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EMAL r.!ndlnsboirdliluh.rworld..om From their early days aspart ofthe New Wave ofBritish Hea\,ryMetal
WEAPAGE ryir.rworld,.om
sceneto their mid-EightiesbreakthroughinAmeric4 this is the story
oflron Maiden'sriseto power
PUBLSHERor.sDiB.n.d.llo

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Iron Maiden'scareerin the U.S.went into high
ADVERTSINGSALEsr.ton P.rl
646-723-64i9,lp.rmrutur.ur-inc.con gear.BruceDickinson,SteveHarris andAdrian Smithrcflect on that
ADVERTSINGSALESs..fi s.iri.. commerciallytIiumphant era.
645-723-54ta,t..l.c..Gtulur.u.-lh...om
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A0 CO0RDINAToR ^nmBLum.nrh.t Overthe courseof nearlytwo decades(andinnumerablepersonnel
aa6-723-s404,.nn.6quh.rw..ti,.om changes),
England'sIron Maidenhavebeena hea\Tmetal powerhousg
developingard reshapingthe musicwith thei jaring riffs, hysterical
P R 0 D U C T I O0NIRECToR nkhbL.tuv.y
P R 0 D U C T I 0CN0 0 R D I N A T 0HR. n . H u n t
vocalsand harmonizedguitars.Here is their explosivestory
INT L P!BL|SHlNGDIRECTOR DonBrv.n
34The
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life and timesofthe Iron Maidenmascot.
NEWSSTAND 0 RECTOR BjLLsh.{.y
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story of Bruce Dickinson'sshocking1993departure from Iron
Maiden, and why he ultimately returned.

wt[t{/oURBoo'IIoN
40 DMU/
A.tist Derek Riggsrecalls how he gavebirth to Eddie and created hon
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SouthSanFran.s.o.cA91030 Maiden'smost memorablealbumand sinelecovers.

PRESIDENTJo..rh.n!rhp.oh-Unt
VICEPRESIDENT/CFO ton V.l.ntlno
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Derek Riggstells the storiesbehindsomeofMaiden'sgleatestcovers.
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PUBLLSHIN D0I R E C T 0 R / M L
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P U B LS H I N CO I R E C T O R / B U S I N E S S With 2000'sB''dveNe world, a reunitedlron Maidenwelcomed
oEVELOPMENT 0.v.8....w singerBruceDickinsonandguitaristAdrian Smithbackinto the fold.
E D I T 0 R I A0L F E C T o R / T E C H N 0 L Or oGnpYh t ! .
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tror nearly 30 years,the guitar tandem ofDave Murray and Adrian
PRoDUCT0N D RECTOR
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Smith hasbeensynony.rnous with Iron Maiden'sgallopingriffs,dueling
leadsand three-partharmonies.Inthis exclusiveinteriew, theyreflect
masazn6 ror peopG
sPecial-inrered on threedecadesofmetallic glory and discussthe band'sfuture plans.
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FORA BANDWHOSERECORDINGHISTORY
goesback three decades,the most inspiring aspect
of the Iron Maiden story is how well they have
survivedthe years.Oneof only two bands(along
with Def Leppard)to outlive the New Waveof
British Healy Metal phenomenon,they havealso
stayedtrue to their musicalrootsthrough the
adventofhair metal,thrash,grunge,nu-metal,
emo and anlthing eisethe rock fashionistashave
put out there.There havealsobeennumerous
lineupchanges. Indeed,onlybassist,founding
memberand chief songwriter SteveHarris and his
longstandingfriend and guitarist,DaveMurray,
haveappearedon everyMaiden album.Guitar
Legendstakesan in-depth look back at their long
and event-filledcareer,astold by the peoplewho
know the storv best-the bandthemselves.

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r l b u n r r c o l n p i L r t i i Do f r e s - g l €h i r s .N r l o so! f L r s
$rfr \r'hrt \oull cellskirhcrds,I suppose.I
Lrscdto hr\.c all the geer thc Dr. llartcrls, rhe
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B l a ( k S . r i r b r t h . I\ r l n r e d o b e I d N n n n c r b u t I
rhought, I ain t got nronl rd it s iLrsrroo ftrclr
i n g n o i s ! : s o I d i o L r g h tl U d o t h c n c x t b e s r d r i n g
. . . . 1. : , l r . r r ' . ' r ' r . J ; . r r r ' l . r r r; l , . r r s
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s o m c d l i n gj u s i c l i ck e d f l r d I k n e $ . 1 c o L r l dd o i t .
I t $ . r s l i k e , t u c k l c r r n i n g c h o r d s ,j L r s rh i r t h c
srring-s...\bu r.rn Lcrrn to pl:r1 r h.rsslire llle
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l o t q L r i c k etrh . r n\ o u
c r I I . . . -. r r r , , i r n - . lc l . r r . e . n ' 1 . . .I . j , . rj , r L .I
s t a f t e ( ln ' r i r l g t o b c r b i t c l e \ ' e r r r d \ . i n g i o
) c a r n s r r r f f b yC h r i s S q u i l c a n c lp c o p l e l i k e d r a r .

D A v E M U n RIAi iye . r , \ " , | . . r I r l . r -

hel.l. Thcn I r.cnt corrflerel) to thc orhcr
c x n e m e r n d b e c a m ea h i p p \ r I t \ r a s r c . r s eo l
f r r. l i r : n r r r r r n r c. o r ( r l , r t . , i , . l . t n r ' r ' d
.twar' fi on thc violence ihing-. I he.rfd "\1x)doo
(lhile on the radio and I thought,Fuckjn:'
h c l l l w h a t i s l h d r ? I s t . r r t c d\ \ ' c r r i r g : l n A l g h r n
c o a t .p l a l i n g g u i t r r i n d g o i n g t o g i S S .

H A R R T S D a l c w a s t h c b e s r g u i r r r i s tcl i\ lc r
flrt,ed \\'i!h. Still is.Aficl hc joined u e c.llle

l2 4ufnR L€6€tLri'j
up u'ith early versionsofstufflike
"wrathchild," "Prowler" and "Transylvania."
Also,"Purgatory'comesfiom that time, only
then it was called"Floating."If we did a cover
we'd makeit ore that peoplewouldn't neces-
sa ly know So insteadof 'All Right Now" by
Freewe'd do "I'm a Mover."But assooi asan
original camein, a coverwould go out. I was
heavilyiDfluencedby progressiverock like
Genesis,Jethro Tull, ELR Yes,King
Crim.on...I usedto Io\e off-lhe-wallchange5
comingout ofnowhere. Like, "Where'shis
headat?"you know?
HARtlsHe had abit of an attitude on him but
he seemedall rigl'rt.He said,"Do you know
'Dealer'by DeepPuryle?"Daveyknew it andhe
showedme the chordsand awaywe wenl And
fuckinghelll Did he soundgoodor what?I mean
there'ssort of a raspingquality in Paulhvoicetlat
just gaveit this geat edge.And he wasobviouslya
bit of a chai:acterSowe startedtying "Iron
Maiden" and "Prowler" andhd soundedbrilliarr
i'-o--;-
I tl{
Ita*l
144unlRl€4€t{Dl
on those,too.I thought,righ! this is the boy...
?AUlDt'AxxoI knowwhat peoplesayabout
me,but the thing is, mostofit's true! So I cant
complain,really.I know peopl€havesaidit
wasmy undoing,backin the Maidendays.But
me and Stevewe.e perfectopposites,so it fit-
ted. The songswere allprettysedousbut my
approachto them,atleastonstage,wasn't.But
then it's supposed to be aboutbreakinga few
rules,ain't it? I don't want to be sittingthere at
60 thinking I'd neverhad a bit offun, you
knowwhat I mean?
HAnnlsldidn ( carehowlongorshonhi!
hairwas,I thoughthe looked$eat andsound-
edgreat.A bit lateron he startedwearingsilly,
frilly TomJones-stylevests,becausehe was
into Adam Ant. Later on, he star'ted$€a ng
pork pie hats.He knewwe \['eren'tinto thal
softof stuff.But it didn'tbotherme.He pissed
ne offwhenhewore the frilly shirt onstageI
mustadmit,tause I thoughthe lookedtucking
stupid.But Paulwasgr€a! the genuinearticle,
you know?A real geezer.
tllat KAYI was running and screaming
around the iounge lihe a lunatic. I just
couldn't stop playing it. The combination of
speed, power, the key changes, the melody
and Dave Murray's melody lines bowled me
o \ e r . L (w a s d e f i n i r e l ) I h e m o \ r i m p r e s s i ! e
demo I'd ever had delivered to me. The next
d a y I p h o n e d S r e v eH a r r i s a n d s a i d l o h i r r
" \ o u v e g o t s o m e r h i n gh e r e t h a r c o u l d m a k e
you a lot ofmoney." Ard he laughed at me. He
thought I was kidding!
ROOtMArLwooD ll $ a\ prerty differenr from
what most new bands I knewwere doing at
t h a t l i r n e . w h i c h w a s r n a ; r r l )p u n k s r u f l I u
neverreally liked punk. My backgound was
heaqT rock. I went to see them play but dicln't
introduce myselfat first in case they were
crap. But I was impressed by the setup. They
had their own little PA and lights, and smoke
c o m i n g o u t o f r h e E d d i e d e a t hs h e a d r h i n g a l
the back ofthe stage.
cloar BARTOI|we ran the NWOBHM fea-
ture with Maiden in it in Sounds and the
responsewas justphenomenal. Suddenly
there were new heary metal bands springing
up ever).where. Ofcourse, not all ofthem were
as conpetent or as interesting as bands like
Iron Maiden and DefLeppard, but the fact
thattheywere even tryingwas news back
then, and we just ran with it for about two
years in the end.
llARRttUl1til then itwas hard to get adeal
becausepunk was what was in and everyone
said rock was dead. We were always getting
told to cutour hair As soon as someone else
said,'You're good but you should go more com-
mercial" or'Lou're goodbutyou should cut
your hair," wejustsaid, "Oh, all right," and
walked out.
sflAtlwooD I got Brian Shepherd, the A&R
chieffrom EMI, to come along to I gig at the
Marquee. The atmosphere was elect c; it
wa5obvious therc wis lomething happening.
So he said, "Yeah, you've got a deal." I told
the band afterward and they were ecstaticl I
t o l d t h e n _r o c a l n r d o $ n . B u r I d o n r t h i n l
theywere listeDing. All they heard was the
word "deal" and that was it, it r.r'asdrinks all
HARRTt When Rod signed us to EMl, I said
to him, "I donl want you gettingno one- a
album, no-option deal." Because I didn't trust a
no bastard in them dtys. You might make the
best album that's ever been made, but what
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thcv clon t hu! jr, \,oLr'rcdropfecl. \\Ih.rt's thc
p o i r l t o f t h a t ? S o R o l l ! ! e n t i n a n d b e : r tt h e n r
u p : r n dg o ! a r h r c c a l b u n r d e r l .
s m A l l w o o D T t \ \ ' . r sa f i v c - a l b u n r d e a l $ i t h
the tlfst thrcc nlbu|ns ,rbsolutclr firm. \Ve
d i d n ' t c r r e i b o u t t h c h i g a d v a n c c s .b u t i t w a s
a v c r l c o n s c i o L r st h i n g t o g e t r h e r n t o a b s o
lutelv conmit to making thrcc albuns come
h e l l o r h i g h r v a t c L .T h a r r v e l a l l t h c i r . o t h e r .
c o m p a D i e sr r o u n d t h c $ , o r ' l dk n e s r v e t t b c
b a c k a g a i n a n d a g a i n .1 h c D l c t a l m . r r k e t
a r o u n d t h e v o r - l dw a s n o t g o o d a t t h a t t i m e
a n d u : e n e e d e d t o E . . e€r\ ' e r \ ' b o d ) t a h i n [ i i t
scfiousl\' ind \rorking on ir.
164yrl& r€4€tiDl
DEN ts tlnarroN On Phrntomoflhe
r)o( L r ' ,r ' ' r , r , . l . . r r E . I r q ch r -
"ll e
r n o n v € i u i t e f F a r t s i n L l t h e b r c k i n g v o c a l s ,I
reaLll rvcnt to tos n. Rod hcard ir rod seid,
" F u c k n c , i t s o u n c l sl i k e Q u c c r , g e t r i d o f t h e
v o i c e s l " S o t h c ) d i d . I a . l n l i t I \ \ . a sa l i t t l e b i r
u p s e t . I t h i n k t h e t ' s \ r . h c n S t e v e . r n dR o d
decidcd I $as !rvirg to il1tcntionrlll chaltge
t h e s o u n d , \ ! h i c h I $ ' r s 1 1 ta t a l l l I t h o u g h t I
"4
,sr
N a s j u s t r d L l i n gr o i t . n o t t a k i n g a $ : r , ! f r o n r i t .
D f A N o I t \ \ ' a st h c b c s r r l b u n I d i d w i t L r
N l a i d e n ,w i t h o u t e d o u b t . I d i d n ' t r h i n k r h e
. c , ' r J J l l , , rr $ . . r p , L ,h , , r ' r r . . r - u l ' .
P e o p l cg { )o n : r l ) o l r tr h e p r o d u c t i o n , I d o n ' r
eleu noticeit.All I hc is the bend plaving
ard lne singing snd ho\\.grcat the songs c.
a
HAiRr5There \\'as a pfoblem \l irh Dennis
righr 6-orDdre stert. Lrutitoulv rerlh'came to I
h e a d r v h e nn e s u p p o r t e dK i s s i n E l r r o p e . I t
 out. It was sa4 becauseI had somuch to give
the band.Unfortunately,Steveand Rodsawit a
differently.
ADIIAXsfllTH At the audition I remember
Rod interrogated me, like, "Can you play
riffs?Do you play leads,too?"It wasvery
intense.Stevewas obviously very motivated,
very sedous about the whole thing. Dave and
Paulseemedeasiergoingabouteveryrhing.
Then at my first gig with them a fan came up
to me and said, "Are you the new guitarist?" I
said,'Yeah."He said,'Youbetterbe goodl"I
thought, FUck,what have I let myself in for?
still soldmore copiesthan the first album.
Dl'axl{o I don't know if it had anJthing to do
with me dumping her or not, but I don t like
(illers an].way.I thought it wasn't a patch on
the first album. Don't askme why, we all
worked our bollocks off, but it just don't have
the samemagic for me asthe first album. It just
don't
HAttrsPaulstartedcomplainingthathe was
losinghisvoice.Thenoncehewasonstage,
hed be totally fine. It waslike an attenrion-
grabbing thing. He wanted you to worry over
him. Somenights he'd literallybe lying on the
floor inthe dressingroom going,"Oh,I'm not
gonna make it you'll have to go on without
me!" Thenwe'd spendagesfussingoverhim,
trying to make him feel better.

Dl'A xo I was a kid-22 yearsold-and here

wasni somuchhis playing.it \.rasmorehisper-
sonality.He wasjust into other things, the
Eaglesand the Doobie Brothers. If I wanted to
haveajam atsoundcheck. 1d be fuckingplalng
BlackSabbathor Montrose.civing it loads!But
he'dbe thereplayinglike locc andthe Eagles.
His heartwasn'tin Maiden.
SlMTro I rememberbeingtold by the crew
that it lookedlike I wss gonnaget fired. It was
then I realized l'd oversteppedthe mark. I went
into my room, got my tape playet tumed it to
4 full volume and put "Soldier ofFortune" on it by
David Coverdale.Then I got in the bati fully
clothed,my headseton, and turned the shower
on andjust satin the showerand cried my eyes
we were headlining our own big tour and l
fiaRlli Blt(ll I was in New York and I didn't know howto handleit. I didn't know
went to visit RitchieBlackmore.He said, nothing,I didn't dnf to know nothingl And of
"Haveyou heerdthis newband?"and pro- course,I wasdoinga bit ofspeedand [col<e] to
ceededto play me the first Iron Maiden keepme going and that usedto makeitworse,
album. He just thought it was great, and so awakefor days,feelingreally ill. Uyvoice kept
did L About halfway thrcugh it, he turned to going. And that was nerves,too. But once I got
me and said,"Why don't you do them?"I onstage,I was usually all dght.
thought, He's dght, I should be doing this
band.when I got a call aboutdoingtheir
next album I thought it was fate. I thought
the bestway to handlethem wasto make
them feel ascomfortableaspossible.SoI set
themup asa groupin the middleofrhe stu- HARf,l5That was the last straw for me
dio ard said,"Look,just play the songsasyou Paul seemedto be on this weird trip, like it
would live snd we'll work from there." all seemedto be happening too quickly for
him. He'd come off stagesome nights and
s lIH We calledhim the Headmaster pretendto collapseunconscious. But he
becalrsehe wasso strict.Martin was agood alwaysmanagedto land on a chair or on a
laugh,but when we were working he cracked flightcase.Neverflat on his face.And this
the whip. The band was tight anFvay fiom time, I went and slappedhim. I was like,
playingon the road,but Martin camein and "Get up, you bastard!" And he just opened
madeit eventighter his eyesand went, "You haven't got any
sympathy for me, have you?" I was like,
HAn s Production-wisq it was chalk and "No, I fucking haven't! Now get back on
cheesecomparedwith the first album.As for
the quality ofthe songs,I think you could
arguethat the first album was the strongest,
butItend to disagree. The frrstalbumwaslike
a best-of ftom our live set,songswhich went
backyears.But we still hada lot of rea1lygood,
strong songs.'nvrathchild" had beenin the set
fiom the star:tbut that got left off the firct
album.An amazingsonglive.
HARnltThere was a story behind tiat. Th€
grrl who wrote the review wasknockingPauloff
at the time, and Paulgaveher the elbow.We
gavehim abollocking after that and said,
"You could havewaited to dump her until
after shedid the reviewl" I mean,I'd like to
Lhinl it wouldhavebeenthe samerenew shr
wrote whateverhappened,but I dont really
believethat. It pissedme off at the time but we
couldn'treallytakemuch noticeofit. I(illers

