ain't as memorable or interesting.
The lyrics are a sequel of sorts to The Prisoner from Number Of The Beast, and really, do such lyrics belong on an album about dogfights, war, swordfights, pharaohs, and sailing ships?
To a point perhaps, but they're hardly the definition of epic, or imaginative for that matter. The difference is that the latter is interesting both lyrically and musically despite being reasonably simple while the former wallows in an already used subject and in comparison is thus rather tepid. Not a bad song, simply a less good one. But this album is not known as mostly filler-less for nothing, and indeed, the title track then comes pounding in with a mighty riff that reminds me why I love Maiden so much.
The use of the harmonic minor scale here is completely appropriate considering the subject matter even though Ancient Egypt may not have actually used such scales. I have no idea either way and Bruce gives a great performance once more, showcasing how much variety he has as a vocalist. Too many people think of him doing the high-pitched operatic wailing and little else. There's far more to him than that, as he would also prove in subsequent albums.
Although the song is pretty straightforward from a compositional point of view, with just two main riffs, it is actually fairly progressive as a whole. After the verses and chorus repeat a couple of times, the song becomes much quieter, and a lovely melodic solo is played over clean guitar. About a minute or so later the heaviness returns, but the solo continues.
A few more twists and turns follow and then the song goes back to the verses and chorus, finally ending with some more great harmonic minor riffs. All in all, a true classic. After all of this brilliance, with six great songs and just one of a more average kind, one might imagine that the album could not really be any better than it already is. They would be mistaken, as Rime Of The Ancient Mariner opens with a crushing riff sure to get any heads banging instantly. Although the main riff is simple, it works.
The harmonised twin-guitar riffs are fantastic, with the section just after Bruce's "and the ship sailed on and on into the sea" being superlative, regardless of whether it is complex or not.
The song as a whole is definitely that, though, with many stops and starts, one long break, and plenty of changes from start to finish. Said break is a very cool part - a little overlong perhaps, but it works.
As a contrast between the first and second parts of the song it works even better. The latter half is very positive, with a fairly light riff playing over Bruce's singing of how the Mariner survived his horrible ordeal, and then the heaviness returns and a fantastic solo - one of Maiden's best ever - follows.
Finally the song goes back to its original main riffs, both the normal and harmonised ones, as Bruce finishes the tale by explaining that the Mariner had learned greater respect for all life by the time he returned home. A fantastic and very heroic and positive end to a magnificent song. So there you have it. While nothing is perfect, this is one of the only two Maiden albums that have no genuinely weak songs. The other is Somewhere in Time.
That album is my favourite of their entire discography, and this one is now second. Considering how I used to feel about it that might seem strange, but it's true. I simply hadn't listened to it properly before.
It really is all that - like its predecessor and next two successors it influenced the epic side of metal hugely, and by that I mean HUGELY. It represents the furthest they could take their songs without the use of keyboards or synths, and they succeeded admirably at everything. From the twin-guitar harmonies, to the heavy yet melodic riffs, soaring vocals, fantastic storytelling and often progressive, massive compositions, this album was easily as influential as Number Of The Beast in its own way, as were the other three directly around it.
Now the biggest question: is Powerslave overrated? Hell yes. But it is also one of the best albums the band ever created, and almost perfect from start to finish.
That might seem like a bizarre statement, and technically speaking it is: the very term overrated implies a sense of hype, of making something up, that the true contents are not as awesome as the pretty wrapper. But this album somehow manages to be beloved by all - hardcore fans, casual fans, non-fans who simply like Maiden, and even ordinary rockers alike, and yet still remains utterly outstanding in every way. Very few albums are like that, and that's another part of this record's charm, I guess.
So to sum up: essential, whether you love Maiden, love Heavy Metal, just love good ol' heavy rock, or love all three. Influential beyond belief, and all around fantastic. Powerslave is a monumental album in many respects. Drawing inspiration from an age long past, here was Iron Maiden at the top of their game. I mean…fuck yeah, man!
This was the band! This is the kind of stuff that makes me want to move mountains. It is the kind of music that makes a man want to sail the seas and battle rivals for treasure hidden in dank caves and under waterfalls. What does this album do right? Everything about this is big. Have you seen the stage shows from this era?
