For me, it is difficult to compare different types of music. There
exists so much compelling and powerful music, much of which is stylistically
and lyrically unique, making meaningful value judgments virtually impossible.
One cannot rightly say, for example, that Iron Maiden is better or worse than
80s Metallica – their respective styles are so radically different
that they are hardly in competition.
What is it about certain music that seems to resonate within a person? No doubt it is
different for everyone. For me, good music just has a sort of a feeling which is incredibly
difficult to describe. It is a sort of melancholy surreal type of feeling, although these words
are inadequate. Perhaps it is the ability to immerse you in the song, to transport you to
another realm. Musical complexity is not always a factor, and neither is the relative musical
skill of the musicians. None of my comparisons are particularly concerned with the musician's
skill or a song's complexity. I have no real interest in who has the greatest voice range or
who can play the rippingest guitar solo. I am concerned only with the song itself,
and how it resonates inside the listener.
So, why Iron Maiden? Given my difficulty in expressing the essence of the
"feeling" of good music, I will try to explain with some specific things.
For Iron Maiden, the biggest thing is undoubtedly their incredible range of subject material.
In this area, they tower above all other bands the way that Eddie towers above the damned
on The Number Of
The Beast album cover. Iron Maiden provides a refreshing escape from
the tired themes of sex, drugs, and rock'n'roll which dominated the hard rock landscape
of the 80s. Much of Iron Maiden's material was inspired from literature, movies,
history, science-fiction, and folklore. The broad, intelligent, and insightful themes
are as spellbinding today as they were when I first discovered them nearly
two decades ago.
When you know that your time is close at hand
Maybe then you'll begin to understand
Life down there is just a strange illusion
– Harris, 'Hallowed
Be Thy Name'
Another common feature of Iron Maiden's material is their non-conformity to the prevailing
standards and popular forms. When the rest of the scene was churning out 3 minute songs
of the standard formula ( 2 choruses, guitar solo, final chorus), Maiden was writing long and
complex tracks, perhaps the most famous of which is the 13:45 minute epic ballad
'The Rime Of The
Ancient Mariner'. Much of this musical depth can be directly attributed to
Steve Harris's masterful song writing and flair for poetry.
A final and less tangible characteristic of Maiden is their unique depth of sound.
This again is very difficult to describe. It is not the clean metallic power chords of
Judas Priest and Accept. Neither is it the speed and conciseness of Metallica,
nor the simple pounding rhythms of Black Sabbath. Maiden's songs tend to be
much more riff-based, with the strong rhythm support possible in a talented guitar duo.
Complex melodies shift into masterful guitar solos, without sacrificing the driving power
of the metal chords and bass. Their songs seem to retain a rough edge, not unlike that
of a live performance. Indeed, Maiden has always considered themselves to be at their
best in a live environment, and their 1985
Live After Death
stands among the best live albums ever recorded.
So, does everything I have just written explain the incredible power of Iron Maiden's music?
The only honest answer is no. What exactly is it that has inspired near-religious devotion
ever since my early teen years? They have so far produced 11 original studio albums and
several other live recordings, with material spanning three decades. Such staying-power is
very rare in the music business, and equalled by only a very few other bands. What can
account for it? Again, I don't know.
What I can do, however, is describe the music that has the greatest impact on me,
that speaks to me the most powerfully, or has influenced me to the greatest degree.
And for me, that music is Iron Maiden.
Baeleron, June 1998