L&ell t7
4Vtlt\A

that stage!" I'm not into drugs myself, never
have been. But I'm not againstother people
doing what they like, as long as it don't fllck
up thejr gig. Well, Paul was letting it fuck
up his gig.
Dl'Al{xO I was pretty out to lunch on
that tour, I suppose. I \.as just going for it
n o n s r o p , 2 4 - h o u r s - a d a y .e r e r y d r y . I
thought that's what you were supposedto
do when yorj were in a big, successful
rock band. But Maiden had become so big
by then that the band had commitments
piling up that went on for months yearsl
And I just couldn't see my way to the end
of it. I knew I'd never last the whole tour.
It was too much. People ask me now,
would I have done things different if I
could go back and have my time over.
Well, the honest answer to that is no!
ls 4unAR
LE4€ilDt
BRU(EDla{lt{sOI I first saw Maiden at a club
gigin London in about 1980.We were actuatty
headlining over them, but people were going
mental for them. I remember standing at the
back, watching them, and I wen! "This is Deep
Purple!" There was Davey Murray, obviously
influenced by Ritchi€ BJackmore,he's got the
Stra! the long long hair..and th€ drummer
sounds like Ian Paice-I mean, a dead ringer! It
made Samsonsound like ajoke, by comparison.
I didn'tnotice thebass play€r that first time but
I looked at the singet Paul, and I thought,
Hmmm,I don't understand why he's there..
HARRIS Id neverbeen much into Samson,but
I d always thought their singer was good. And
becausewe'dbeenhavingproblems with Paul,I
supposeI alwayshad one eyeopen for singers.
I'd seenBruceandthought,Yeah,the bloke's
got a really goodvoice and he knows how to
work a crowd.I thoughthe soundeda bit like
Ian Gillan,actually.Thenwhenthe shitreally
hit the fan with Paul,he wasoneofthe first
peopleI thoughtof
Dt<xlltot As soonasI walkedin, I klew this
was somethingdifferent from an)'thing that I d
known before.Theyhad properprofessional
roadies,a propermonitorsyst€m,they had cars
laid on, everlthing. I thought, Right, there'll be
no smol.,ing dopein thebackof rhetourbu.
anymorethen,..
BIRCH I could alwaysseeMaiden going
beyondwhat Paul was capableof. Bruce was
capabieofhandlingleadvocalson someof
the quite complicateddirections I knew
Stevewanted to explore. So when Bruce
joined, it openedup the possibilitiesfor the
new album tremendously-and for that rea
ton. NumberoI rheBeasrwa\ I he I urning
point for Iron Maiden.
5fillH Me and Brucestartedgravitating
toward eachother assongw ters.Stevewould
comei.l with hissongsalread)\ orkedoul
right down to where eachguitarbreakwould
be and evenwho would do the break,whereas
Bruceand I startedhangingoutand writing
whatevertook our fancy.
Dr<xriso Wehrd ro pickrhesinglefor the
U.K.beforewe recordedan''thingbecauseof
the schedule.We werelike,Oh,fuck,we haven't
recordedanyofthe songsyet,how do we know
which onewillbe agoodsingle?I mean,they
were all suchkiller songson Numberofthe
Bedst,we couldeasilyhavepickedthewrong
track completely. Butwe askedMartinwhathe
thoughtandhe said,"Run to the Hills." So,
thanksto Martin'sprize-winningears,that's
what we did and itturned out to be €xactlyrhe
rightchoice.
s|i|rH I can't really rememberwhat I did
with the money we got after the'Beast tour.
I wasalwaysaccusedofbeingtight,'causeI
never used to spend it. As long as I had
enoughmoneyfor a drink and .ome ciga-
rettes,I never bothered much. I did rent a
D i c ef l a r .i n F u l h a mw, h i c hi s o n eo i r h e n i c
er palts ofLondon, and I remembergoing
out for a lot ofnice meals.But I had no
financial plan or anything. I didn't buy a car
or a house.We were \.orking away from
home most ofthe time anyway, so manage- like we were on a high and you can hear that somethingtoprove.r think we all took it a lrt-
ment just took care ofeverything. moodon the album.Most ofall, it wasjust the flp hif n^rF <.ri^"(lv

songs.Betweenus,I thought we'd really come

up with the goodsthis time. fcaRA|f,It's funny'causemy memory is
that everybody,with the exceptionof Steve
S lTHClive\{as a greatIan Paice-t}?e St lfE The Pieceof Mind American tour was and Bruce,was just fucking nuts!We were
drummer,steadyand solid and with a nice feel probablythe start of the whole bandbecom- going absolutelycrazy on everythingwe
to everl4hing. But Clive's drumming style ing a little bitmore sensible.Inthe past tour- could possiblyget our handsonl Though not
wasn'tthe problem.It waskeepingit together ingAmericahad beenso easy,we'ddo our beforea show.Therewasonly one occasion
for the rest ofus when he washavingan off- spot earlyon and spendthe restof the night on the Pieceof Mind tour that we all had a
night,which he washavingmoreand more as havinga goodtime. Now we were headlining few drinks belore we went on, and that was
time went by,particularlyon that last andwe couldn'taffordto pissaround.People a bit of a celebration,'causeit was the last
Americantour together. saidwe were wrong to go out asheadlinersm night ofrhe Americanrour.Tt wasafterthar.
the Statesso soon,that we werer't readyfor it on the Po €rsldr€tour, that things got a lot
{aRtl5 I thought,If we'rehavingproblems andwe d neverbe ableto pull it off. Sowe had more senous,,,l
with a 4s-minuteset,whatarewe gonnabe
like when we're doingour own thing in
Americaand we'vegot to do atwo-hour
show?It actuallygotto onepoint in the States
whereI wenrIo Rodand.aid,"Lool, I jus.
can'tcarryon like this;'and he had to really
slapme aboutand persuademe to carry on.
It's notlike me to give in but we were really
strugglingsomenightsbecauseclive just
couldn't hold it together.

Dl(Klt{so I still think Cliveis the best

drummerthebandeverhad.Thats not taking
anlthing away from fhis repldcement]Nicko
[McBrdin]. Technically, Nicko's probably a far
more competentdrummer than Clive.It'sjust
thatClive had incrediblefeel,and I regretthat
he wasn'tgivenmoretime to try andsorthrm-
selfout.

tcKott(gRAtiI was outofwork, soitwas a

life-saverBetterthan that,I reallyliked the
music.I'd alwaysbeenableto play powerfully,
but Maidenwasa real steppingstonein the
progressionofmy style,becauseofthe pedi-
greeofthe other players.And when Steve
writes a song,he alwayscomesup with abeat
I've completelyoverlooked,or he'll suggest
something that I might not have thought ol
and he'snot evena drummer!

ttRCHRodsaidto me,'nve'vegot to record

the albumoutsideofEngland tror t.tx redsons],
where canwe go?"The optionswere Air
Studios,in Antigua,which latergotblown
down in a hurricane,or compassPoint,in
Nassau.lIikedCompass Point,sowe went
there. Personally,I would have prefefed to go
somewherelike the RecordPlant,in New
York,or somewherein Los Angeles.Itwould
havebeeneasierandwe might possiblyhave
got better technicalresults.It was pretty bare-
bonesdown inthe Bahamas.But it wassunny,
we liked it and itwas available,sowe decided
to do the basicrecordingthere,then carryon
later in New York.

HAnRlsFor me,Pi€ceofMind wasthe best

album wed doneup to then, easily.And I car-
ried on thinking that right up until the sevenfh
Sonalbum five yearslater I'm not salng the
two albumswe did in beNveen,Powersldveand
Somewherein Time,weren't good,tause there's
alotofstuffonthose albumsI still think ofas
someof our best ever.Bnt Pieceof Mind was
just special.It wasNicko'sfirst album,we felt

4uftA r€4€l{Dt19
':l.;s,
THE YEARS1985 T0 1988would find Iron Maidenat their mostsuccessful. Alreadyfamousin Britain and
Europe,the Pleceof Mind albumhadnow madethem starsin America.As a result,the releaseof their fifth
alb:um,Powerslave, in i984,would heraldthe World Slaverytour, a l3-month trek that includedtheir longest,
mostspectacularU.S.tour yet,the highlight of which was five nightsat RadioCity Music Hall in New York
and four nights at the Long BeachArenain California.Their next three albums-Ilve A"fter Death(85),
Somewhere in Time (86) ard Seven th Sonof a SeventhSon('88)-would all sell in the millions and go on to
representthe peakof Maiden'scareerThey were alsothe first albumsto featurethe samebandthroughout:
now regardedasthe classicHarris-Murray-Smith-Dickinson-McBrain lineup,first assembledin i983 for
Pieceof Mind. AdrianSmithleft in 1990,to be replacedby JanickGers.EventhoughAdrian returnedin 1998,
for manylongstandingU.S.fansthe goldenerahad passed,neverto return.

22 (Iv(At L€4€Nr\
 GUITAR tEGExosWhat was it like touring
America in the early davs?
ADRTA|{ snrrH On the first U.S.tour, we
arrived ir Los Angel€s and gottaken straight
to the Rainbow on SuDsetBh.d. \ re'd re:rd that
Led Zeppelin used to go there and it \'r,aspret-
tv anlazing'cause gxess who's there-Jimmy
Page!I also got irtrocluc€d to Pat Travers and
Pat Thrall, $.ho were like two ofmy favorite
American guitarists ofall time! Ther Jimmy
Pagc was talkingto me ns one bloke in a band
to another, and I was standingthere rhinking
aboLrtailthose Led Zeppelin records I'd got at
home. Maiden were like "the band from
Englard" in the club thatweek and we were
just surrounded by peoplc. There were chicks
all over us. I didn't evel,Iget time to finish my
pizza.l
tftvr HARRI'TouringAmerica is like doing a
world tourwithin aworld tour Not only is it
the biggest place in the world, it's also the
weirdest! lt's not exactly lhe easiest place in
the world to resist temptation, particularly if
you're in a touring rockband and your albun's
an)u'here in the charts.
!tu<E Df(f(rx5ot{On the Number oftheBeast
U.S.tour, it was lik€ we had a sixth member of
the band thatwe called Mr. PartyAnimal. we
all turned into him at some point. lf there was
a paty,lwas there in a corner doingsome
thing, you know?
S|/llrHSome ofthe Amc can fans were so
irrgcnious the1"d find out lvhere you u,erc
stayingand txm rp rtyour door The Chicago
Muiants were best at that. Th€y would ahr,ays
book rooms on your floor, and you'd get
knocks on the door at one in the morning. I
remember gcttingout ofbed one momingal1d
openingthe curtains, and th€re {,as a car park
full ofkids out there!Hundreds oftheml
There were cars wirh Eddie painted or them
and kids with strange l&1iden tattoos and a lot
ofweird sluffgoing on. lt was mad.
c r U n l : l < ei n E u r o p e .y o u n e v r r h a d r h r r . i n -
gle in the U.S.The closestyou came was *,ith
"Flight oflcarus" in 1983-
DIC(rf,Jor Steve Devcr lik€d it. He thought it
was too slow. But I wanted it to bc that rock-
sreadr nlbear. I lnew ir would geronr
"olr
American radio if we kept it that way and I
was right.
r|arrl'I don't tbink there's anything 1,r,rong
with "Flight oflcarus" as a song, though I do
wish we'd had more time to break it in live,
before we recorded it. It was a lot more pou-
edul live, a lot faster and heavier
cl The Powerslavc tour is srillthe biggest
you ever did inAmerica...
ol(l(txsox Ilwent on so long it nearly fin-
ished us ofl Bur it was the best show that
M J r d e ne v e r l u r o n : j u . r r h e r i g h t c o n r h i n r ! i o r l
ofepic stuffbutrot too overblown. Itwasn't so
hide-bound by the sort of technology, loads of
)rydraulics and infl atable things that occulred
later, ali ofwhich had the possibility for Spinal
Tap-type fuckups on a regularbasis. Virtuall,v
ever]'thingon the World Slaver_v Tour, apart
liom the lights, was done Musical Hall style it
was allboxes and ropes and two b]okes pulling
levers. It was so silnple, you could set it up in
small theatres orbigarenas alld itwould alu'ays
look fantastic.
HAIS|slt could have been totally cheesy.
You think of Egypt and the pyramids and rcal-
ly, how do you portray that without looking
like Hawkwind? Butthe setwas reallygood, it
looked fantastic, al1d it was probably the best
stage show we ever did.
Gt It wasn't your best album, though.
HARRIS I think there are four standout
(utf{k Lt4flti\ 23
 t l a c k s o u r h e r e ,a i l o f w h i c h r v e d i d l i v e , a n d
t l r a t ' s" R i r r c o f t h e A n c i e n t M a r i n e r , " " 2
Nlinutes to Midright," "Powersllve" itself and
'Ac€s High."
Ofthe othel tracks on there, if
vou put "The Duellists" against "Rine ofthc
Ancient Marircr" and "2 Minutes to
N'lidni€iht"...I mean, it's just t1oway.
t|/llrH I could knock out stufflikc "2
r4inuiesto N{idnighf'allday. But it didn't
. r l ua r . f i r i r r , , r l r pU n d o f f a u r , s l h o r r o r r h i r g
t h r t N l a i d e nh a d g o i n g f o r t h e m . I n r h e e a r l y
dr\'s, I needed Bfuce to help lrc make things
norc ho\r, Nlaiden would want then. "2
Minutcs to Midright" is a peffect example of
thnt. I had the right iffand Bruce hrd rhe
right wofds.
.L The Li\je After Death album, r'ecor-ded
d u l i n g t h e f o u r - n i g h t s t i n ! a t L o n g B e a c h ,s t i l l
sounds great todal
H A R R I\S r e o n l y t a p c d t w o n i g h t s o f t h e
four'. $'e thought that if we buggcrcd it up
an1.rl,hcre,*'e could use stuff from both
nights. But I thirk wc actually ended up
using all the stufffrorr thc onc night. No
o v c r c l u b so l n o t h i n g . W e w e r e s t i l l a c t u a l l y
t o u r i | g u 1 r n M : rf r : r , L B i r r . h lw e n r i n r o r ni \
t h e t a F e s .H c t l s c n d t h e m t o u s l i k e t w o
trecks at r tilnc thcn \\,'ait for. Lrsto say "yes"
or "no-" So there was no chance of adding
enything, ev€n if we'd wanted to. \\re were
really arti all that, nny\rray. we were very
much like, "This has got to be totally live "
The idea u,asto turn longtseach into like a
nlassive club gig.
cL Your ncxt studio album, Some fiere in
Tine, was a bit ofa departure. cuitar synthe
sisers, no songs by Bruce.-.
H A R R t Ist w a s c e r t a i n l y t h c m o s t e x p e n -
sivc- [ldug,hs]\ re went a bit crrzy, rccorded
t h e b a s s a n d d n u n s d o w n i n N a s s a u ,a t
CorrpassPoint, then went to Holland, to
f i s s e l o o r d S t u d i o s ,t o d o t h e g l i t a r s a n d
r u . : 1 . , t l r r r o o l i r b x c l <r o N e w Y o r k l u n i \
at Dlectric Ladv Studios.Itwas crazybut we
u e r e j u s t d e s p e r a t e l yt r y i n g t o g e t i t r i g h t
u ithout hullyilg it for a changeand, n'e11...
y o u l c a r n f r o m y o u r m i s t a k e s ,I s u p p o s € .
s M I T HI f y o u t h i n k a b o u t w h a t w c ' d j u s t
done atd rvhcr-cwe'djust been, ma)'be it
\ { . , . n r \ o . ( r r n g s r h d r l l - u s rr ' f r h e . n n g s r v e
scclred to come up rvith had solrethilrg to do
wjth timc cither time wasted or time spcnt
l e n r n i n gs o n e t h i n g t h a t c o s t , v o ua l o t . I t ' s a l l
there ifyou read betwecr the lines.
DlCKll{Sof,Po1rers1d1,e, for lre, feltlike the
utLrral rourding off ofPiece olMind and
Nunberol r,hcBcdsr,that whole era.I remem-
bel listeningback to it and I thoughr, umnnn...l
don tknow hou'much nole nc cando of
t e c o r d st h a r s o u n di n t h i s k i n d o f v a i l . I f c l t r v c
had to come up with our Ph'/sical Gralliti or
rvhatever:That rve had togct it onto another
lcvcl or we'd stagnateand just drift au'a1..
HARR|9ljust thought hed lost thc plot. Bruce
jLrsti,asr't himselflt the time. We didl't rcal
izc it at first, but he was plobably more burnt
out than anyone at the entl ofthcPowerslave
tour. Ther whcn we came back to do thc ncxt
r l l ' u n r .\ e j u . r , o u l . l nr \ e . ' n r o g e rh i n s e l l
r u 5 r ' r l, - u i r l - r n 1 o f t h e u f i r i r g . H e c r m e i n
u ith a fcr. ideas which didn't leallv suit. It
wasn't becauseit was acoLlsticnecessar'il)',lt
wrsjust th.rt we didn't think it {,'as good
crough, really And lucky enough, Adrian

24 (Vtf{t L€4€ND\
 c a m eu p w i t h s o n e s t r o n g s t u f f o n h i s o \ . n ,
and that \\'as that.
5MrrH It didn't ncan lrle and Bruce
\r.ouldn't u rite together again. I nean, he
, r | , , : r s i r l -. o n F : o r L . o f \ i . o w ' l . r . l J i r
could have becr those that i,!ere pick€d :rnd
then I wouldr't ha\.e had anything on thcrc, so
I don'tthink he can reallycomplainabout
that.Butthe manner in which he found out, I
reg.et thai. No or€ rcally said anvthing to him
directly, I don'tthillk.
c L T h e n , i n 1 9 8 8 ,c a m eS e r e n t , hS o n o l d
. S e v e n a h , S o tnh e s e v e n t hI r o n M a i d e n a l b u m ,
and ol]e ofthc bcst.
HARRIS I thought it was the bcst altmm wc
d i d s i n c eP i c c eo t M i n d . I l o v e d i t b e c a u s er t
\.as nlorc prog'ressive,the keyboards really fit
in blilliantll lt u,as our seventh studio album
rnd I didD't heve a title ft-rl.it, or any ideas at
all. Then I read the storv ofthe Seventh Son of
thc Scvcnth Son, this myth;cal figure that rvas
supposed to havc all these paranormal gifts,
i l e . e c o r r J . i g h t .A . l J i
dlat it was just a good title fbr the scvcDtlr
albuln, you krou'? But then I rang Bruce and
staftedtalkirgabout it and thc idcrjustgrer{
Dl({lt{sox I rcncmbcr Stcvc rirrg rrc about
this idea he'd hed lbr the next album.All abour
this Seventh Son ofa Se\enth Son stuld and I
thought, u'hat a great ideal Brilliantl And oI
course,l was really chuffed, tur,bccausc hc'd
- r c r u : l h r u n g r r e r o r a l kr \ o u r i r : n J a . l u . l r f I
= had anysonsi thatmight 6rthat sortoftheme.I
rvas like, we1l,no, but givc mc aminute and I'll
seelvhat I can do,
c L I t a l s o c o n t a i r e d o n e o f t h e b a n d ' sb i g
gcst world\,!,ide hits, "Can I lhl, with
Madness," co writtcn by a back-in-form Bruce
and Adrian and Stcve.
sit|IH "Can I PlaJ., \rith Madness" actually
started life as a brllad I had been workingon
called'Onthcwirgsof Drgles."ThenBrucehad
a verse for it, but\{antcd to changcthctitlc to
"Can I Playwith N{.rdness."I lnLrstedmit, itdid
soundbetter that u'ny.Sowe took that one in
and Stevelikcd it, too.lti,r,lls Ste\€ who cameup
u,ilh the time changc in thc n dlc and thc
instmmental passage,rvhich gave i! that lifiit
r , ' J , d . | $ J . . , r t r i - J \ v l - e ri u : . . u c \ . , h i g
hit, though. we'd had sirgles go into thc chalts
before,butthey flnshed in and ou! again.lutthN
hungaround fol ages,and it used to go dorvn
reall)' wellonstege.l thilk peoplc r,-rc arnazed
when ther sau, us singthe openingpafi. \ve
\\,ercn't cxxctly Lnou,n for ouf harmonjes.Iflll
suggestedharnonics 1r'hcDI fimtjoined the
band,I would have got beatento a pulpl
DlcKlxso lfN nber oltheBedst brought
heaqr metal properl,vintothe Eighties, $'hich I
belicve it did, thcn with s?ycnrhiionord Screnri
son I think we showcclthe wav for herrymet:rl
in the Nineties. lt sounds like such aboastful
thing to sa]',I knor,!:bufthafs borv it hit me. It's
the graDdestard nost fascinatingtale ofa1l, the
classicstoryofGood versus E\.i1,$.ith no s'uar-
anteesthar it\ thegood Eiuyswho eventuell)
come through- Which is everyrcne'sstor\,,reell!,.
isr'tit'i None ofusgcts thlough ourlives snell-
ing ofroses everywhere we goi c\ut'thirg is :r
constintbatde to tr), and stay sanc,to cllt
through a1lthe bullshit thatgets shoved our rvav.
At the sane tinc, thcr-e'snuc to it than thrt.Ifs
a quhe mythjcaltale, the segaofthc Scvcnth Sor
o f t h e S e v e n t hS o n ,a n d j n t r y ; n g ! o t e l l i t $ , e
rcall,vallorvcd ournraginations to Nn free.
cr hbuld thcrc cver be nbetter I'Iaiden
album?
H A R R Iw 5 e ' v e a l w a y sb e e n a t o u r b c s t , I
t h i n k . w h e n w e ' v e t o l c la s t o r , vo f s o m e k i n d .
"Rimc ofthe Ancicnt Marincr," "Str rger rn r
S t r a n g eL a n d , " " S e v e n t hS o n . . . "l i ' s o n c o f t h c
things \\,'e'rereally good at, and it's uorking ir
a way that is vcfl'' inspiring for us. \ 'hrtever
happened aftcr that, wc kncu,rvc'd donc our'
best with that elbum, ccrtainly. .t