Huge pyramids, Eddie as an undead pharaoh and enough scope to make this band and this album larger than life altogether. Maiden went all out making this as hugely grandiose as possible, and it really makes the whole thing a lot of fun.
That about sums up the feel of Powerslave. Nothing is subtle about this, nothing is abstract or downplayed, and it all makes the whole experience more enjoyable. It is a certain childlike sense of imagination that pervades the music here. The two best songs on here are saved for last, with the title track coming first. The riff in this song is just fucking legendary, with a killer groove and a sinister laugh backing it up to make it sound like it really did come from some dark, musty Egyptian tomb long since buried underground.
The verses are excellent, demonic and deep-throated in delivery, and the chorus is delivered with a dramatic flair that is nothing less than irresistible. Filled with theatrics and metallic pomposity, this song just flat out rules. Do you want the full experience of this song? Go get the original Coleridge poem, take an iPod or other mp3 playing device, and put this song on while you read the poem by the sea.
I have done it myself, and it is truly epochal and wondrous. Try it out sometime. Take my word for it. It encompasses just about everything Heavy Metal is about, from the adventurousness to the iconic over-the-top execution.
A grand-standing masterpiece. From the release of The Number of the Beast in to the career defining masterpiece Somewhere in Time four years later, Iron Maiden could simply not be stopped. The four studio albums of this period and the excellent Live After Death represent one of the strongest, if not THE strongest runs ever from a metal band, and Powerslave fits into this with a grandeur of lyrical legerdemain and unforgettable songcraft. Who could forget the iconic Derek Riggs artwork gracing this cover?
As timeless as its source. Like any proper Maiden album, this one is best defined by its unerring melodies, powerful vocal performance and lyrical adherence to history, mythology and fiction. Half of the tracks here can be counted among their hits, staples of many a setlist across the past few decades. The vocals in the bridge and chorus are immortal. As memorable as all of these songs are, we haven't yet arrived at the 'epic' portion of the album, comprised of its final two tracks at least on the original release.
No offense to Nile or any other band which thoroughly explores Ancient Egypt thematically and more accurately , but this remains the most effective Egyptian themed metal song ever to this day, despite having only a few riffs which directly mirror the cultural vibe. It's all in the delivery. Though the album has been remastered, the original mix still sounds fantastic. Some decent bonus tracks have been added with the version, in particular "King of Twilight" is worthy of being here.
The musicianship is all-around excellent, from Nico's well balanced drumming to the Harris bass wizardry, dual guitar melodies and Dickinson's masterful delivery. Compare this to almost any album of its year It goes without saying that this belongs in any true metal fan's collection, but in the rare case some reader has been living under a rock or kidnapped by merfolk all these years Even the merfolk listen to Iron Maiden.
So you have no excuse. The sense of frustration with the corruption in the Capitalist and Communist systems as they prepare for what may be the final struggle of mankind is perfectly explained as Dickinson lays blame on humanity itself rather than one or both primary factions coming to a head in the s to for what is now called The Cold War.
The reference to the Doomsday Clock is another great apocalyptic allusion found within this song. The closest that the Doomsday Clock has come to midnight was two minutes in when the United States and the USSR were testing thermonuclear weapons within months of each other, tensions were at a height, and the battlefields that were used just eight years prior as the Allies struggled against the Third Reich were set to erupt again between two socioeconomic ideologies.
By , tensions were still very high between the Capitalist and Communist empires, and Bruce Dickinson expresses aggravation with the powers that be that, despite being at the brink of an inconceivable nuclear holocaust, still practice the same corrupt intrigue that brought these tensions to this height. The guitars are memorable, flashy, and distinctively Iron Maiden. The riffing and solos in the big three tracks of the album Aces, 2 Minutes, Powerslave are perfect and greatly compliment the rest of the band.
The guitars are perfectly written for this album and display what Maiden is really all about. If there is any quintessential Iron Maiden song that displays everything that makes this band great and so beloved by their fans, it would be this song.