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BYRICHARD BIENSTBCK
0NAUGUST 9, 1984,Iron Maiden hit the road the"That tourwas monumental,"saysguitaristDaveMurray."The sizeof
showswasjustifiedby the amountofrecordsthat we were selling.
in support of their fourth album,Powerslave. Everyconcertwaslike a festival:'
Eversincetheir arrivalon the sceneinthe late Seventiesin their
Dubbedthe World SlaveryTour,it was an nativeEngland,Maidenhad beensteadilyexpandingtheir cult foltowing.
undertakingof massiveproportions,requir- Powersidve, they hoped,would be the albumthatwould vaulttheband
into the rock and roll stratosphere.
Certainlt their daysofplaying to
ing five busesand six 45-foottrucks to trans- drunkenpuntersin the seedypubsofLondon'sEastEnd were behind
them forever:Iron Maidenhad becomebonafide,stadium-devouring,
port the band,crew and equipmentfrom internationalsuperstars.
For all its gloriousexcesses,
the World SlaveryTour was by no means
show to show.By the time they returned the pinnacleof Maiden'scareer-itwas morelike a tasteofwhat lay on
home 11monthslater,Maiden had playeda the horizon.Althoughthe bandenteredthe Eightieslumpedin with the
short-livedcollectiveknown asthe New wave ofBritjsh Heary Metal,
total of190 concertsin 24 countries.traveled they left it asoneofthe decade'smostsuccessftrlacts,with a string of
multi-Platinumalbumsand sold-outworld tours under theirbelts.In an
nearly 100,000miles,used6,392gtitar erathat sawthe hear'j'metalmovementblossom both artisticallyand
stringsand,perhapsmost impressive,con- commercially,Iron Maidenled the packwith their ferocious,epic talesof
medievalmayhemwrappedup in an explosiveblendofrazor-sharpriffs,
sumedover 50,000cansofbeer. gallopingbasslinesand twin-glitar harmonies.Perhapsthe one thing

+ o,r^*,.r.n"
tF*
 attheHammeumhhod6n, l
London, (cldkwkefbm rop bft)
DawMumy,lani.kc€8,5t4 :
H.iiis,BrucDi.kinsand
Ni.korn BFin :
more impressivethan the 60 million albums
the bandhassoldover the last28 yearsis the
lactIhal rheyhavedoneit complerely on their
own terms,withvjrtually no supportfrom
radio,MTV orthe mainstreamrock press.
Originally,the dreamsof the youngSteve
Harri.,lron Maidens founderandoolesur.
viving originalmember,would haveled him
do$ n a muchdifferenrpath.Likea hostol
other Englishrock starsfrom RodStewartto
DefLeppard'sJoeElliot, Haris dreamedof
playingprofessionalsoccet and had even
signedon asa memberofa youth team.
But like thousandsofteenagersbeforeand
afterhim, the 15-year-old soonfell under the
spellof rockandroll.particularl)progressive
Engiishbandslike JethroTull and cenesis.In
1973Harris shelledout 40 poundsfor acopy
FenderTelecasterbass, and formedhis first
group,Influence. whichpla)ed a mi\ oforigi-
nalsand coverclike "Paranoid"and "Smok€
on the Water" When the bandpackedit in
afterjust six gigs,Harrisjoined aboogie-rock
outfit namedSmiler A moreprofessional
$oup, Smilergiggedextensivelyaroundthe
EastEnd pub circuit, and evenpedormedan
earlyversionofHarris' "lnnocent Exile,"
which later appearedon Maiden's1981(illers
album.Smilerrejectedhis next originai,how-
ever,and madeit clearthat they did not expect
their bassplayerto be a creativeforcein the
bald,jump aroundonstage,play intricate,
lead-stylebasslinesorwrite songs.
'A lot ofpeople think that I havea very
uniqueapproachtothe bass,"saysHarris,"but
28 4vtf{t tEa6|jtl
to me,my styleisjust natural.I nevercon-
sciouslydecidedto play a certainway.By the
tine Ijoined Smjler,I waswritingmore and
moreofmyown stufl andthe other grys
didn't reallywantto play it. They thoughtthat
therewere too manytime changes."
Harris decidedin 1975that the onlyway to
fully realizehis own musicalvisionwasto
start his own band.He chosethe monikerIron
Maidenafter seeingthe1939movie lhe Mdn
in the Iron Mask,
Iron Maiden'sinaugurallineup featured
Hanis on bass,Ron"Rebel"Matthewson
drums,PaulDay on vocalsand the twin guitars
ol lerry Kanceano L,ave 5ulllvan,lor lhe ne\t
year and a hal{ the bandunderwentalmost
constantpersonnelchanges, PaulDay was
replacedby DennisWilcock,Steve'sbandmate
ftom his Smilerdays.In turn, Wilcock, unhap-
py with the guitarists'lackoftechnical skills,
suggested bringing in afleet-fingered,blond-
hairedkid he knew namedDaveMurray.The
problemofhaving threeguitaristswas quickly
solvedwhen Ranceand Sullivan,insultedby
this not-so-subtlecritique oftheir ability,quit
the band.
Ironically,the next man to leavewas
Murray,who was fired byWilcock afterthe
two had an argrment."I wasd ving over to
Steve's, and my car caughton fire," remembers
Murmy. "Luckily,I had an extinguisherin the
bact and I put the flamesout. Sowhen I
showedup at the house,I was coveredin oil
and ashes-andI get my marchingpapersas
well. Needlessto say,"he laughs,"itwasn't a
very goodday."Harris,who'd recentlyfired
the band'sother guitarist,Bob Sa\rf'er,brought
in Terry Wrapram,who'd playedin aband
calledHooker.
Bythis point, Stevehad becomecompletely
disillusionedwith the two-guita. idea.Instead
oflooking for anotherg]litaristto playwith
Wrapram,he decidedto go a differentroute.
Enter TonyMoore,Maiden'sfirst, and only,
full-timekeyboard playerAfterjust onegig ir
wasobviou!lha(\ynthesizers werenot going
to fit in with Maiden'sraw,no-frills metalllc
sound,and Moore wasrelievedofhis duties.
Surprisingly,this promptedWrapramto jump
ship aswell, claiminghecouldn'tplay without jobs.Sowe weren\goingro loseLha(securiry furious were special.DaveMurray took his
a keyboardist. just to signsomepieceofpaper that would copyoverto NealKa).the! isiorlan, hea,vf
Near the end of1978,after severalmorefir- makeus starsfor five minutes," metalDJ who worked at rhe Soundhouse in
ings.quitringsandrecruirmenrs. Maidendgain Encouragedbythe growingcrowdsat therr \orrh London,hopinglo getMaidena gig.
found itselfas a four-piece,with Murray back EastEnd shows,and certainthat no labelwas "We didn'theaf from Nealfor a coupleof
in the fold, ex-SmilerdrummerDoug Samson goingto touchrhemwithouttryingro change weeks,"remembersHarris, "But then he
andner s;ngerPaulDiAnnu.who got Lhegig their sound,Maidendecidedthat, in order to phonedus up one dayand saidthat itwas the
aftera spiriredaudirionperformance of Deep reacha largeraudience,they would haveto bestdemohe had heardin a longtime, so he
Purple's"Dealer."It is this lineup thatwould recorda demoon their own. On New Year's staned(o pla! the lraclsar rheSoundhou"e. I
appearon the band'sfirst demotape.'Actually, Eve,1978,the bandheadedup to Spaceward rememberone night me and Paulwent down
there is a secondgiritariston the demo," Studiosin Cambridgefor two daysand record- to the club-nobody knew who we were-and
revealsMurray."I think his namewas Mad ed four SteveHarris originals:"Prowler," wejust stoodat the bar,watchingpeoplereact
Mick, or somethinglike that. Who can "Invasion,""StrangeWorld" and "Iron to our songs,headbangingand playingair gur-
remember.Buthe was a right decentplayer." Maiden."Bustedby the costofthe recording tar.We just couldn'tbelieveit. Sobythe time
hon Maiden'slineup may havebeensome- sessions, Maidenplannedto mix the tracks we beganplayingthere,peoplealreadyknew
what shakyduringthoseearlyyears,buttheir whentheyhadmorecash.1nthe meantim". two orthree songsfrom the demo,and they
belief and conviction,particularlyHarris',ln theytook a roughmix ofthe songswiththem. would get completelyinto it."
the musicthey were creatingwasunwavering. Unfortunately,when they returnedto the stu- The tapealsomadeits way into the hands
Early adsfor Maiden showsat EastEnd dives dio a fewweekslater,they foundthatthe mas- ofa man namedRod Smallwood,who would
like the cart & Horsesand RuskinArms were ter tapehad alreadybeenwiped clean.The soonbecomean integralpart of the Iron
often emblazonedwith sloganslike "Rock bandhad no choicebut to takethe unedited Maidenfamily.Smallwood,who'd recentli
Kingsofthe EastEnd,"and the eloquelt "We and unmixedtapesasthey were. endureda messysplitwith the bandhe was
break,shake,shockand rock,we makethe rest Despitethe demo'srawness,itwas easyto managing,hadjust madethe decisionto leave
look averagestock:' Particularlynoteworthy seethat the songs-melodic,heala,fast and the rock and rollbusinessforgood. He was
was the ad placedby the boysin Melody
Mdfterasthey preparedto return from a slx-
month hiatus."Iron Maidenare not only the
bestvisual.highencrgy. original.loud-but-
talented,goodlooking,tasteful, heartbreak-
ing, hard hitting bloodsucking,mind-blow-
inghard rock bandin London!we're also
very niceblokes,kind to fans& our families,
hostileto otherbands,but aboveall we're
brilliant, acesuperstarsand we're honest!
And we're BACK!ll"
"we usedto do thatjustto havea laugh,"
explainsHarris."Itwasn'tthatwe were so
confident,itwasjust that therewele a lot of
bandsat that time who thoughtthey were
the bee'sknees,soto speak,sowejustwant-
ed to wind them up a bit."
Unfortunately, not everyonesaw the
humor in Maiden's"wind-ups."In response
to this lastad,membersof rival EastEnd
bandsbombardeda Maidenshow and
dousedtheir monitorswith beer.Harris does
point out that itwas the lasttime the band
was confrontedby dissenters.
Maiden'sintense,blitzkriegstyleof heary
metal,combinedwith a spectacularstage
showwhich featlred a bloodspewinghead
(an embryonicversionoftheir soonto be
mascot,Eddie),beganattractinga hardcore
foilowingthroughoutthe EastEnd. Soon
enough,they alsobegangarneringattention
fromlocalrecordlabels. Aroundrhir timein
lo-Z however. chepunk/newwaverevolu-
tion wasjust gettingunderway,and any label
that did show an interestin Maiden'sgritty,
working classhearTmetaltried itsbest to
persuadethe bandto cut their hair,losethe
stageshow,and adopta more"punk-rock"
image.Maiden,ofcourse,beingtrue punks
at heart,told them all whereto sticktheir
contracts.
"The thing from the very beginningwas
to be uncompromising,"stressesMurray,
"From around1977to 1980,whenthe whole
punk thingwas happeningpeoplewere
alwaystellingus to chop our hair off. Butwe
weren'tgoingto change,and we weren't
goingtojustjump at anyrecorddeal.
Becauseat this pointwe all still had our day
cor.idefirg d careerir law when an old rugbr
chum passed him a copy ofthe Spaceward
demo. Smallu,ood liked what he heard, and
cortacted Harris about coming down to oDe of
Maiden's shows.Impressed with the band s
onstage charisma fthey had to perform minus
DiAnno, who'd bcen arrested for calryinga
knifejust plior to showtime), Smallwood
began acting as their manager, officially sign-
ingthe band to a contract a few months later.
L i k c H r r r i . , S n r a l l * o o J h a . l a c o c k s u r ea n i
tude when it came to his band's music- On one
occasion, he bet the manager ofthe London
Marquee tha! Nlaiden would sell out their
sho\r' bv seveu o'clock that night. Needless to
say,Smallwood won the bet. But the bigwin-
ners turned out to be the band themselves, as
Slrallwood had also persuaded John Darnic],
an A&R man for EMI Records, to come down
to the sho$r DarDley liked what he saw and, a
m o r r h l a t e r . I r o r r M a i d e n \ i g " r e dw : r h t \ 4 1
Before entering into the studio to record
their najor label debut, the band decided to
release three songs from their extrenely
sought-after demo tape "Prowler," "Invasior"
and "Iron Maiden"-on their own label, Rock
Hard Records. The EP was titled ?he
So&ndho se ?dpes. Only 5,000 copies were
printed, and it was made available by mail-
order onlv. Due to overwhelning demand for
?dpes (3,O0Ocopies were shifted in the firct
week alone), the band began getting calls fi-om
m d j o r r n u . i c c h a i n . . B u r S m a l l w o o dJ e c l i n e J ,
optirgto k€ep the record's printing limited, as
a special gift to Maiden's hardcore following.
As a result, the much sought after EP now
fetches hundreds ofdollars for an original
30 4UrrAR
r€4€taDl
copy. Duringthis time, the band nlso recorded
two sorlgs,"Sanctuary" and "Wrathchild," for
EMl's Metdl for Muthds compilation album,
and had their first radio session broadcast ur
London's Rddio One ariddy Rocft Show.
After experiencing another series oflineup
changes,Iron Maiden became a five piece
again with the addition of$ritaristTony
Parsons,who was quickly fired and replaced by
Dennis Stratton. DougSampsonwas trade<itn
forex-Samson drummer Clive Burr, and
Maiden got down to business,enteringthe stu
dio to.ecord their debut album with producer
will Malone. Before rcleasingthe record, they
setoutonthe l2-date Metal for Muthas Tour.lt
was durilu this time that EMI released the
band's debut single, "RunningFree." The song
ertered the U.K. charts at Number 44, and the
b a | l J w r . o i i e - e d a . p o r o n B r i t J i n\ p r e \ l i g i o u s
?op oJthe Pops.Smalhrrcod accept€d under the
condition that his group be allou,ed to perforrn
live, not lip synch, and hon Maiden became the
firstband to do so sincethe Who played on the
show ln 1972.
After finishingup aguest slot on Judas
Priest's U.K. Brirlsh Sfeel tour, Mriden
released their eponymous debut on April 14,
1980.I! shot straight into the U.K. charts,
d c h u r i n g a t N u n r b (| 4 . \ 4 e w e r e q u i r e s u r
prised," says Harris. "We expected it to go
naybe Top 30. The thingwas, wc had already
done a lot of shorvs around the U.K., including
the dates opening up for Priest. So we had a
huge fan base, and I think that l'r,asa big rea-
son for the album's success.As a result, EMI
.rJrcd \hipping rhe rr, ord our arounJ rht
world, u4rich was somethingwe never expect
. d . l l r j L r . rt h o u g h r r h a r s e J J , , r f e w g i g .
around Ergland."
T h e J b u m i n c l u L l e d. . o r c h i n g l i v e c t a n
d r r d sl i l e " P " o * l e r ' r n d - l r o n M r i d e n , a 5
well as "Phantom ofthe Opera," the q?e of
sprawling, multi-passage song that would
become a Maiden trademark. The band took
off on their first headliningtour ofthe U.K,
which culminated in a slot at the Reading
Festival supporting UI O, whose Pete way i('as
one of HaIIis' biggest infl uences.
 Maiden finished out the year suppofiing Kiss
on the laftel,s European tour It was duringthis
tine that irternal problems began surfacing
between strafton and the restoftheband, and at
r h p e n d o l r h e r o u r .h e w a s d i s m i s . e d O. n c ea g E i r l
a four'-picce,Maiden called upon a young pSltar-
ist named AddaD Snith. They'd wanted to
r e c r u i t S m i r ho n c eb e l b r e .b u r h e h a d b . c n f u l l 1
involved with his own band, Urchin, and so
dcclined. But Urchin had recently disbanded,so
this ti e Snith acceptedthe offer. Had he
turned them dow[ again,Maidcn's sccond
choice was Girl's Phii Collen,who would go on
to achiev€intemational fame with anotherNew
Wave ofBritish Heaq' Metal band, Defreppard.
Dave Murray had been a fiietd ofAdrian
since their childhood in the East End, and had
even spert a brieftime with him in Urchin
after Den wilcock kicked him out oflron
Maiden. The pair proved to be the perfect
tu'in-guitar attack that Meiden had alwa_vs
been searchingfor, with Adrian's more
t h o u g h r f u l .c o m p o s e ds o l o sp e f f e c rl y c o n r p l c -
menting Dave's no-holds-barred, improvisa
tiollal approach.
'Adriar ald I had knou-n each other sinc€
we $'ere about l.t, and we had beglrn playing
guitar around the same time as well," says
MuIra). "So there was this chemistrybetween
us that wentbeyond the music. You could take
the two best guitarists in the world and put
th€m in the same band and it wouldn't hap
pen. There has to b€ som€thingmore, and
Adrian and I had that."
After embarking on another briefBritish
tour to break Addan in, the band headed back
into the studio to record their second album,
this time with Martin Birch atthe helm. He
would go on to produce every Iron Maiden
album up through 1992'sFear of the Dark.
I(i//ers was released in February I98I, and
th€ band geared up for their first world tour,
including inaugural visits to Japan and North
Anerica. The three Tok,\'oconcerts, which
sold out in less than t\\,o hours, were captured
on the lii'e Maiden Jdpdn EP Fron1 there it
was or to the States,where the band met firm
resistance fion Anerican radio every stcp of
the way. Unwillingto pander to stations by
r e l e r . i n g r n A O R - s r y l ep o p s o n g .M a i d e n . e r
out to conquer Ame ca city b)' ciry By the
time the U.S.leg of the dillers tour was over
the album had sold an impressive 20o,00o
copies four times that ofrheir debut-and
reached Number TSon the 3illbodrd charts
All\ough Ihe (i//er. tour mrIked a higL
p o i n ri n \ . 4 r i d e n
s . r f c p r r n d e r r e n d e dr h e i r
fan base worldwide, they oncc again found
r h e m s e l v e sh e a d e d f o f l i n e u p t f o u b l e s .T h i .
time the unfortunate catalyst was lead singer
Paul Di'anno, whose whole-hearted embrace
o f t h e r o c l a n d r u l l l i l s r y l cu a : j r o p a r d i z i n g
his abilityto perform onstage.
"Pauljust kind ofgot caughtup in the suc-
cess,"reasons Murray. "There was quite I lot
ofpressure on us and he just wasr't prepared
to handle it. It got to the point where it would
be rightbefore showtime, and he wouldn't
"It was veq' difficult, becausewe didn'tu,ant
togerrid ofhint" adds Haris. "But inthe end,
we had nochoicebecause I think that ifhe had
s n ) e L li n l h e b a n d .w c $ o u l d r ' r b e h c r e n o w '
Becoming increasingly dissatisfied with
DiAnnok singing as the tour wore on, Maiden
finallydecidedto give him the boot. Theychose
asirger named Bruce Bruce, with whom Clir-e
Burr had played in Sa son, to replace Di'Anlro.
wiselj', Bruce returned to usinghis odginal sur
lame, Dickinson, and the band headed offto
Italy for some quick sho$s to brcal him in. "It
was averybigchange for us," saysHafiis.
"Suddenly,we went from a band that had noth-
ing to lose,with norvhere to go but up, to a band
rhri l.-l -".^dl,i"r i. 1."" *
Iron Maiden could have played it safe by
h i f i r g J D i A n n o c o p y .. o a . n o r t o u p . e t r h e i r
rapidly growirg legion offans. But Bruce
Dickinson could not have been nore u[lik.
his predecessor.Whereas DiAnno emitted a
ra\.l-,street-urchin croak, Dickinson possessed
a multiple octave rangc uith a rvide, operatic
vibrato.It wasntjustby coitcidence that fans
took to callinghim "The Air Raid Siren."
4ufr^RrE4r Dl 31

Havingsharedstageswith theband while
fronting Samson,Dickinsonhad always
admiredMaiden,and knew that his voice
would be the perfectfit for their majestic
sound."I wasa big fan ofthe l{illers album,
and my one regretwasthat I neverhad ago ar
thatthing.I mean,the bandwasfierce,and
when I sawthem,I thought,cod, I could real- incorpomting slnthesizers into their sound,and
ly rip somelhing apanil I were.ingingfor
them.Soone dtrythey $abbed a hold ofmc
and said,'We'regoingto fire our singer,do you Years"and "Can I ?lay with Madness."
want to audition?'AndI said,Yeah,I'il audi-
tion, and I betyou I'll get thejob."
Any doubterswho thought Maiden
wouldn't survivethe IossofDiAnno were
quickly silencedlvith the releaseofthe "Run
to the Hills" singlein March 1982.Still seenby
many asthe definitiveIron Maidensong,
"Hills" is an all out scorcherfrom start to fin- haveto be willingto experimentand grow
ish,openingwith Thin Lizzy-styleguitar lur-
moniesbeforekickinginto overdrivewith a
barrageof HaIIis' trademarkgallopingbass
IinesandDickinson 5 banshee wails.The:in-
glewas Maiden'sfirst U.K.Top 10,andthe
accompanyingvideo gainedthem somemuch- asKissandGunsN Rose\supportingrhem.
deservedAmericanexposurevia the newly
createdMTV When ?,he Numberofthe Bedst
wasreleasedlater that month,it debutedat
NumberI on the U.K.charts,and reached
Number33 in America.Besidessellingout
showsaroundthe world, the Beaston the
RoadTour alsoincludeda headliningslotat
the prestigiousReadingtrestival.
But ashappenedcountlesstimesin the
past.Iherourendedin anorherlineupchange: classic'All the YoungDudes."
this time, drummer CliveBurr decidedhe had
had enoughand amicablyquitthe goup.In
his placecameMichael"Nicko" McBrain,who
had beenthe drummerfor the Frenchrockers Janickcers, a friend of mine from the Samson
Trust.Alongwith his excellentdrumming,
McBrain'svocalprowessis featuredon his
first outingwith the band,1983'sPieceof
Mmd, where he canbehearddrunkenlyrecit-
ingthe backwardmessage, "Don't meddlewid
t'ings you don't understand."
"That was in responseto all ofthe stuffthat Janickoff the streetslAnd now I havea
wasgoingdown with Priestand Ozzy,the
backwardsubliminaimessages, the Satanism,
all that bullshit,"laughsNicko."Maidenhad
32 4uf . rr4€f{Dt
gottena little bit ofit aswell, with the N&mber
ofth€ Beasfalbum.Sowe just figuredwe'd put
oneon thereblatanrly.sorrofour wayo I giv-
ingrhe middlefingerro rhesefanarics. lr
didn'tmean a thing."
With the additionof McBrain,Maiden
enteredinto their longestperiodoflineup sta-
bility, which would last them all the way to
1990.The bandwasalsoheadedtoward its
mostlucrativeperiod,both creativelyand eco-
nomically.In 1984,Maidenreleased
Pouersldve,and followed it with the world
SlaveryTour,which soldout arenasall around
theworld.
They documentedthe tour on the live dou,
ble albumltyeAfterredfh, recordedat sold-
outperformancesin London and Califorma.
'A lot oftimes a live record demonstraLcs
how dull things can be in the studio,"com
ments Dickinson. "We wanted people to be
ableto experience the poweroflron Maiden
in concert.Ior example,peoplelistento
Deep Purple'sMdcfiinel]edd and say,'Wow,
what a greatalbum!'Butit's kind oflike
snoozerock comparedto Purple's live
elb|um,Maile in Japdn That's the spirit of
the band comingthrough, and that's what
we capturedaswell."
over the courseofthe next few albums,
Maidenbeganto s\perimenrmorewirhin rheir
music.On,Somewhere in ?rne (1986)and
SerenthSonofa Sel,enthSon(1988),they began
taLing a more streamlined,mainstream
approachto songwriting on ffacks like "Wasted
"LfueAfter Deathkindofended an era for
Iron Maiden,"saysMurray."Everythingabout
that tourwas enormous,and we took it asfar
aswe could go.But afterward,we didn't pu.-
poselysay,'We'vegot to do somethingdiffer-
ent.'It wasjust a development,really.Ifyou
$'ant to sustaina careerfor 2o-plusyears,you
Onethingthat did continueto grow wasthe
band'sworldwidepopularity.InAugust1988,
they headlinedthe MonstersofRock festivalat
CastleDoningtonin England,beforea record
crowdofl02,0oo,with suchrock hea\,].weights
lu8qsawanorherfir.r fof Tfon\.4riden-
they rested.Weli, at leastsomeofthem did.
Both Dickinsonand Smith usedthe time off to
work on soloprojects.Smith'salbumwas
moreofa mainstreamrock affair,while
Dickinson's?dttooedMillionairehearkened
backto the soundofearly-Seventies hard
rock, and evenspawnedminor hits in both the
L i t l e c r a cakn dd c o \ e r o fM o c r h c H o o p l e s
"Thewhole ideabehind ?k.tooed
Milliondirewas notto makesomegrand artis
tic statement,"saysDickinson."The thingwas,
days,hadbeenunemployedfor aboutfour
yea15 andwrs rhinkingofsellinghi' equip-
ment and givingup the guitar And that pissed
me off, becausehe'sa pretty seriousplayer.so
we got togetherand madethe albumin about
10days.Basically,itwas donejustto keep
Platinumalbumon my wall."
While Bruce'ssoiosuccessmight havebeen
a signof thingsto come,Ad an was actually
the first to hand in his resignation to Maiden.
Just as the recording sessionsfor l{o Prdyer
Fr the rJing were getting underway, Janick
Gers quickly stepped in, and the band played
on-but not for long. Duringt993's Fedr o/the
,drk tour, Bruce Dickinson, Iron Maiden's
frontman since theyhad attained superstar
dom, announced his intention to leave the
band to concentrate on a solo car€er.
"Steve is very stubborn about what he
$ a n r s .u h i l p I m ' n o r e i n t e r e s r e di n e : ' p e r i
menting," explains Dickinson. "I have a lot of
respect for him, but wejust see the world dif-
ferently.I mean, we were touring, having fun,
and getting paid well, but I felt like I needed to
stretch creatively and try different things. I
needed a bit more angst, and Ijust wasn't gct-
ting it with Maiden," he laughs. "So I provided
it myseld by quitting the band."
Har s is rDore diplomatic about the split. "I
think thatwhen a band tours as extensiveiy as
we do, you're always goingto have people
leaving. And it's always disappointing no mat-
terwho it is. But ifsomeone's l1ot enjoying
themselves in the band, then there's no reason
for them to be there, and that's fine."
"One thing that was odd," saysDickinson, '"was
that when my last single with dre band, the iive
version of'Hallowed Be Thy Name' Fom .1993'sA
Real Live Onel was released, the sleeve had a draw-
ing ofEddie putting a spear through my chesL I
said to Rod,'l.{ow dlat's curious, 'irxit?' "
At the end ofthe year, Iron Maiden
announced that they had hired Blaze Bayley,
forrnerlyof the Engiishpunk-metalband
Wolfsbane, to be their new lead singer.
"Blaze had always been at the top ofour
list," says Murray. "When Bruce left, we decid-
ed that itwasn't time to pack it in yet, so we
gave him a call. And the fans have been really
good about it. On the X-tr.acto:Jl lin support of
their first album \'rith BdyleJ, I995's The
X F a c r o r lr h e r e w e r e r l o t o l b a n n e r s a n J . i g n .
in our audiences welcoming him."
1996 marked the 2Oth anniversary oflron
Maiden, and the band celebrated in grand
style with the release olBest of the Bedst,a
d o u b l e C D g r e . r e . r - h i r sc o l l e c r i o at h a r i e a
turcd, for the first time ol1 CD, two songs from
the legendary Soundhoasesessions "lron
Maiden" and "Strange world."
Noq more than two decades later, Iron
Maiden are still forging ahead, constantly
challenging themselves within their music as
well as with outside projects.
According to Dickinson, the secretto
Maiden's longl$ting appeal is the band's sheer
; n t e $ i q . ' W e n e \ e r l e r p e o p l ed o \ r n , a n d $ e
were never cheesy, No matter how enormous
our shows gnt, we always hept a very English
senseof decorlrm about things, even while snarl-
ing like a savagebeastonstagel"
M c B r a i n o f f e r . a ' l i g h r l y d i f f e r e n re x p l a n a '
tion for the band's ability to soldier on even as
so many fellbythe wayside.'You always hear
aboutgroups who can't stand one another, and
how when the concert's over, they split. With
u c . w e l i k e t o h a n g r o g e t h e ra f t e r r h e s h o w
and go for a drink or something. We've kind of
calmed down a bit from the redlwild parties,
butwe stillenjoy each other's company And
that's always been keyto our success,":il
4UrnRlE44rDl
 TH€.Ltf€.
AND
SPEEIALED
]i,t{€tolTttt tRoN l,tAt(orR|CHARD
MAfD€N BtENsrocK
BEF0REiIEGADETH'S vic Ratttehead,Miitley eyed,spiky-hairedpunk,and decidedto useit _Sowe decidedro let Eddiehavea go ar
Criie'sAllister triendandAnthrax'sNOT Man, for the coveroftheir debutalbum. her," laughs Harris.
therewas Eddie.Astandout inthe field of Beforethe recordwasreleased,they had But Maider allowedthe PrimeMinisterto
hearl, meralmrrcor.. wirh a faceasrecogniz Riggsdesignthe sleeveoftheir first single, haveher revengeon the cover oftheir next sm-
ableasthe president'sto a generationofdis- "RunningFree,"which picturedEddie atthe gle,''!vomen in Uniform," where Thatcher is
enchantedyouth,Eddieis the perennialyard- backofan alley,shroudedin darkness."We seenhiding in the shadowswith a machineglrn
stick by which allfuture metalmascotswill, didn r * ant ro giveawayhisidenrirybeiore asEddig flankedby a schoolgirlanda nurseon
must,be measured. the albumcameout,"saysHarris."Sowe kept eitherside.approaches unawares. Nol surpris-
His genesisdatesbackto the murkytime his facehiddenin the shadows." ingly,rhebard ran inro controversyonce again.
when DennisWilcockwas lron Maiden'slead It wasn'tlongafter the releaseof-fron this time from feminists oufaged that not only
singer.A hugeKiss fan,wilcock usedro spice Mdidenthat Eddiebeganmakingheadlines. wasold Ed a murderer,but a womanizer to booL
up the band'sEast Eddie'sappear-
End showswith a anceorsmge grcw
barrageofcheap commensurately
visualgimmicks. with his grorl,th asa
Amonghis most mediastar.By 1982's
impressivefeats Beaston the Road
involvedrunning a Tour,he had grown
sword throughone to a massive12feet
sideofhis mouth and tall and roamedthe
out the other during stagefieely, terror-
the song"Iron izing both the band
Maiden,"all the and the audience.
while his wounds The enormous
dribbledfakeblood munrmified Eddie
down his chin. After ofthe world Slavery
Wilcock leftthe Tour ruled over the
band,Maidetwant- entire arena,bursts
ed to retainthe the offlame shooting
atricalelement he from his eyes,while
had addedto their on 1988'sSeventh
shows,so a local Tour of a Seventh
acquaintance of Tour, Eddie the
Harris',DaveBeasly Gurusatcross-
(nicknamedDave leggedat the back of
Lights becauseofhis drc stage,crystal
inventivestagesets), ballin hand.
begandesigning Ed'sonstageper-
makeshiftpropsout
oflight bulbs,vacu- basedon the sleeve
um cleaflerparts, ofthealbum
flowerpotsandwhat- Maiden was touring
everelsehe could get his handson- Riggs'artwork for "Sanctuary," the secondsin- in support ol and someofBjggs' more memora
OneofBeasly'searliestdesignsconsistedof gle off of the album,depictedEddie,bloody ble cover art sawEddie playing puppet masterto
a backdropwith the band'slogo paintedon it, knife in hand,crouchingoverthe corpseofa S^tan(TheNumberofthe Beast),receivinga
and embellishedwith a ghostlypapermache womanwho had torn down an Iron Maiden lobotorr,y(Pieceof Mind ). rravelingbackin rime
mask.Du ngthe performanceof"Iron poster The problem:the deadwomanwas to becomean Eg]?tian sphinx (Powerslcve),and
MaideD,"he would usean aquariumair-pump then-PrimeMinister MargaretThatcher jumping aheadto the future asa cyborg
to spewblood ftom its mouth. England'srdily M/rror ran the headline,"lt's (Somewhere {n Time).
"we startedto call the maskThe 'Ead, Murderl Maggie gets rock mugging," while the In 1992,theband decidedthat itwas time
becauseyou don't pronouncethe H in ScottishYoungToriespublicly proclaimedthe to injectsomefreshblood (soto speak)into
London;'saysHarris.'t\nd from there hejust sleeve to be "in verybadra.re,Larerpress- their mascot,and invited severalartiststo
becameEddiethe 'Ead." ingsof the British singlewere censoredwith a submitnew designsfor Eddie.The winner,a
Eddie remainedin this bodilessstateuntil blackbar drawn over Thatcher'seyes. drawingby Meh.yncrant, wasfeaturedon the
the end of1979,when RodSmallwoodcame "It wasreallyjust a bit of ajoke,"says coverofthe Fearofthe Ddrft album.crant also -q
acrossa posrerdrrwn by rrtisr Derek fuggs. Murray."?eoplehad beguncallingThatcher did the artwork for Yirfudl xI. =
and askedhimtobringhis pordolio up to the Iron Maiden,and they thoughtthat we The coveroflron Maiden'smostrecent
Maiden'soffice.Theband wasparticularly had takenthe namefrom her,when jn actuali- album,2006'sAMdfferofLifeandDeath,w^s
impressedwith one Riggsdrawingofa wild- ty,we were usingit first:' designedby American artjst Tim Bradsueet.:l
31 4vtt{t lf4ettt
 ITVMIIF:MNtL

TH€fforu/of ffiRilJffiH
ffinfrKlN5ffiN't Vfi D€PARTUR
tHo(KrNq
FROU IRON,{,{AID€N,
AND (A,UE
Wil/HEVLT'MFftL/ BA(K.
ALTH0UGHTHERE|OULD be four Iron x{Aidenalbumsmadeuith differelt r982 in time for their breakthrough\'!rnbel o/ theSedsralbum,rhe next t0
singersat thc mic (t['o irh PaulDiAn[o and tlvo q ith BlazcBaile,v),f€rt )'ears$'ould se€Dickinson and llaidengo from strengthto strcngth.Which
$'ould rrg ethatthc longest-servinglrlaiden l.ocalisr,l]ruceDickinson,hrs is !vhl',$'hen Bruce announcedhis departurefrom the band in 1993,it came
been b]'far theirbest. Co \rriter ofsom€ oftheband's grcatest,best-known assuch asurprise to longstan.lingMaiden faDs.Fiveyearslarer,however he
sonss,asNell asbeingone o{the all tinc sr eat rock sirrgells.
Bruce has rvas back. So lr,hat was the story? $4rat prompted him to leave?And, morc
ali aysbeen a tremendousall-ro nd Fonnnan. HaYinsjoined the band in impoltant, \1.hatpersuadedhiln to eventuall!.comeback?