There you have it. All kinds of standard metal proof items filling the lyrical content of this classic Iron Maiden album. The band now found themselves at the height of their career in the middle eighties. The result is remarkable. It is obvious Iron Maiden could deliver under stressing circumstances. They just went in and came out holding Powerslave under their arms. And what a majestic piece it was. The band had written some epics earlier but this one was over 13 minutes long yet still logical and easy to sit through without ever getting dull or dragging.
Especially the strong middle section including its harmonies and leads is a great piece of work not forgetting to mention the strong chorus. Once again Dickinson excels here. The title track, as Dickinson and Harris explained later, initially consisted of three different ideas for songs but somehow worked together perfectly. The good Egyptian atmosphere of the main riff, the laid back middle section which excels in beauty, it all worked out fine. Coincidence, sheer dumb luck or clever composing?
Who cares really. The song is a true Maiden classic. There were however two weaknesses on the album. Not weak enough though to ruin the album. The song should have matured some more. Some people love it, others hate it. The pre-chorus and chorus are mind blowing though!
Now the production is perfect. It is organic yet clear and certainly heavy enough. For some reason the sound of the guitars is just as ochre as the album cover. Talking about the album cover, one of the best in Maiden history as well. Something which is hard to find on the small CD cover by the way. I know, a CD version is easier but this is an album you should own on vinyl because of the artwork!
So I advise everyone to get the vinyl and, if possible, the poster. So what makes this album so great? In the most straightforward terms, it has everything you could ask for. Soaring vocals, in depth lyrics, blazing solos, dueling riffs, grooving bass and hammering drums. Here we see fusion many elements which propelled Maiden for the apex of their career.
Lyrically, the song themes you will come across are classic Maiden. Songs about battles and war are now completely encompassed by dog fighting in the air to classic sword fights. Pretty rare for a band to write about both types of warfare. Other songs include lyrics about Egyptian Mythology. I hate it when the music does not blend with the words. Not an issue here. The harmony lines will simply blow you away.
Two guitars truly prove to be better than one from the opening lick of the album all the way through the very end of the record.
Trademark gallops, are at there pinnacle here as well. You will still hear his legendary legato trills more than ever. Steve Harris is one of the best bassists in metal.
Finally something I can hear. However, I must have noticed that his volume on his PAN must have been lowered because it does not have the same kick as Piece of Mind and certainly not of the first albums. This is not a complaint but rather just something I noticed. Bringing less of marchy feel he does not disappoint here. The album is loaded with fills at every 3 measures keeps your mind from wandering astray. Constructive criticism and let downs are at a minimal.
In fact there is none. The songs can be classified as epic stories or headbanging thrillers. For those who want to sit down and really listen deep in the song, you are not disappointed. For those who just want to go balls out and raise hell you are not disappointed.
For those who just want to cruise with their buddies on the highway while listening to highway tunes you are not disappointed. It has the adaptability to appropriately conform to any environment. There are no fillers here. You can listen to every single song and really have every single one as a regular song on your IPOD.
Even the cover is insanely awesome. It gives you the appropriate feel of the album while having bitching artwork to compliment the album. Eddie can be seen as a Pharaoh and a Mummy. Eddie can be seen as a lot of people. However, these reasons still do not make this the greatest album of all time.
Only this does. It symbolizes metal. Elements of power, thrash, progressive, heavy, even some black metal can be found here. Many influences for many years will look back at this album as a reference.
To hear a sophisticated style of music while still having fun. It is significant of me. My personal favorite album, so no need to say that it gets a One month ago I thought like that. Two weeks ago, I gave another chance to Powerslave and, oh my God, I was terribly wrong about this album: it has no fillers at all! From the beginning to the end, this record is almost flawless.
This is the peak of Iron Maiden's career, undoubtely. The guitar work is the most brilliant aspect of Powerslave: Adrian Smith and Dave Murray form a fantastic team and they deliver an amazing performance. All the guitar solos are absolutely stunning, from the fast one on Aces High to the calm one on the title track.