f, ,n,.oJ,?r*,
f,

cUIT R IEGEIOSThe official reasor for )'our
dcparture flom Iron Maiden $.asbccause).ou
s,anted to go solo, but in fact the seedsof1'our
disenchentnent \.ith thebandgo all rhe wa,
back to the end ofthePowersldve tour in 1985.
Car you talk abour that?
BRUC!Dt(t(tt{5otrtI glless it was the first tiite I
r-eallvthought about leaving: I clor'tjust mean
lron Maidcni I mean quilt;ngmusic altogether
I rea11_"- feltlikc I was prettv much basket case
lnaterialby the end ofthattour: I began to feel
likc I n'as a piece ofmachinery, like I was part
ofthe lightirg fig. And I did not want to feel
thrt u ay.
GLThe successof the Iive After Death
albulrr that follolved bought you a Iittle recov-
ery timc, though.
D l ( x l l o r | Y c . . l \ i u , f ' , u f l n . p d r o h a v e. i r
rnorths off, which quickiybecamc four months.
I was.just sittin€iaround and I graduall!' started
to comcback to some sort ofsense that, wcll,
oka\',as longas lve're not cloilrgany more of
l r ^ , , r r , ' r r o u - . . y o uk n o u l < t . s L r l r o u u e g o .
To ll1c thc tourirl{ thing just wasn't enough.
coinljout and playing in front often thousand
pcople, oka!'gr€it, butthat's notwhat I got rnto
music for cxclusively.I go! into musicbecausc I
$,anted to tell stories and I wanted to explore
the irside oflnv head and communicale it to
other people. And I thought, wclI,lr'har u'ould
38 4urfl8.LE4€ttD!
,-i i " _. 4i?rlJi*r*..*6
reallygivcmc a buzzto go offand do a[othcr
12-monthtour \r'ouldbc if .|r'ehrd another
fuckingrecordthat I realiyfbltwasground-
brcaking,youknou,?Like,where'sour
"Kashnir,"n,hcr-e's
our"'Stairwayto Heaven"'a
So I wcnt offinto "acoustic world" and I want
ed to do almostlikc an "unplugged" record fbr'
the next Iron Maiden album cxccptthiswas
ycars bcforc MTVstafted doing it.
cr.l rcrrcmbcr you siftingin n1y hone pht'
ingme three songr on an acoustic gnitar tha!
you'dwri!ten. When none oithcm made the
subsequent albrm, Sor?ewicrc r/l lime,l $'rs
surprised, to say th€ least.
ot(xt rc Well...if I'cl had my way, rhat
albrrm would have sounded \.cry diff€rent. It
\.asn'tso much thar ir had to be acoustic, tjust
felt that rve should bc lcadingand not follor
in€i.I felt that we were right thcr€, at tharporn!
rve had the whole {,orld literally at our fcct,
\aaitirg for \,r4ratl,r,e1,!ere gonna come up with
next, and I felt that if\r'e cane up with the
same old rhir,g people *,ould acccpt it xnd peo-
plc rvould buy it, but I felt, ifit \a'asmc, thclc'd
tre a tin!' bit ofdisappointnent there, too, yo
know? l just thought thc timc was ghr for us
to do something audacious,solrcthingvast and
darirg. And I didn't feelthat we did that with
Some ftere in ?inr€. \4rejusi m:rde another lron
Maiden albunr.
cL Ho\r d;dlnu feel$,hen the sorl{s you put
for$.ard for thai album {'ere all rejected?
Dl<xll{so l Llt vcrymuch like a fly being
' r v r t r e J .T h i . u a . i r rr l , . t s i h f r r r , ,u l r e | l$ <
u.ele recordingthe album, and k roduc"rl
 e a
through my teeth again.I
said,"Look, how aboutif
we do an album?"He said,
"Fuckit, yeah,alldght." So
I calledup Janandsaid,
'nve're making an album!"
The ideawassimplyto do
somethingyou wouldn't in
Maiden, otherwise what's
the point in doing it?
ct You then did a shot
solotoux It waswhen you
cameback fi.om that to do
the next Maiden album,
Fe.tr offfte Ddrl<,that steve
Haris sayshe first noticed
a differencein your atti-
tudeto Maiden.
Dr(K|rsoxI alwaysthoughtofmyselfasmore
than just the singerin lron Maiden. I wrote a
coupleofnovels[the?omSharpe-infuencea
talesof apreposterouscharactercalledLord 4I!
Sodfrdce].Idid somework asaprcsenteron
MTy and someother TV and radio work. I con-
tinued my fencing.And I qualified asa pilot. I
didn t want to pen myself in trying to conforn'r
to the established Maidenroutine.Meanwhile
Sonywere making noisessayingthey wanted
anothersolo album and there wasgonnabe this
big gapil,I the middle ofthe Maiden tour, while
the live albumwasbeing mixed, so I was wnt-
ing a load of stuff and I borrowed Skin to be sort
ofthe backingband. we got asfar asdoingall
the backingffacks, and thel lMeiden mandger)
RodfSmal/woo{pulledmetoonesideandsaid,
"Look,ifyou'regonnadoa solorecord,don't
just gliblydo a solorecord,do a reallyfucking
goodone."And that's when I realizedI wasjust
going alongwith the flow, maling my solo
album in the sameway we were motoring on
with Maiden.SoIwent, right,full-stop,and
pulledthewholething.t warredrodo some-
thing quite unusualand quite mad.
cL It waswhileyou weremalingthose
Martin lBirch]told me the othersdidn't like my movesthat you realizedyou didn'twant to
songs.So I went awayand thought, Well, what return to Maiden?
shalll do here?Shalll throw a wobblerand Dl<|(|I{sot{I realized that I had reacheda
pack up my toys and go home?But I d gotten far creativefork in the road. I thought, Ifyou want
enoughawayliom the stateof mind I was at, at to, you can staywith Maiden but things are sure
the end of the Po ersldyetour, to go well, who not gonnachange.OrI couldtale a chanceand
knows,theycouldbedght. MaybeI dm a bas- go somewhereelse.Potentially,IknewI could
ket-case. And soI convincedmyselfthat I be facingthe prospectof commercialoblivion,
shouldjustgowith it andthe moreI convinced which didntscareme at all because, forone,
myselfI shouldgo with it, in a way I felt like I I've had a great livit1gand career out of Maiden,
wasjust unburdeningmyselfof responsibiliry which is morethan anybodycouldpossiblyask,
cL was the fi'ustrationoverhavingyour andalso,Ijust thought,If that'sasfar asI'm
songsrejectedoneofthe reasonsyou evenfually supposed to go in this lifetime,ifthat's alll'm
did a soloalbum(199o'sTattooed Millionaire)? destinedto do,thenthat'sfine with me.But I
Dr<KrxtO[ Not directly.We'ddonethe wantedto find out.I realizedtherearesomany
SerenthSonalbumafterthat,whichI did con otherthingsI couldbe gettingon with in my
trjbutealottoandrharluas reallyproud ol. life.Ard that waswhen I decided:I haveto
Butthen I endedupbeingaskedto *tite asong leavenow I haveto tell peoplenow andthen
for the next Nrgitmdre on E1mSfreefmovie, l ll try anddecidewhat on earthI wmt to d
which is how "Bring Your Daughterto the lateron if anybodyunderstands.
Slaughter"cameabout.I 1lToteit in aboutthree cl The final dateswith Maiden, oncethe;
minuteswith Janickcers.I donl know where knew you were going,were a very tensetime
the title camefrom,itjust poppedinto my head. for you all, though.
I thought, bloody hell, straight out ofAC/DC! DlcKlilot{ I thoughtitwouldn'tbe aproblem
And I thought, NightmdreonElm Street..Jea\, to go out and do the shows at all. It could be
that'll do.The recordcompanywent absolutely great,be a goodvibe and everlthing else.But it
mad.Theywerelike,"This is fuckinggreatl" wasn'ta goodvibe at nll,andthis is notneces-
The guy said,"I can't believethis, haveyou got sarilyfiom the band,thiswaswhenwe walked
any more stuff like this?" And I wen! "weli, onstageanditwas like a morgue.The Maiden
yeah,there's a few things kicking abou ' Lying fansknew Id quit,theyknew thesewerethe
lastgigc. andI suddenly realizedthatasrhe
frontmanyou'rein an almostimpossiblesitua-
t ion.lfyou re like.- wow,thisis reallyfucling
cooltonight,manl" they'reall gonnasit there
going "What a wanket he'sleaving,how canit
be cool?"Or do you go on and say,"Look,I'm
reallysorryI'mleaving notto put a damperon
the eveningbut I am quitting." I mean,what do
you do?
cl Sowhatpromptedthe return in 1999?
Dl(|fl SoN It was a questionthat had come
up ercry yearsinceI len. Plusme andAdrirn
lsmifh] were playingtogetherand writing
togetheragain,and it wasn'tjust me they
invited back,itwas both ofus. Finally,Rod
took me asideand said,"How do you feel
aboutputting it back togetheragain?"I said,
"well, there'sa coupleofthings that concern
me but 90 percentofthings that I think are
massiveopportunities."The main thingwas
whether we would in factbe making a reai
state-of-the-artrecord and notjust a come
back album.In other words, if we were back
together,then potentially Iron Maiden is
looking at nothinglessthan beingthe best
healy metal band in the world again.I really
wasn't preparedto compromiseon that idea.
cl What wasit like seeingSteve Harris
again?
Dlcxl lo It wasstrange.I thinl we were both
a bitnervoul Butr:soon rs we walkedin thc
roon'Lwe gaveeachother abig hug and it all
evaporated. Lirerally.Iile bool cone. qnd\ e
both just chattedaway.He sai4 "I'm still not sure
exacdywhy you left." He saidit a coupleoftimes
andthen he said,"But that doesn'tmatter now."
And I went, "Oh,but it doesmatter!" and soI told
him, like "This is why Ileft." I can't remember
exacdywhat I said,but at dre end,I said,"Does
that makesense?"andhe went, 'lp'ell, yeah."I
thoughqOkay,well, $at's all right then.And fien
of coursewe all endedup goingdown the puh
Onething led to anotherandwe all woke up wrttr
thick headsthe next day.
cl After five years away,it must havebeen
excitingfor you,the thoughtof steppingout on
the world's largeststagesagain?
DrcKrsor Well.ir certainl] warnt an,'thing
to do with money.Ifmoney wasthe only moti-
vation we'd probably all haveretired years ago.
It's not aboutmoneyfor Maiden,at this point.
It's aboutliving the dreamagain.Stevedidn t
want to seethis assomesortofcomeback,
either To him, this was,like,justthe next step
in Iron Maiden. And thafs exactly how it
should be. How it is. :l
4vmRlE4Et{Dl39
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H E i l A Y E E D E A 0 , b u t f o r 2 8 y e a r s ,E d d i e ,
I r o n M a i d e n ' s d c p c n d a b l e ,d e s i c c a t e dz o n
bie mascor, has made morc record cover and
corcert appearances than your average Jiv-
ing rock star. Sinc€ his 6rst shadowl' appcar--
ance in 1980 ol1 the covcr of Maiden's debut
single, "Running Free," Eddie has shown up
ol1 all ofthe band's record covers in ncarly
e r r r t r o n c e i v a b l eg r i . e - a f u t u r i . r i c r u b u -
killer, an Eg_vptianking, and a thug slashing
the frigid breath out ofBritain's former
prime rninister, Margaret Thatcher. Small
wondcr hc's become a poster boy for heaq,
melalmischiel
Though Eddie's antics have been depi(ed
by sevcr-alartists, his most infamous acts
have been conceir.ed and illuslrated by Derek
Riggs, the British artistl,!ho created him in
.Ilrlr(trd)
the late Seventies. to{ruelr r
"I hnd drawn a picture ofa skull-like portfblio aDd dragged it down to the
thing wearing a T-shirt, rvith his hair studio where the gro p \rras record
s t i c k i n g u p , R i g g s s a v s ,e x p l a i n i n g E d d i e ' s ing their album."
origins. "The facewas copied from a photo- Thegroup was impressed bl the
graph I saw in ?ine magazine of a sevcred arnvork, but itwas tlectric Matthew
h e a d t h a t h a d b e c l 1s t u c k o n t o a m i l i t a r y .sdyrHcllo that cinched the deal. In
t l n k d u r i n g t h e V i i l | r a r nu r r ' . I d r e w h i n adclition to choosing NgSs' illustration
* . i t h p u n k y h a i r b e c a u s ei t w a s t h e l a t e fbr the cover of its self-titled deb t,
Sc\.enties rnd punk was big. But he wasn'r Maiden decided to use the character!
called Eddie yctt in fact, I titled the picture head both for its logo and as a large
Electric Mdttllei, SdysHello;' plaslerstage prcp. "That's when they
Riggs gave the frnished paintingto his rechristened him'Eddie,' " sat's Riggs.
egert, tl4ro promptly returned it. "He said, "Tl'reycalled him Ed, as in,'We just
\ e J o n r r h . I k r h i . i \ J v e r yc o m m e r c i a l p i r - got'is 'ead.'"
ture,' " Riggs fecalls. Elect c Mxfthe$' went As Maiden's success grcw in Du-
back into the artist's portfolio, where, for the ropc and America, Riggs' services
time bcing, he l!as forgotten. w e r e i n c r c a s i n g l yi n d e m a n d b y
Thoughjust 21 at the rime, Riggs had a- the group, and by thc fourth Iron
ready become establishcd as an album cover' Maiden album, he was hircd to wolk
i l l u s t r a t o r ,m o s t l y f o r r e c o r d s b y j a z z a r t i s t s . lor the band exclusively. The timing
"T just rvandered around record cornpanies couldn't havc b€€n better: Shortly
with my portfolio," says Riggs. 'At the time after signing on lr,ith the grorp,
thcre rvele only five or six record companles " A(t\ t1t41tl\tNqLEl1l4) Riggs was diagnosed with chlonic
in Lonr{on, and the *'hoie market was wide tric Matthcw, Riggs received a call from EMI fatig!e syndrolnc. Unable to work long
o p e n . " I n d u e t i m e , h e e x p a n d e dh i s p o r t , R e c o r d si n L o r d o n . T h e l a b e l h a d j u s t s i g n e d hours, he survived almost entirely on his
folio u'ith covels for-rr)ck and heavy metal a new heav_vmetal group named Iron Maid- work for Maiden. After l0 years, the source
albums. "The same art directors u,ere choos- p n i n d n e e d e da r r u n u i u e l . r y l e o l a r r d i r e L o f h i s p r o b l e m n a s d i a g n o s e d ." I t w a s d u e
ing ertists for all genres ofnusic. I even did tion for its debut album. "The art director at to the nlercury in the drinking water and
somedisco covers." E M I a . k e L lr o s e e r y p o r f f o l : o . . o | \ r u f i e ( . the 6llings in my tceth. It turns out I'ln very
A year end a halfafter tucking away Elec- r b u n c h o f p a i n ri r r g .i n r o I h i \ b i g .u o o d c r s u s c e p t i b l et o h e a v y m e t a l p o i s o n i n g W h i c h
 &n

(]lrrK lr9J)
is quitc ilonic {4ren vou think rbout it." ''I don t hlle r
it /t1NN4
Wt,' \IN4LEttlta)
c o n s t , r t t s t v l c , "s a l s R i g g s ,
,woM€N ltN4rr(t9jo)
rNuNrFoR/.1,, o
'lhro
gholrt his rcnLlle with N,Lriden,Riggs wbo aftcrvcrfs ofliving in I-ondon and
m a L l et h e n o s t o f h i s r c s t r i c t i v c a s s i g D u r e r r t s . Bt ighton nou' r'olks flom his horre rncl stu
urhile odrer .rftists nrig-bthavc bcconc borcil d i , ,i r l . n , r r h I n 3 l - r r , r , ' r . r ' n, f r r r r I , r i r .
o f t h c i r s u b j c c to r d f x $ ' n r e p e , r t e d l vf l o m
t h e s , r m cs o u r ( c o f i d c a s , R i g g sc o n t i n L r e dt o
"Almost c\'of\'time I paint a differcnt subjccr,
the pictlrre crds up in a diffcrcnt sl le.It s .rs
n
cvolvc both Eddic and his ori'I ilhLstratiou i f \ \ , h e nI n e e t r n c r l s c t o f p r o b l c m s I h r v e
l c c h n i q u e .A s : r f e s r l t , h i s c o v e r sf a r \ r l a i d c D t o s o h e t h e n a l l i g r i n f l o m s c l a t c h , . r n ds o
J , , ' r r - i . r i J i ' r i r ' . r l e .f r o r rtrl r ,. , , r r r , thc stt'leof the pxinting chriges accordiDgllr
like covel ofxaaidcns dcbut rlbunr to the
t - F c . e , . J . n , .r i \ , $ , - , , I r , P o . . r ' s / , r . .
I t ' s . r c t L r a l lb v ccn a bit of a pr-obleno r \'er
t h e ) e ] r | s .b e c a u s ea r t e d i t u l s l i k c ' t o b e : r b i c
"Td(tt ooP€f'
ltNr,r((DJt " \tN4rt(19t1
" tvNtAlaNt
o
c o v c f t o t h e c f i s p d e t a i lo f t h c f u t u | i s t i c a l t f o r ' f t ) p i g e o n h o l ea f t i s t s it h . r t r i ' a y t h e v k D o n
.s.,nr014cr-cft ?nnr. c x i c t h q . h o t h e ! c r n l r s ef o | w h r t k i n d s o 1
r s s i g D n e n t s .t s u r r h a t ' s n o t p o s s i b l eu ' i t h m e
b e c x u s e: r l m o s te y e r y p i ( i u r c I c f c r t c h . r s1 1
r - l i f f c l c n ts t l l e . '
f h o u g h h c : r _ r m e t : r l. r r t ! ! o r k h c s n ' t r e
c e i i . c dt b c n a i n s t r c a u r r - c c o g n i r i o ne x t e n c l e d
r o 6 n e r l t i s t s l i k e Y e sc o \ . c r i l l u s t r a r o r R o g c r '{ANi PtA/wml,qrtNEll?" oNE(19911
Arfl, D€40
Dcan,and Andy \\'ifhol, u,ho crcetedcovcr \tN,tt(tl33)
.rI.t for thc Vclvct UnLlelg|ouncl ancl the Rc,,,
i n g S t o n e s ,R i g - g s ' i l l u s h - a t i o ncso n t i n u c t o
f i n d f : r r o r w i t h N ' l r i d e n f a n s a D dc a r t o o n i s t s
a l i k c . N { a n yo f t h e n r r e g u l . u l y o b s e s so v e r h i s
. u . , r ' r l t . 1 . , , r rr,' lir, . ' r l r ,. ' g r i l i c r l c e n ' r c
c L l r f i n g g r u p h i r e l e r r r c n t s( r n r o n g t h e n r . l u r i d
U
s t r e e t l i g h t s .c l r t s i r c d \ r ' i D c l o \ . sa n d a s o l i t a l r ,
b l a c k c r t ) r n c l t h e d e s i g ua n d k r c a t i o n o f
R i g g s ' i n t f i c a t e i n s i g n i a .U n f o r t L l r l r t e l ! ,h i ! '
o r { 9tJ) ,NU/IBER
OFTilE
o t i g i n a l a l b u m a l t s c l d o m c o m e su p f o r s n l e l Rr,{,UV€tEAD BLA'I'
\tNqr(lt9iz)
 or auction. 'All ofthe originals are kept by
the band or the management somewhere
safe," he says, "ap t from the paintings that
were lost, stolen or given away by mistake."
After years offruitful collaboration, Riggs
and lron Maiden bitterly parted ways in the
errly Nineties. Expiains Riggs, "l stopped
workingwith Maiden because I got sict of
paintingEddie. Also, I got fed up with all
the griefand attitude I was getting from
the band or its management. After I cre,
ated some ofthe best co\.ers in the world
for th€m, they started behaving as ifI didn't
kno\r how to create paintings an]'more, and
interfering all the time in very uncreative
wav:. Thev \\ ere telling pcople rhat all rhe
i d e a si n rh . p i . r u r e . w e r e ( h e i r \ r n d I u j -
just the guy who painred it on papcr. like a
oFfllND(l9rr)
P|E(E "fllAN4rPlNAm,AN4E
rAND"
\tNqttl1t6)
slave with a brush which is insulting aDd
a very long way fiom the actualtruth. A lot
ofthc time the)' really didn't have any idea
a r a l l u h a r I w r s p u t t i n gi n r o r h c p a i n r i n g s
beyond the ver'yvague idea they presented
as a briel lt's like a songwriter writing only
the titlc ofthe song and then trying to take
credit for the rnelody and the harnonies and
the lyrics.
" I d o n o t h a v c a r ' € l a t i o n s h i pw i t h M a i d -
en. And I do not interd to create any nlore
paintings for them."
Putting animosity aside, Riggs was kiDd
enough to tellus thc dctails behind some
ofhis best-known and most elaborate Iron
Maiden covers. (See "Art Attack" on page 4o./
For more information on him and his art, vrsrt
derekriggs.com. :l
uvE1116.
Df,ArX
lBJt)

44 4VtfAkrE4ENr\
 locfet
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Zakk Wylde Signatu.e Les Paul Customs . Hard Maple SatinNeck performance is our passton
EMG HZ Pickups . SrgnatureGraphics . LifetimeWamanq a paft 0t the Grbsonfarnrlyof baands
 $UARl-AffIiAGKE
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4RTAT6TR€(oRD
BVEHRISTOPHER
SCAPELLITI

FF being wasted by society. That's

{ why I depicted the character
asayoungpersonwith a dried-
up, desiccatedbody.Like most
oftheir earlycovers,this was
paintedat the samesizeit was
reproduced:13inchessquare
for albumsand sevenand ahalf
inchessquarefor 45 RIM silrgles.
Somepeoplethjnk you haveto
usea very largecanvasto get lots
ofdetail into the paintingbut
youjust end up spendingall your
time coveringthespaceinsteadof
|RONl'lAlEEN
[1980] pajntingthe detail."
"This is the originalpainting
ofElectric Matthew,which I
createdaboutone and a half
yearsbeforethe bandeversaw
it.l madeitdu ng the punk rock
periodofthe late Seventiesas
ar expressionofthe punk idea
that the youth of the time was