The riffs are also amazing and very memorable. However, they show their real virtuosity on the middle part of The Duellists: just listen to it, all the riffs on it are amazing and so are the solos. Nicko McBrain, the drummer, delivers a very consistent performance too. As all the songs are relatively fast, he plays in a very dynamic and efficient way. In fact, he doesn't play ultra-technic patterns, he prefers to stay behind the guitars and play relatively simple but very memorable beats listen to the first one on Flash of the Blade, believe me, it's very catchy.
The vocals are another highlight of the record. Bruce Dickinson shows his great talent on every song, especially on Aces High, where he delivers an amazing vocal performance. Nevertheless, this is one of his best performances ever. He also proves to be an excellent songwriter: he penned two of the best songs of the record: Aces High with Adrian Smith and the title track. The bass work is audible kudos to the great production! Steve Harris is an amazing player and songwriter: he composed many of the tracks of this record, including the fantastic epic Rime of the Ancient Mariner.
As I've already said, all the songs are pretty fast and energic, so don't expect ballads on this record. At the same time, you should neither expect a typical heavy metal album full of straight-forward songs, that follow the same structure. Almost every track is relatively complex, with lenghty instrumental sections and some breakdowns here and there. It's very hard for me to name stand-outs: all the songs are very good.
The first one, Aces High, is one of my favourite Iron Maiden songs and it is very fast. An amazing anthem with a very cool breakdown. And now, I'll review the middle section of the record, which seem to annoy many people.
Meh, such a lie. Losfer Words is a decent and solid instrumental song, but definitely not a filler. Flash of the Blade is an underrated track.
It opens with one of the best guitar riffs I've ever heard; then, the drums and the bass join the guitars and Bruce begins to sing. The chorus is extremely catchy and after it comes an extremely good instrumental section. The guitar riff that begins is very good and the solo is pretty decent. After a while, Dickinson sings — again - the fantastic chorus, the first riff is played and the song ends. Very good track. Then, you have no time to breathe.
McBrain hits the snare and The Duellists kicks off. This is the third best song of the record and that is saying something.
The chorus is also catchy and the instrumental section is even better than the one on the previous track. The song is pretty fast and the lyrics fit well the music, as they talk about a fight between two, err, duellists. Back in the Village is the worst track of the record, but it isn't that bad actually, there are some very good riffs here and there. So, how can you people call those tracks fillers? Okay, Back in the Village is a bit weak, but isn't horrible; Losfer Words is a nice song, Flash of the Blade and The Duellists are some of the most underrated Maiden tunes ever!
Then, we reach the last two songs. Well, those two are real masterpieces. The title track is the heavier song of the record, thanks to its main riff. Bruce Dickinson delivers a very good and passionate performance and the lyrics are among the best of the album. They talk about Egypt and some riffs are very reminiscent of the music of that country, so the atmosphere of the song is amazing.
After 3 minutes, there is a fantastic breakdown, with superb bass lines, soft drumming and an outstanding guitar solo. Then, the song becomes heavier and the solo gets faster. When the solos end, McBrain plays a fast fill, the main riff returns and the chorus is repeated, bringing back the egyptian atmosphere. The song ends greatly this way. The Rime of the Ancient Mariner begins immediately after the end of the title track. Every Maiden album has an epic track.
The song was entirely composed by Harris and it is based on the homonym poem of Samuel Coleridge. The song has lots of different sections. It begins with a drum fill and some simple guitar riffs. Bruce begins to sing about the mariner and how he killed a bird. The shipmates blame him because of that as they apparently think that the death of birds brings bad omens. Then, they hang the bird around the neck of the mariner, as a punishment. After 6 minutes, the song becomes calm and a narrator talks more about the story.
Then, a wonderful bass line is played, which is related to the rising of the unlucky mariner. The song becomes heavy again and wonderful solos are played.
The song ends with the first guitar riff played and, also, with Bruce Dickinson concluding the story. This song is an authentic journey, indeed. So, we reach the end of the record, which is full of catchy yet complex songs, with fantastic instrumental sections, catchy choruses, solid drumming, good bass lines and outstanding vocals.
Apr 07, · Iron Maiden - Powerslave () Album Photo. Format: Cassette. 15 likes. Iron Maiden Album Photos.