SINGLE
lSANCTUARY''
lr980j
"When I starteddesigningthe
it
first pictLrreofEddie,I created
I f*" him to be in the environment
of the city,and I took things
t!t
t commonin the city to useas
It recurringelements.As time went
on I addedto them and changed
\*

,-

lnCr
tt
them.Someofthen are rock
and rolljn-jokes;for instance,
thc ax usedby Eddieis a pun on
the rock slangfor 'guitar' For
'RunningFree,'the first single,
Maidenwanteda sinisterfigure
lurknrgin the backgrould,but
they didn't wantto givethe face
away,Then camethe'Sanctuary'
singleu'ith the picture ofEddie
holding a knife and hangingover
IthenBritishPrimeMinisterl
MargaretThatcher'sbody after
she'sripped an Iron Maiden
posteroff the wail. The pictur€
causedquite r controversy."
fLaterBritish releasesof the
"Sanctuary"sleeve featureda
blackbar overThatcher'seycs.Her
image subsequentlyappearedon
the coverof theIron Maiden single
"Womenin Unifonn,"wlrcreshe's
waiting with the machinegutlto
ambushEddie.)
THENUI'IBER
OFTHEBEASTIIgB2J
"Maidcl's manager phoned me
up on a Friday night and asked
n1eto produce a finished cover of
the 'Number ofthe B€ast' single
by Monday morning. He didn't
specifl, any parlicular ideas, so I
suggested Eddie in hell with the
dcvil on st ngs, like a puppet. It
u,as an ictca I had secn in arr.
sfrdnge comic book il1 the late
Sixties, and the idea seemed
appropriate for this song. I did
not have ncai], enough timc to
paint Hell the way I $.anted to.
For the tiny writhing figures I had
to settle for rows ofsilhouettes
in blach,fadingthem into the
backgroundwith the airbrush,
then paintinganotherrow, and
so on. The figureofthe devil
startedout to be a portraitof
lsuredlisapdrnter]SalvadorDali,
but it didn'twork verywell and
I didn't havetim€ to put it right, from the top would look like.
so itjust looksa bit badlypainted
now.I spentsomuch time on the
background and the devil figure
that I didn'thaveenoughtime to
paintEddie.He is alwaysthe last
thingto go on, so he waskind of
slappedinto placereallyquick.I
took itto the manag€ron Monday happened!o be in Nassau,in the
moming-He liked it somuch he
lockedit ithis cupboardand said, recordingthealbum,and it was
'we'lluse it for the albumcover.
Do anotherone for the single.'I
tired to tell him I could improve glob ofwater atthe paintingat a
it ifhe wantedto useit for the
album,but he wouldn'tgive it
backto me.Soit had to staythe
$,ayit was.ohwell."
P0r{ERSLAVE [984]
"lMdiden bdsslsdsteve Harris
showed me a picnrre ofsome
Egyptian slavespulling a broken
stone head ofRamses ll [{lng ol
ancienr Egrprl alongthe ground
in fiontofthe ruined temple of
Abu Sinbal, Ramsesllt mortuary
temple. He asked me to do a
painting like that, only with Edie's
head instead ofRamses II's. So
I got allthe information I could
find about pyramids and temples
and then invented the rest. The
buildingnceded figures to show
the scale,so I devised a small
procession going up the stairs
''
_ _ _t\r<
_*f-::.-,
---
{. .t rs."1
with the sarcophagus ofEddie.
The back cover,which is from
insidethe templelookingouqwas
reallya consequence ofthe first
picture:I wantedto do a close-up
ofEddie'ssarcophaglsand I also
wanted to show what the view
"This paintingmeasuresabout
28 inchessquarc,and I had a
lot ofproblemswith it. I was
usinggouache, which is a water
basedpaint,and I was spraying
it throughan airbrush.This is was completingthe illustration,
normallynot a problem,but I theband asked me to ad some
Particular street llames here
Bahamas, where the bandwas and there. The picture took two
and a halfmonths to paint. It
very hunid. The humidity would measures l5 inches by 23 inches
causethe airbrushto spit a huge and is painted in acrylics. There
are some portraits ofthe band on
very high velocity, and with no the back cover, and each face was
{,arning.It would leavea huge, painted on a size smaller than a
strangelyshapedwhite splat postage stamp. I had to paint them
whereverit hit. I had to give up through a magnifo ing glass."
and go backhomc to Dngland
to linish the picture.when the
albumwasreleasedthe bandhad
somevery big billboardversions
of the coverput up in L.A. After a
weekthey had to takethem down
becausepeoplewere stopping
their carsto gawkat them and
causingtraffic jams on the
freelvay."
SOI'IETHERE.
tNTtltEttgBEj
"Maiden'smanagerphonedme
up ard said,'Wewart a scicnce
fiction city,somethinglike Bldde
Runner.'Thatwasthe total brief
for the painting.I took Eddie's
posefrom a toy soldier;in abox
oltoy soldiersor cowboys,there's
alwaysonethat'sstandingwitl:
hisgur pointedup in the air.I
alsodecidedto strip down his
bod),to makehim look like a
biomechanicalcyborg,and used
a stylizedmuscle-and-wiring
designtl, at I had developedyears
beforewhen I wastryingto be a
sciencefiction illustrator.l took
the city imageryfrom just about
everywhere.Around the time I
' .. _
' ''ni
;
EH;c c c c c Q c cccooo ciffi

WITH2OOO'S
BMV€NEW WORLDI
IRON
A R€UNIT€D ,IiAID€N
WEL(Oil6P
BRUCE
TIN4€R DICKINSON
ADRIAN
AND4UITARITT SMITH
tNTo
BA(K TH€fow.

REPRINTED
FRO]T
EUITARIIORLD,AUEUSI2EgC
ffc C c c c
lNEARLY 2000,ar onlinc musicstorcbegantak-
ing advanceordersfor e DewIron Maid€n
album,reportedlytitled Mdjes0,ofcdid.A tull
track listingwas adv€rtis€d,ls wasa CD single
Ibr rhe'ong Hea'en ' Clr'. ln felliry.nei-
ther the albumnor the singleexisted.But that
didn't stopeagerfansfrom shellingout $3795
for the fakerecording.Iron Maiden'scamp
wasquick to issuea response,alertingtheir
irn. rharthe discs rs a lraudrnd r'rrerrenirg
legalactionagainstthe internetcompanl
Itwas clearthat,evenanid the current
hea\rymetalresurgerce,the demandfor a new
Iron Maidenalbu wasstrong.Maiden's1999
Ed Huntel tour,foru'hich estrangedsinger
tsmccDickiDsonand fornter$r itaristAdrian
Snith rejoinedthe band,n'asagleat success.
3 3
And as demand for Mdjesry o/cdid indicatcd,
the fans were stillhungry for more-so hungry
tbat they could be coaxed into purchasing a
completely bogus CD.
Fortunately for them,Iron Maiden's Brdye
New Wor"ldwas evcntlially released. The
record combined the band's past and prcsent,
most notably through the triple-guitar attack
of Smith, longtime guitarist Dave Murray, and
Smith's original replacement, Janick cers. The
material managed to sound currentwithout
boi{ingto trends orjumpingon any bandwng-
ons. Atthe same time, the songs remained
faithfulto the classic Iron Maiden sound.
"Peopleneed to realize that we're not about
reirNentingthe wheel or pulling rabbits out of
hats,"said Dickinson in 2000. 'Oursituation ls
c
similar to that ofthe Rolling Stoncs.Nobody
wants th€m to start sounding like Trent
Reznor they just want them to sound like the
Stones.Sometimes thcy do great records, and
sometimes theydo averagerecords, butthey're
always Rolling Stonesrecords. It's lhe same with
Iron Maiden. And I'll tcllyou,when we do an
album the right way, nobody cal touch us."
The following inrer! iew u a., onJucred i
the sp ng of20O0 while Bruce Dickinsor and
Adrian Snith wcrc ir N€w York to promote
B r u v eN e w w o r l d .
M*f?t
c U t r A Rw o R l D M a i d e n c u r r e n t l y c o n s i s t s
o t . i \ b a n L ln r rm h e f . . I h r e e o f w h n m a r e g L i
iatists. Was it difficult to make B,-ayeNe*
World with such a large bend lincup? Did it
4ytfi( L&€lle\
Effi' C €

hlrve eny alTect ol1 thc songwriting?

TRUCE Drc|(rrso Honestl)', it lnadc absolutely no
differ€nce whatsoever. Take any combinatiol1 of
two or thrcc $rys in the band, rnd they could
write the whole album on their own. we've €ior so
many writers in the band, it's irevitablc that no
onc person is goingto dominate, except maybc
Steve lHdrrls, bdss],who manages to get his elbow
in on er.ery single track. [Iaug/rs]
cw Adrian, is this the first tinc that tou and
Janick have played rogether?
aDRlAilSM|IH Wc play€d together on the tour
last,vear,but this is thc first timc we've performed
rogerner on recoro,
D!c(x5oi| I think that all the guys blend quite
well. Adrian actually has the most distinct sound
ot$e three ofthem;Dave allcl Janick are more
similar It go! interestilg whencvcr they had to
comc up *,ith a specific arrangement, whethcr rt
was a harmoly part or wharever Then the three of
them would go into a little huddle in the corner
and fir it up themselves.
cw Did you have to rlter the recording process
in rny way?
t rrH Well, we had to find a studio that was big
e n o u g h t o a c c o m m o d a t ea l l o f u s !
Dtct(t so Actually, we recorded this whoic
album live in the studio, and this was the first time
we've ever done that. Thc six ofus set up in differ-
ent rooms in the studio, and offwc went. We
would do four five takes ofeach song, and thcn
nove on- Wc rchcarsed th€ songs as if we were
goingto do a live shoq aDd we came into the stu-
dio as if we were going to a gig.
siirH \Ve fig!red that by phyingtogcther as a
a
band u,c could capture some ofthe energy that's
present dudng a gig. As r result, the recording ses
sions moved alongpretty quickly. A lot ofthe
vocals and some ofrhe final solos werc from the
original takcs. lD the pastwe would record live to
get lhe foundatio[ ofa track and then redo the
guitars, patch up the bass and overdub th€ vocals.
But now you can fix problems jn Pro'llrols. I'm
usually r lot nlore meticulous in the studio, and I
tend to find the wholc process quite laborious, but
this time I actuall), erjoyed it.
cw Bruce, your most recent solo album, ?hc
Chelnical wedding,which Adrian played on as
well, has a nuch different sound than the Maiden
nlatcrial. Did you have !o changc your mindset
whcr it canr€ time to write Br e New World?
or<[r so No,bccause itall happens naturally,
due to the people you'rc writing with and the envi
ronmentvou're writingi[ lror Maiden songs tend
to go ioward certain intervals, ceftain chord chang-
es.We have our stylc set in stone. So a lotoftLe
process really cones dowr to ex€rcisingjudgment.
cw Stylistically, ,rdre Neu tvorldcould sit
alongside Mxil€n material from the Eightics. Yet,
it sounds fresh.
D I C K IS O NI n m y o p i n i o r r .m o . t o f t o d r y r n u r i c i s
fake. I likc sorne stuf{ like Rage Agaitut the
Machine those guys rcck. But so much oftoday's
musjc isjust astudiocreation. You can tellit! dcad.
rit|lH What we did was takc thebestparts from
allofour albums the pro$essive elements, the
Celtic vibe, thc hard rock and metalriffs and distill
thcm into one sound. Alld it's avery identifiable
sound- I mcan,Ircn Maiden hasl'tchanged that
much over thc yea$, and that's partlythc r€ason
why we have such a stl.ong following.I think the
fans are goirlgto love this rccord, becauseto nre it's
got all the best bits ofwhat this band is about.:,1

50 4urlRE4€l{Dl
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BYRIC1.IAR8
EIENSTOIK
'1N
lRON t'lAlDEl{ we always trv to do the reunitcd u'ith glorv years singer Bruce Lda dn.lrcdtlr saw thern p)ay the entire
!rnexpected," says guitarist Dave Murra).- I r i c k . n . o rrtr r , ) l r r i t r I i . rA J r i - n S n r r h . r r i , r . 72-minute disc, front to back. The current
Though there arc ccrtain unquestionablc fixerl vented themsch.cs as a th ree-€iuitaf j u gger sornewhere Back in Time outilg, meanwhile,
e j e . 1 r e r rr -. l h i 1 r l r ( \ l r i J , . r u . r i 'e r . e . p , , n:rut (MLrfrai, Smith and.lanick GeIs) antl i . r , . n , n e e y t e n r. t r r l ' r ' ! r r i u n , , t t h e b a n d r
lcngth tunes? Cir.,cl. Cluitar harmonies? Cfiec/.. | e l c a s c da r l i o o f e l b u i r s ( 2 0 O 0 ' s B r d r ? N l r ' legeDdary 1984 85 \\rorld Slaver_yto r, ar
Iter.rh rn*.r rddip looiinj-,,\u rlt pa,- I,Iro,-/d.2003'sDdncc ofDcdrh and 2006'sA event immortalized or the live album and
ceedings? Chc.L.) it's hard ro arliuc with Mattcr of Life dnd Deatfi) that ;n sound an.l conlpanion video, rire After Deatll. That t985
Murm\'. Teke the band's fuajoctory overjust s c o p cs t a n d u p t o t h e i r c l a s s i cE i g h t i e sw o r k . conccrt documcnt hasjust been issued as a
thc pxst dccnde, rt a time in thcil carccl rvhen Ard thcn th€fe hnve been the rcccnt tours, double DVD set loxded wirh extras, and ill
mos! veteran acts lro either runningol1 fumes $'hich havc valied fiorn those heavy on leu. celebration lron Xlaidcn have been perform,
or hrve packed it il1 cntirel],. After hitting,r m i l i e f i a l t o o n e s l o a d c d w i t h c l a s s i c sT. h e inga set list co nsisting entirely ofmaterial
rough patch in dre nid Ninotios, Maiden banll's 2006 jaLLntin suppo|t of.t ,uatrer o,r fron their Eighties-era albums, o1,Ia stage

/'^
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 {, b. c- (r- c e p 7
rcminiscent of World Slavery's Egyptian- u'eren'tevenborn when we did the World
themed production. All that aside, however, SlaverytourSowhile it's greatfor us togo
the Somewhere Back in Tirne shows are not backagainand relivethat pe od, and it's great
quite 100 percent historically accurate: "W€ for the longtimefansaswell, there'sa whole
left rll the spandex at home this time," says generationor two that'sseeingthisset,and
Murray with a laugh. this production,for the first time.
cuifdrregends caught up with Dave aDRlaXSlllTHln somei{'aysthe songschose
Murray and Adriar Smith during a break themselves, really.'Ac€sHigh" lfromJ984's
between the first ald second legs ofthe Powemlave]is an obviousopener,andwe have
Somewhere Back jn Time tour, to talk about to play "HallowedBe Thy Name"Lfrom1982's
the past, present and future oflron Maiden. The Nurnberofthe Beastl."Fearofthe Dark"
The g!itarists also discussed their favorite lfom.1992'sFearofthe Darkl which ofcourse
songs and solos in the current set, the inner wasn'tplayedon the World Slaverytour,has
u o l k i r g s o f r l _ o . el e g e n d a r yg ! i r a f h a n n o n i r s , becomesucha cornerstoneofour live set over
and what it's like to travelfron show to show the yealsthat it had to be in thereaswell. And
in the band's personalized airplane, piloted by "Iron Maiden" porn 1980'sself-titleddebutl-l
none other than lead singer Bruce Dickinson. thinkwe triedro do a feu shous wirhout:r
and it just didn't work.
GUTTAiLEGEtts For the Somewhere Back ln .r The LiyeAfter Dedthalbumandvideo
Time tour you chose to put together a set list that hascometo be regardedasthe definitivedoc-
closelymiTors thar ofthe world slareq .howl ument ofthe Iron Maidenlive experience.
DAv! MURRAYThere's two reasons for that, what do you think madeit sospecial?
really. One is that those songs represent the lluR[AYI think itcapturedthebandata
band at its strongest. And the other is that we nrornenr u h.rewe werehiningourpeak.yo-
w r ' r t e d r o x c l , n o s l e J g c L h ( r e l e d s eo f r h e L t ' c know?We were toudng pretty extensivelyat
AtrerD?dtft DVD. A fewyears back we did a that point-aboutl0 monthsoutofthe year and
similar thingto promore thetdrlJrdys DVD were playing ali over the world, and the sho1,r,s
120O5'sEddie Rips Up the World tourl, where wereselliruout everywhere. The setlist was
we played only songs from our first four reallystrong,andthe productionwasbig anc
albums. So this is like the next phase the grandandcompletelyoverthe'top.lngeneml
middlf ).rr". if lnu li\e. We re rl.o pur(ing we werereallypushingou$elves to the limit as
out a new conpiletion CD lsomewhere Back aband,Therewasa r€alcohesion amongusas
in Tin1e-The Best Of:1980 19891that covers sonS:writers, pla)'ersand performers.
this period. I think there are a lot offans that SlttTHIt wasprobablythe timingas much
56 dun^ir€4€t{}t
l&e e e c e o.eeo
0 e 3 o
asan)'thingeise.We'd sort ofestablishedour-
selves,especiallyinthe U.S.We'd donea lot of
work in Ame.ica leadingupto that point, and
that tour waskind ofthe culmination.And in
rheyer15.inceir hasalsobecomea nosralgia
thing.A lot ofpeople rememberthat period,
for u hatcverreason. asr specieltime in rheir
lives.They associatea Maidenshow with
goodtimes andbeingyoungandcarefree.BLrt
the amazingthingiswe're gettinga lot of
youngkidsnow.Sothatblows that theory out
ofthe windoq I supposel
Gr\ hat wa. ir like to re\.isittharperfof-
manceso manyyearslater?
muRnAY Itl!as reallyamazing,andkind ofa
releamingexperience. Sittingdownasaband
andlisteningtothe songsagainafter20-odd
yenrs,you realizehow muchdetailwent into
eachone the t€chnicality,the way it was
played,the variousparts,evel\thing. when I
beganstudyingupon the materialfor thistour I
actuallylistenedto the liveversionsofthesongs
rather than the studio takes.There wassuch
passionandpowerin thoseperformances,
ct And alsoalcohol.In the lirer notesfor
the LiyeAfter Deatha,lbumthe band famously
claimedto haveconsumed50,000cansofbeer
on that tour.I'nl guessingyourcombinedcon-
sumptionhasgonedown over the vcars?
IURRAYYes,significantly.flaug,rrs]Wayback
thenyou'dhaveth€ adrenalinegoingaflerthe
showsandyou'djustdo your thing.Thosewere
the dayswhenlve'dsouldcheckaswell,sou,ecl
go downto the \enue in the alternoon,playabit
I c o o
 c e e I e e I e ? o 3 I

and then hang out for a few hours and have and sweet.Janickalsoplayssone beautitul MURRAYThat'scorrect! Thoughthiswas
some drinks.I rememberwe could pile up the stuff in "Fearofthe Dark."There arebits in manyrmainyyearsago-It wasa woolworth s
cans prctty welll Nou, we just turn up, play the ercrlrhingrhat.tandout.really.ln rhi. prrric- Top 20,I b€lieve.Iwaslookingto get this oth
show and we're offto the l1extplace.So yeah, it's ular setthere'sa lot ofguitar stuff for eachof er glitar, sort of an SGthing, so I went and
certainly dropped offa bit. us.There'splentygoingoDtherc. soldAdrianthe oneI had.I can'tremembe,
G LI i m r g n e r h r r $ h e n y o u r s i n g e fi s f i \ i n S 9[rrH lt's beengreat fun to play what I charyedhim, but it couldn't havebeen
the plane after the show he has to decrease his "Mariner" again,"Powerslave,"aswell. Ifs that much,becausewe didn't hdrevery n'ruch.
intake somewhat. interestingbecausea lot ofthis stuff is more sflTH A real classicthat $'aslTo my regretI
ItuRtaY I would agree. You have to be pro- than 20 yearsold, and you want to keep the soidthat guitar,becauseI wantedto buy a
f e s s i o n a l a b o u tw h a t y o u ' r e d o i n g u p t h e r e basicthemeofthe solobut alsomaybeplay properone-a Les Paul.I think I got aboutfive
cr Any scaty moments with Pilot somelhingsa little bit diiferenc.Which is poundsfor the wooiworth's,which I believe
Dickirson? actually quite hard to do, becausethose waswhat I paid DaveylBut I neededthe mon-
URRAYIt's been absolutely fantastic.I ha\€ solosare so ingrainedin your brain that you ey.Plus,I had sprayedit this horrible sjlver
to say that there have been no scary moments. just play them automatically.But all the color But I remembera dad comingaround
In fact, it's probablybeer the most comfort songshavesubtle differences.You wrnt to andbuyingit for his little boy,and he wasvery
able wey to travelon tour Particularly on the sort ofget acrossthat you've movedon a lit happywith it.
Sou!h American leg, where we were able to tle bit as a musician,but without straying cl What would you sayarethe stengths ofcach
cover so much ground because ofthe plane. too far from the framework. ofthe tlree ofyou asguitarists?
And it was all done professionally, as thougl, ct Dave,legendhasit that manyyearsago, t{umAYwe all have particularb,different
we were flying a commercial airline, with priorto Iron Maiden.youacruallyrold Adrian styles,and yet they really work well togeth-
stewardessesand everything. his first guitar. er. I think thafs our greateststrength,actu-
!M|THW€'ve played places like Australia,
where we haven't beer for agesbecause,to be
honest, it's expensive to get allthe equipment
over there. But doing it the way we have been,
with the crew, equipment andband allin one
place, makes iteasier to get outtothose areas.
so it'sbeen agood experience. And Bruce is a
complete professional-they've all been good
landings!
cr Do you have a personal favorite out of
the songs in the current set list?
mulRAY "Rime ofthe Ancient Mariner"
fPol{rersldvcl.That's one to really sink your
teeth into. For me, it kind ofsums up what
Maiden is all about. lt's a real heavl track, but
there are a lot oftempo changes, and also a
quiet,moody part in the middle.It's got abit
ofevery4hing-as it should, seeingas it clocks
i r rr r r b o u r l 5 I n : I u r c \ l A n d a . r g ! i r a r i s ti t
really keeps me on my toes, because there's a
lot oftechnica] stuffgoingon. So it's a real
rcwarding one to play. TheD there's also stuff like
"Hallowed Be Thy Name," which I think we've
been doingon pletty much everytour since
we recorded it, and is a great song as well.
sMlrH "Moonchild" lforn ]988t Sev€nth
son of r s, v. rrh sunl $J. a plea\crr .urprise
for me. I didn't remen1ber it soundingso good.
When we did it the first time at rehearsal
before the tolrr started u,e all looked at each
n r h e ra n d w ( I r . ' \ o u I T h a r ' a g o o du n ( :
ct That song and "Powerslave" are nice
additions to the set. You haven't played those
o n s t a g ei n a l o n g t i m e .
9ir|rH Well, you couldD't d.oa.Li ,,eAjler
Dedrn type tour without "Powerslave."It's
such an over-the-top, dramatic, bombastic song,
md fits in perfectl-vwith the Egptian theme of
the set. Plus, it'sjustgreat funto piay.
u l n a Y I r ' 5 g l e 1 t r o b r i n g t h o s es o n g . b a c k .
Actually, they feel as fresh as they did way
back when, and perhaps even morc so,
because nowwe have Jarick playingor them
as well. His contributions add some nice tex-
ture. And not only on those two, but on all the
song..\\e re ahleto do somc thrcc-prrt gritrI
h a I r n o n i r . t h a Lw e r e n t o n t h e o r i g i n a l s .I t
opens things up a bit.
cl Any guitar moments in this set that stick

UnRAYThe solo in "Moonchild" is quite

nice.It's a straight ahead,'go for it" thing, .--\
where Janick and I switch ofl lt's real shorr

!€4€rl 57
4VtTAl

c o o c c O o o c 0 c offiE
o
o t{' to figurethemout that way.Sometimeswe like
(l
o to gct thercin the end.
o takesus through the end ofsummer,and then
o cl Has anlthingbeen written yet?
(t
o orthe computerorwhat haveyou.But sub-
t, ally. At some points itjust sounds like one
big gr il rr. and other rimes ir's more sepa-
rate and you can hear all the nuances. I
think with both Adrian and Janick, there,s
a lot ofmelodicism, ard a lot ofattack as
w e l l . w h i c h i s b a s i c a l l yt h e I r o n M a i d e n
g!itar sound in a nutshell.
lrtlTH I suppose Janick and Davey are
similar in thattheyhave that sort ofRitchie
Blackrrore influence, with lots ofpull offs
and hammer-ons. I tend to do more indivio
u a i p i c k i n g ,a r o c k r n d r o l l t y p e t h i n g m o r e
so than the metal thing.
cr Dave, in the band's earliest days you
went through a succession ofguitarists.
Once Adrian came on board, at the end of
1980, Maiden became known as perhaps the
quintessential two guitar band. Overthe
past decade you've been reborn as athree-
(l guitarband. Did you ever imagine it evolving
this wry?
IURRAYEarly on we did go through a lot of
guys-it's hard to even remember all ofthem!
c we actually had a full-time keyboardist for a
minute, as well. fiaughs] But I thinl ultimately
we always knew we were going to be a two-
guitar: band, because our infllrences back then
0 were Thin Lizzy, wishbone Ash, that kind of
thing We loved that dual-guitar approach. So we
were always going to move in that direction, and
w h e n A d f i a n c a m ei n w e j u s r p u r s u e di t . A n L
o now with the three ofus it's gleat.It doesn'tjust
male things heavier and louder-it's also more
melodic, and allows us to go in all these different
o directions. we blend together and complement
one another really well.
cl, How do you work out the three-parthar-
5[trH We]l it's interesting, particularly with
l the old stuff, where there were originally only
two guitars. When I rejoined the band in the late
Nineties I went about creating some e{tra lines
for the old songs, just to play along onstage,
3 because Janick had a lot of my original parts cov-
ered. So I tried to add somethinga liftle different
58 4UrAR
r€4€llDt
It
rather than do the sameold thing, like maybe
addingan octaveor something.
cr How did you go aboutconstructingthe
harmonieson all thoseclassicsongs,like"The
Trooper"or'Aces High"?
5m|IHFunnyenolrgh,SteveF{drrts,bdssist
and banafouru)er), rites a lot ofour harmo-
nies.He wrote thosetwq I believe.Quiteoften
he ll comeup u irlrsornerhingand kindof.ing
it to us.Oneofus will pick out the main melo-
dy aDdwe'll build it up fr-omth€re.It canbc
quite time consuming,and a rather involved
processworkingthem out. But it's worth it
cr Do you tend to harmonizejn certain
intervals,say,thirds or fourths?
lm|THI couldl't tell you,actually.I nevc'rstud-
iedmusic,andthe otherguls areall prettymuch
the sarneway.Most rockmtsiciarx playby ear-if
it soundsgood,we do it I believethat mostofour
harmoniesarethirds,but we neversit dolln and
cogo torsome$ingslightlyslewed.nor$e obvi-
ousharmoniesandother timessomeonewill do.
somethingby mistale andsat "Ah-that's interest
ing,let'sleaveit in." It maynot alwaysbe 100per-
centcorrect,but it soundsgood.I will saythat we d
probablysar,ealot oftime ifwe actuallyknew
what we were doingl [dl€fu] But we alwaysseem
ctAre there plansfor a new lron Maiden
studioalbum?
IrlURRAY Absolutely.This tour basically
we'll takea bit of time offafter that. But
there'san albumin the future.We'll probably
start gettingtogetherearly nextyear.
URTaY I think everybodyprobablyhasa
few ideastuckedaway.I imagineStevehasan
abundanceof stufi and Bruce andAdrian as
well. Normallya coupleofmonths before
we'regoingto gettogethereverybodystarts
gearingupfor it, puttingthings down on tape
consciouslyit's floatingaround.
cr Do you think that the experienceofplay-
ing all theseclassicson the curlent tour might
influencethe directionofthe new malerial?
sM|rH?ossibly.This tour will be very fresh
in our minds,so ir couldhavean influencein
that respect.It's hard to say,really.You never
can se€the biggerpicture until the songsare
down and you get n feel for the overallshape
of the album.
cr In rheveinof rhisIour rnd rheEddi.
RipsUp the World tour, is it possiblerhat
future Iron Maiden setlists will coversubse-
quentstagesofthe band'scareer?
I|IURRAY I think tl'Iatideahasbeenthrown
about.I'm surethat at sone pointwe'll look at
someofthe later songsand throw togethera
setthat encompasses anoiherspanofyears
"Part III," orwhateveryou want to callit. It's
all do-able.we've done14studio albums,so
thrra\ nlpnnr nf mrrprirl
clWhy do you think it is that, almost 30
years after the release ofyour debut albunr,
lron Maiden continues to be such a huge d
raw all over the world?
titlT| I suppose it's because we've always
retained our credibilit).. We've never gone for
the quick buck, or tried to write a bighit or
something. And we've never strayed too far
from our falrs. We're down to eafih guys, we
all grew up workingclass. No one's been to
rehab or done anythingsilly like that. The fans
know it's real.
MUTIAYThe touring, actually, is a bigpart
ofit. we laid that initial groundwork. We ncv-
er got much Iadio play or anlthing like that,
particularly ir the early days, so wejust gigged
and made our nane that way. And we've also
cor:i\lenrl! recordcd ew mrrerial. We \r
neverbeen a commercial bard, or a singles
band. We're all album band, and we give you a
whole package-the music, the artwork,
Eddic. There's a real commitment to putting
out a quality product. But ultimately it's the
music, and the fact that we do it from the
hear-t.PIus, our fans are incredible. They've =
really latch€d on and taken the band in. And
lhey're still showingup, which is fantastic!
laughs] It's a beautitul thing *
 ..RUN
TOTHEHILLS''
4s heardonTHE NIIMBER OF TIIE BEAST (cApIroL)
Wordsand Music by Steven Harris * Trdnicribed by Peter Seckel and Jimmy Brown

D5 D5 F
|Tnll'ft FFFH 5fr FFFFF IFFN
F$+u
tffi
ffi." Ttm
lre Fld+ FFI+fl FF#
Fir i1:]
FFFFF
':-
.;. ; D5 A5 B5/A D5/A
ftTFl't
fFFFtr
FFFFI'I tsm ?fr .T.fr7fr
ffi ffi +FFF'fi
EtftE ffhil] I.]ffi

I lot"o 1o,oo1 (0:08)

Moderately J = 120 A5
Rhr.Fis.I
1 Gu. I (w/disr.) 3 ll

Gtrs.2and3(Vdist.) Rhy.Fis. 1a

end RhJ. Fis. I

E lst and2ndVers€s(016,
o:32)
White man came acrcss lhe sea ne broughlus pain and
loughl him hard we tought him well 0!t on the pams we
A5 D5 A5 D5
Gtrs. l-3 rcpeat Rh!- Figs- I and la twice

mis€ry ne killed ldbeE he killed creed he

gave mm Bul many came too mucn Cree 0h
D5 A5
12
7

E2 4Vrn.IlfAENI'
 ..RUN
TOTHEHILLS''
11. t2.
took our game lor his ne€o
vrill evet be set trce
G5 A5
't5 Gtts. t -3 rubstitute *RilIs A and B ( see belo||
_. )

'U!e in place of lasr bal of Rlry. Fiss. I and I a

@ 1o,rs1 E3rd rnd 4th verses (o:52,1:32)

3. Fiding lhru dustclouds
and Daren wa$es
Farter J = 180 4. Soldief bluein the Da[tn wa$es
D5 D5

18 PM

galloping hardon the plains Chasing the redskins back lo their holes
hunling and killing's a game Baping the women wasllng the nen The
C5 G/B C5 G/B D5
22 - -----. P.M,

fighting them al their ovn Murder for lreedom lhe

only good Indlans Selllng them whiskey and
26 c5 G/8 C5 G/B A5

slab in the bac* Wonon and chitdEn the cowards atlack

taking their gold Enslaving the youngand destroying ihe old
29 c5 P.V---_____ ,

Rif A lo 47)
G5

4rfrlR IE4€NDiE3
..RUN
TOTHEHILLS''
E]kt and 2nd Choruses(1:10,1:50)
nun
Gtr. 3 substitutesFill I ftst tiae

hills
35 F5 Gtr- 3 substitutes Rhy.Fill I

rrlttl ttltl

ves

| ! L__!J t__J: L_u l_E L_! t_u IJ L.] L] I L-J

44 Gt. 3 substnuks Rhr. Fin I

1-1_1_1-t-1_1_
I r-..r I t-..1
Fill.l (1r09) Rh!. FilL I 11:14,1:26,1:5s,2:06,
3:00,311,3:22,3:33)
cr.3 F Fsus2 F Fsus2

6a 4vrntl€4€t{rl
 ..RUN
TOTHEHILLS''
l. I
lives

F{5 G5

Gt$. 2 ah.l3 rcpedt Rh!. Fi8. 2 three tines

12 14 12 12 15_12_ -15-12-12 1 5 ( 1 5 )- 1 5 1 7 - 1 5 - t- 5 - t 7 - 1 5 - t 7 -
-12_14_12 t2 14 t|| | '{F - -io_-1--1--
- l l -

4unll E4€il,t Es
.,RUN
TOTHEHILLS''

14-12-14-12-14-12-14

@rntrlude qz,ry
A5
Rh!. Fi8. 3 (Double.l)

.Onit thts note on all rcpear

7-7-7-77+7777

CtL 2 rcpeats Rbr. Fi8. 3 twice

7-7-7 7 7+X 7

12 12 12 12 12 12 14-12-12-12-12-12-14-12-12-

66 4yfIA* !€d€ilrl
 ..RUN
TOTHEHILLS''
E3"a cm*" (a,ss)
c5/A

Bass B6s plays Bas FiE. I (see bar 33)

f4 14 14 14 14 14 16 14 1414 14 14 161414
1 4 1 4 - 1 41 4 1 4 0 -

Gtr. 3 substitutes R,'. Fill )

Run lhe hills

Gtr. 3 substitutes Rhy. FiU l

86

Free tim€
t-''
run lor y0ur life
G/B G5
94 rt.

4yrnt !€4€iDl 67
 ..THE
TRTIOPER''
As heardon PIECE OF MIND (cAPIroL)
Wordsanil Music b! Steven Ha$is * Irdnscribed by JefrJacobson and JeffPerrin

D5 G5 E5 c5 E5 85 A5 G5
o xxxx
Hii,o i#l'" Hil'o
TTTT-N
IFFFF FiiN
ffi'"
ffi ffi TfT- lrH+l
TTTT- TTTT- TTFTN TT'TTI TTFTF] .TTT]
14 14 I 14

[Al rnfto (o:oo)

Mod€rat€ly Fast J=160
*E5 D5 c5 D5 D5
Gtrs. I and 2 (elec.Vdist.)
1

*Charrl s! n boh ref ect oven hatnonr

RiIJA
3-

D5 c5 D5 G5 D5 E5
Gtr. t plays Rif A twice (see bar 3)
Ctr. 2
5.-

Bassplays Bass Fig. I hrice (see bat 3)

trz.z,ss)
@ {o,tz,
D5G5D5E5 D5G5D5C5
Ctf. I
f'tt.rtr^tr.n

*Substittte tap note on rcpeals.

RifBl
trrt.rli

'Sthstntte nate on rcpeats.

-- Bass Fig. 2

68 4vrlR !€4€ilDt
 ..THE
TROOPER
lr.
D5 G5 D5 E5 D5 G5 D5 E5
Ctrs. t auJ 2 phty RilIs B and Bl

Substitute BassFiU 2 third through sLrth tines (see net puge) end BassFig. 2

'Nole r, tineunly.
ted l

r:1
LLI Verses (0:36,1:363:22)
r. You'lllake my lile bul l'll lake yours t00
2.The horse ie sweals
witfileat we bleakto run
3.We get so close neat enoogh lo fight
12.
D5 G5 D5 E5 D5 G5 D5 E5
Substitute Rhy. Fig. 1 on 2ndarul3d Yerses(see bar 24)
Glrs. I and 2

Gtr.2
Bass Substitute BassFis. 2 on 2nd and 3rd Verces(see bar 7)

You'lllire yourmuslet bul I'll run You lhr0ugi So whenyou'rewaltirg l0r the
Ths mighty roar ol lhe Bussial guns And as we racet0wards the
whena Russlan oets me in iis si0hls He pullsthc kigoer and I
D5 G5 D5 C5

ne atlack you'dbetter stand lhere's

no lurning back
human uall lhe screams ol lain as mYcomrades lall
leel the blow a burslol rounds lakes my iors€helow
D5 G5 D5 E5 D5 G5 05 E5
Substitute Rb| Fi l on 2nd and 3rd Veftes 6ee har 25)

Tie bugle sounds lhe charge begins [ul on this batllelield

We hurdle bodies that lay on tte ground and lne Russians lire anothel
And as I lay lhere gazing at lhe slry my body's num0 anI my
Grrs.I and2 05 G5 D5 E5
Rh]'' Fig l

BdssptoJs RassFis. 2 (see bat 7)

4urnRlt4€Irl 69
..THE
TROOPER''
n0 one wtns Thesnell ol acrid smoleand horses'
t0unI We get so near yei 80 lar away
lhroatis dry And as I lay lorgotten and alone

asl into Derlain death

We won'l live
wilhout a
lighl anothsr
oraw my Pading
!ay
s.-l

B6s substitutes B6s Fi l (see belo\|)

Gtr. 2 hold: E5 chord

32 Ctr. 2 holds D5 chord

0h
D5
Gtr. 2 hol^ D5 chokl

2n.1tine, skip ahedd toEl tst tine, go back toE'

3rd tine, skip ahead to E
D5 G5 D5 E5

BassFil/ 1 (0:59,1:58
3:44) BarrFrl1.? (1r20,
1:31,
3106,
318)
(E5) D5 (c5) (05) D5G5D5E5

70 6VtlAA
l€aeD\
 ..THE
TROOPER
@ tz,rot E lst Guitsrsolo (2111)

Ctr. 3 (elec.w/dist.)
40

Ctr. I
Rhy.Fis. 2
Gb. 2 hol.ls E5 chotd j Gt. 2 hotds Ds chotd
P . V_ _ _ _ _ _ _ _ _ _

Gtr. 2 holds 85 chord

end Bass Fis. 3

E5
Gtrs. I and 2 pldl Rhy. FiE. 2 tvo and one halftines (see bdr 4t)
Ctr- 3

Bas, plavr Br:, f tE J rrn aad one ha| ttn?' t\c, bdr 4lr

4uffAtt&tIrt 7l
..THE
TROOPER''
E5 D5

J
t
Gtt. 2 holds D5 chord Gtr. 2 holds 85 chord

@ 2nd cuitrr Solo (2:35)

G!r.4

Rhy. Fig. 3
Gtr. 2 holdsA5 chord Gt. 2 hoas Gs chotd -,,

72 4vtf,it r&E{jt
 ..THE
TROOPER

Grr I end Rlry. Fig. 3

P,M.

end BassFis. 4

Gtrs. 1 and 2 play Rhy. Fis. 3 ttro and one halftines 6ee bar 57)
Glr.4 b.''.''."'.''*

B.tss plcJs Bass Fis. 4 ^a,oand ane har nes (see bat 57)

E5

'oj ',

4vtr^|'!€4€t{}t73
..THE
TROOPER''
@ i:sor
so btk toB
D5 G5 D5 E5 C5 (D5)(G5)(D5)(E5)

*05 c5 D5 G5 D5 E5 D5
Gtt. t plays RiffA one and one haTtines (see bar 3)
Gtr,2

'Chonl sltnbots rclect ova-a harnonr.

D5 G5 D5 E5
GtJ.2- - - - - - - - - - - - -l

71 Avfftt|.LEaaNrt
 "THEPHANT0]'|
0FTHE0PERA" As heardon IRON MAIDEN (cAprToL)
words dnd Music by Steve[ Hanis tr(Trdnscrired by JefrPerrin

Hd* ffio li#

FEF -TIT] fui trg }ii i.--:l-ts L-;i.F
ffi#ffiffiffiffiffiffi
14 14 t,t 14 t4 t44 144 r44
EmFGCA5C585
ftffi*
-Tll. fu{'r
-?lT fu{'*
-Tfl ffi'"
r!fF, fiffi'"
F rn]
fiffi,.t
@E
fiffi*
-tf',
|:]::m|]]I|:]:mrIImttumtldh
13421 t444 1444 t42tt 14 t4 t4

E Intro (0:00)
ModeratelyFastr=174
N.C.
Gtrs. I and 2 (elec.Vdist.)
lr,2.,l.
1

Ero.u)
(Em)

(Em) G5 D5 {Em) G5

(repeat prdio"s tuo bals)

J
* Pu -ofs peiorned b, Gb. I ohl,

C O P I R I C ! T O ! 9 ' O B Y I R O NN I
 "THEPHANT0]'|
0F THE0PERA"
ors)
@ {o,lr,
N.c.(F$m) (Gm) E5 85 C5 D5

J JJ
LJJ

LJ-J LJ

(Em) D5 (Em) lr. D5

-7-7-7 1p7 7 7 7 7197 7 7 7 710-7-7-5-5 E 7 7 71p7 7 7 7 7197-7- 7-7-7 10 7 z+! 5 U

JJI-JJ33J

7 7-7-10-7-7-7-7-7 19 7 7 I r. I tu1 ( e 7 7 7 7 10-7-7

1 .J ) J J J LJJ

D versd (0:57, 1:30,

6:36)
1. I'vo boen lookingsolonglor you now you won'l get away lrom my gnsp
{2.)standingin thc wingsthoroyou wail lor lhe c[ aln lo lall
3. I'n running ard hiding In my dreamsyoute al$rays lhere
N.C. (Em)

JJJJLJJLJJ33JJ

end Rdss Fig. I Bass Fig. 2

' , ,
J J JJ

You'vsb6on
And
Youtc tho

living so long in hiding and hldlng behind thal talso mask

knowinq the terror and holding you haveon us all
Phantom ol lhe opera you'relhedevll y0u!e lust out lo scare
N.C. {Em)

3333
Bass pla)s Bass Fts. 2 Fee bdr 22) B6s plays Bass Fis. 3 secon.l,fuufth an.l si,th tines (see bat 26)

avtf{t L€4€Nrl77
"THEPHANTO]'|
0FTHEOPERA,'
E Cboru!(1r4,1:47
6:52)
I And you know that I know thal you ain't gol thal long to
j And I know thal yo!'ro goinglo sclal[h me and maim me an[
damagod my mind ard my soul il ilst floals throughthe
D5 E5 85 c5 D5

Bassplays BassFis. I (see har t5)

3t.1tihe, skip ahead to@Ouno

lasl Your
maul 'causc
a|l You
(Em) (En)

looksand your leellngs are iusl lhe remains 0l your pasr

you know l'm helpless lrom your mosmerasing mt call
ga E5 B5 c5 D5 (Em)

2n.t tine. skip ahead b E lst tine, so back b@2nd Yetse

2. youte
D5

@tz,orr
0oh 85
(Em)

@rz,ost
E5
17 ""

78 4unAR
!€4€ilDl
 "THEPHANT0I'|
0F THE0PERA"
c5 E5 05
51 PM

E Bddse(2r7)
Keep your dislarce walk away don'l take his bait Don'lyou sray
Walch your $tgp h€'s oul lo gel you Com€whatmay oon't you sray
E5 D5 D5

Bassplays B6s Fis. a 6ee bar a7)

don't lade away

lrom the nanow way
E5 D5 E5

Bassplals A6s fig.5 r\|rce $ee bar 53)

E rstcuitar solo (2:a7)

) = 176 (.E=t,lt)
D5 C5

_J-

Glr. 2

4gmRlE4€Nrl79
,.THE
PHANTOM
OFTHEOPERA,'
F G Em.

c
Gt l plals Rif A t\|ice (see bar 67)
Gtr.3

80 4unlt !€4€ilDt
 "THEPHANTOI'|
0F THE0PERA"
cEm
Ctr. I rcpeats Rhy. Fis. I (see bar 7l)
Gtr. 2 rcpeats Rhy. Fia. 1a (see bat 7t)

Bass repeats Bdrs Fig. 6 sinile (see bat 7t)

,,,,,",,,,*,",,,,,.,,,,.6

---___--_-_-__"rl\

4urlAl,r€4€l{DtBl
..THE
PHANTOM
OFTHEOPERA''
ltl lnterlude (3:22)
,l = l4o
N.C.(E5)
83 Bass (repeat pteviors bar)

ead Rif Bl

14

(Em) (c) (D)

Gt. I rcpeats Rilf B (see bat 85.)
Gt 2 rcpeats RtfBt (see bar 85)

89 RffC endRitrC

7-7+7- 0f1

14 14-+1414171414- 14- 1 0 1 2 1 0 1 O + t O1 0 t 2 1 0 1 0 't4 14

JJJJJ 33JJ33JJ3

(Em) (D) (c) (D)

Gtrs. 3 ah.t l ptdr Rilf C sinite (see ba/ 89)

RffD end Rilf D

en.t Rff D l

(Es) (G5) (A5) (c5) (85)

Gtr. I ptals RilfD teice (see bar 93)
Gtr. 2 plars R4fDI twi.e (see bat 93)

g7 Rilf E end Rill E

82 4vrnRl€d€tlDt
 ..THE
PHANTOI{
OFTHEOPERA''
Gtrs- 3 and 4 plalf8t three ba$ of Rif E (see bar 97)
Gtr. I
101

El 1420)
E5 G5
Gtrs.3 and 4play RffE twi.e (s.eebar 97.)
106

ctr.2 (w/disl.)
3 333

' cho.dt k are plat?d 2nd tine dt

rsrerth4i,
Bassplq,s Bass Fis. 7 tu,ice (seebar 97)

.l= 110 (a:$)

E5
Gt s. 3 dd 4 (play I st tiDe only)
110 , .b" .hk

Gir. I
Rtf. Fig. 2

+ Substitute Rhy. Fig. 2ftst tide (see Gf I pafi)

B6s Fig. 8

4utnt !€4€fDl83
"THEPHANT0lil
0F THEOPERA"
L l ( 4s 1 )
E5
Gtr- I plays Rhy- Fis- 2 trrice (see bat I I 0)
Ctr. 2 ploys Rhy- Fia. 2a twice (see bar 110)
Gn-3
114

* Note in parehthesis pldyed 2nd lineonly.

Bass plays Bass FiA. 8 t ice (see bar I I0)

G5

GF 5 (plays 2nd rimeonl])

Bass Fig. Sfot tines sinile (see bat t to)

A5

E5
Gts. 1 an t 2 play Rh!. Fig. 3 three tines (see bat 1t8)
Gt.. 5

84 4urna!€4Et{Dt
 "THEPHANT0]'|
0F THE0PERA"

14 12+t1-12 11 12 t1-11

N 3rd Guitar solo (5,27)

Ul (5:44)
E5
Gtf. 1 ptdys Rhy. FiA. 2 .wice (see bar 110.)
Gtt. 2 plays Rh!. FiA. 2a teice (see bar I I0)
Gt. 4 plays Ri|FF twice (see bar 114)

ll 12 11-12-11

' Note ih pardth?sh pldyed secand tihe ont:r'.

Bass plays Bass Fig. 8 t||ice (see bar I I0)
pl **'
2n.1time,so b@k to@
c5 D5 E5 G5 A5 C5 D5
Gtr. I plars Rht Fis. 2 rrrce (see bar t t0)
Gtt. 2 ?loys Rh. Lte. 2a tui.p (\?e bar ItA)

vfdbr on.h: E)
Bass plafs R6s Fig.8|vi.e (see bar I IO)
@ ouho (i 01)
haunt m€ you launt me you 10fl0rc me back al laii
E5 B5 c5 D5

4Un !€4EilDt85
 ..UASTED
YEARS''
As heardon SOMEWHERE IN TIME (cApIroL)
words dnd Music by Adtian smith * ?rdnscribedby IGnn chipkin and Jimmy Brosrn

G5 C5 E5 Csus2 A5 D5DG5 D/Fl CmajT Em

-\.+""9
ffi,EEEE ffi,"
t+s+
iiin ffi,or
H++H H+tH m+rf, ffi* itriii +m'<ft
trtH
Hn r6n rri+ tun tl::rin ffiffi

E Intro (o:oo)
ModeratelyFast J =152
N.c.(Em)
Riff A
Grr.I (Vdist.)
L-i-oooo7

ctt.2 \w1Jisl.) .nt ,s Jd tihe

t.,2. ll.

l. Fromthe
Dsus4
D

86 4UarAR
!€4€Nlt
 ..UASTED
YEARS'
@ v"."" qo,za
r,rz1
coast ot qold across lhe seven seas
2.Too much iime on my hands I gol you on my mind
D5 E5 t5 u5
PM P.M. _

lravelin' on td andwide But

easethls pain easy whenyou
D5 E5 DIFI

7-7-7-7 7-10-10-

nowil seems l'm iusta shanger lo mysell and all lhe

can'l find lhe words to say it'r hard
to makell lhroughanother day And it
C.r,qT D Em E5
P.M. P,M,.. P.M. . P . M . -- .

2n.l tiae, skip ahead togChorus

things I somellmes do it isn't me but someone else I
matGs me wanna cly and lhrowmy hands
!p lo lhe sky
D5 uD vmay
Substitute Rh!. FiU 1 second tine (see bar4t)
P.M.---*-

my eyes and think ot home Another

G5 D5
P.M. P.M. _ P.M.- _ P.M.-, P.M.-, PM. P.M._.
.

4vrnt E4€ilDt87
..TASTED
YEARS''
cily goes by

P.M.

Younevor 'lil it's gone

tunny howit i5 missll
CmajT tet nnq
D
P.M. P.M. _ P . M .- .

and will be 'til my dylng day

G5 C5 CmajT
R h t .F i l l 1 , , , - - - ------ - - - --
P.M. _ P.M. -. P.M._. P.M. P . M .- ,

@ clo"u" (1r7,2:07,3:40,4:06)
So understand
A5
. I plaJs Fill2 thir.l tine

wasied time always

777 10-10-10-12-12

L----l----J-----l

Fiu 2 (Iast I bars oJsolo) l3:ao)

c,t.. r G5 C5 rASD A5
ct.2 D5 E5 P.M. . P.M -l .q.n.

LJJ LJ] LJ! +Pull bar ut ihtle shaktu t

88 4UrD*l€4€t{Dt
 ..HASTED
YEARS''
Face up make your strnd
AC UC

lst time, 80 backtoBvene

2nd time, coktinue to@ lnterlude
3 tihe, Bo backtogchor8
you'r€ living in lhe golden 4th time, skip ahedd to @ O tro
D Csus2 D5

@ ntertuae 1z:aey
N.c.(E5)
Gtr. 1 plals RifrA thrce times(seebar I)

@ 1z,sry
Gti 1 repeats RifrA thrce nore tines (see bar I )
Rhr.Fis. l
P.M.. P.M.. P.M.,. P.M., P.M. P.M..

E4€tarl89
4urAR
..HASTED
YEARS''

G|t.2 pldys Rh\. FiB. I (see bar 72)

].t nng,,, -------- --------------1

!lfr'10 o o o

E Guitarsolo (3:16)

87 Gtr.2 plars Fill l Gtr.2 plars Rhy.Fig. I (seebat 72)

8 0-10.0-8-0-8-0-r0-0-8-0-8-0-8-

-l J

7791
t t 9l j ro 7

Ai 2 platsfitstfr,e harsof Rhy.Fi8. I (seebar72)

17-m-19-m-17-O-17-m-19-m-17-O-17-m-19'm f l . o 1 7 m 1 9 m 1 7 0 1 7 z J 1 9 m 1 70 1 7 m
t9 20 17 0 t7 201920'17-0-r7-m-19-20-17-0-

12141414 14 14 14 14 14 | 14-

90 4UITAR
t&€IDl
 ..IASTEB
YEARS
14 15 12-14-t5-
19-20-17-O_19-20,17-( 13 15 t213 12+
1 141 12 14-11-
''-ri,'i''" " !4 Gi _

80 back toEChotus
c5
ror{" ' 14-15-17 15 17 16=7 1e-i6-s-20- - -=J---=i6-^
17

Gr.2 P.M. - P.M.--- -

@ outro (4:30)
N.C.(E5)
Gtr. I plals RiffA 2v, tines (se" bar | )

{Am) (G) (Em)

z\

t&€Irl 9l
4vnAR
 ,,THE
PRISONER''
As heardon THE NUMBER OF THE BEAST (cAPIroL)
words anil Music b'\tsteven Harris * ?r.tnscribedby Jeffperrin

85 A5 D5 A5 Ffs Es lJb
',^* D5
-#Tli", ii#+{ rr+iii o.-#fi,o
ffi', ffi,n ffiffi T-TTN I::I..m F-F-N FJattl
ffiI Fffi ffi FTTTTI
IT-TT] |:]::re
T-TTF] ffi l-Frn IT-TTTI FTTT- It++N Tm r-
t4 I 13 t2

Am7 Dadd4/A Em7 Dm7 Es/D B7sus4 8/E E5 Bsus4 Asus2 Ci5
i+-% i+ x+e. x-,, xxonisr x+9---2(r,, o,.-r?9',,1# i+rl+o T.++ian
F#
ffiffiffiffi
F-L_-
FTTT--
rl.--t
2 | 2 |
ffi t 3 13 t3
ffi
lll4
FFI-TF]
134 13,1 t2 r1

E Intro (o:25)
Moderately Fast J = 188
Whalf-time feel
85 A5 85 A5 85 05
Ctrs. I and 2 (elec.w/dist.)
Rhy. Fig. I

x)
x-)
''we
L.,l
wanl infomation infohalion infomation

''1am
not a numberl am a free man

92 avtf^t l€4elrt
 ..THE
PRISONER
@ r ' , r rz z . l ,
S l i g h t l yF a s t e r J - 2 1 0 ( e n d h a l f - t i m ef e e l )
A5 (E) B5 tucf,

(repeat beJbrc Ist Ye6e o y)

tepeat before lst t/ese onb,)

&l verses(1:2s,2:32)
l. I'n on the run nll lo eal
2.ll youkill me il's sell-delense
B5 D5 A/Cfi A5
Ct.s.t md2

Bassplars Bass Fis. 2 one and one halltimes (ree bar 21:)

I'm slarviIg now I'm leeling dead on my feel

Il kill you then I call it vengeance
A5 (E) D5

Goino all the way I'm lature's beast

SIil in yoursye I will dely
B5 B5 D5 t/cf,
PM P.M.__________

4UInt l64€t{Dt93
..THE
PRISONER,'
Do whal I want l'll do as .I please ]
You'll b€ alraid whenI call our your nam6 I HUn
B5 A5 (E) 05 E5 Am7
Clr. I
41 rieh,P.M

E Pre{horus(1:a7,2:51)

light
t0 brealhe
(tst Prcahoru') ll's lougi
(2hd Prc-.horl, ll's gonlla DE lougll
Dadd4/A Am7

Now yousee (tst tihe) Ha ha youdon'l

Dm7 Es/D Dm7 Em7 Dm7 E5/D

(l'll)break the walls comingoul

B/E B5

94 4utni l€4€lrlt
 ..THE
PRISONER
IEi chorus (2:05,3:08)
l,lol a prisoler l'm a lree man and my
Don't caro wfterethe pasl was I
E5
Rhy.Fi&.2

ll.,3.,4-* on 4th endina, skiP dhea.l to Flll2. so back b @

blood is my own
know whsre ''r going 0trt
,$, B5

'3rd and lth endinas are +Stbstitlte

fut 2h.1 chorus ih pdrchthes$on lthe.dins.
"ote
lF ta,zol
I'm nol a number I'm a |l8o man
You'd belter scratcftfic lrcm your blacl book
E5 Bsus4 Asus2
Gtrs- I on.l2 play Rh!. Fis. 2 ohe aad oae half tin6 (see bat 56)

lr.
lile

'cause l'll nngs amudd

cfs

E Int€rlude (3:aa)
(Vhalf-timef€el)
85 A5 85 A5 85 D5
CI$. I and 2 pldv Rht Ftg. I tsee bar 5.
Glr.3 (clec. dis!.)(Adrian smiih)
7g

rfs

4ufaRl€4Eilll 95
..THE
PRISONER''
@ta,ozl
(€nd half-time feel)
B5 NCfl
86 cir. 3

Rhy. Fig. 3

96 4utrAR
r€4€ltDt
 ..THE
PRISONER
E lst Guitar solo (4:20)
B5
Gtrs. 1 and 2 rcpeat Rhy. Fis. 3 .\9ice sinile (see bar 86)

*1'wo
suitd6 arrahged for ane pa .

E 2nd cuitar solo (4:37)

B5
Gtr- 4 (Dave Mmav)
118

Bassplays frst t 2 bats of B6s Fis. 5 (see bn 86)

A5

4vrnt !€4€Ill 97
..THE
PRIS[INER''
Crr- I

F$5

E outro cborus (a:55)

0.,r) llot r piaoncl l'm a lroo nar
(2.,6.) Dor't caru wherc lha paat ra!
(..) l'n nol a num!6r I'm a lru! man
(4.)You'd blttEr scralch ne lron youi black iool

1e4 tettus throushoul

B6s plays EassFig. 3Jirst, second akd third tines (see bt 56) and BassFig. 4foutth, Ullh and s*th tihes (see bar 66)

1r . 5 .
rld my my orn nou
I I'm going
llv! my Iwa to
'cau90 l'll atou[d ,ou

le.

s8 4unAR
r€4rNDi