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The Official Iron Maiden Thread


Nate2112
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Okay, towards the end of my second listen...

 

Yes, actually, the Harris epics are the best songs here.

 

Yep, I'm certainly on board with those being the best songs. These are the ones that are getting stuck in my head now. I'm still not familiar enough with each song to know which one is which when that happens though. It's just a mash up of different parts of all three so far.

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Really this pointing out solos is getting annoying. yes they're about the same. but why try to dampen peoples enjoyment? you and YYZ really don't like it...fine.....all cool.....great. but pointing out faults just comes off like the bitter fan not getting what he feels like he's owed by a band i think can do what they want.

 

sorry if this ruffles feathers but let folks enjoy this album man.

 

Mick

 

Don't you do the same thing with Clockwork Angels?

 

I'm not a bitter fan at least I don't believe I am. But there's a lot on Senjitsu that leaves me cold. That hasn't happened with me much with Maiden, so it's a very odd feeling for me to have. I will say the last three songs are the ones I'm starting to like the most. As for the rest of the album, if I never heard those songs again I don't think it would bother me too much.

 

i'm notsingling you or anyone out. but pointing out similar solos over and over came across as a little bitter is all. maybe it isn't.

 

Mick

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After several (10-ish) listens or so, I really like this album. We'll see what time does to things. I was a huge fan of Book Of Souls, but that album's luster isn't what it was on repeat listenings, although I really think the Dickinson bookend pieces are the primary highlights. It's a pretty average Maiden album with those two removed, I think. So, who knows what I'll think of Senjutsu's longevity over 6 months or a year. But right now it's an album that gets better each listen and I can't honestly say I felt that about Book Of Souls. Albums like The Final Frontier have leapt to the front of the line as far as 21st century Maiden goes, and I didn't expect that either.

 

1. Senjutsu

 

I really love this opening piece. It has a samey quality to it that is borderline long. I think it could have benefitted from being a tad more succinct by a hair, but that's a quibble. The tribal drum pattern and the riff suggest something ominous. I love Bruce's stern, low register voice here and the chorus is lovely, letting the song breathe again before immersing you into the tumult again. The solos are fine and I especially like the one near the end. Again, only flaw is that it's probably a minute or 90 seconds too long, but hardly a fatal flaw. I believe in too little of a good thing myself. Leave them wanting more. But what the song lacks in a bit of discipline it makes up for in attitude. Has a very Bruce solo vibe in the deliveries and in the verse harmonies. 8/10 overall and 10/10 for beginning the album on the right kind of note and setting a proper tone.

 

2. Stratego

 

This seemed to be a salve for the folks hearing Writing On The Wall and wondering where the cowboy riff came from. It definitely is more conventional Maiden, but in this case that's nothing terribly special. The verses and riff are fine, but I really do enjoy the chorus quite a bit. It's a bit paint-by-numbers, but effective. 7/10 overall and 9/10 for where it's placed because, honestly, it's the perfect second track after the head bashing of the opener. So far a well edited track list.

 

3. The Writing On The Wall

 

Well, this was a bit divisive, wasn't it? I found it funny the folks who complain about Maiden sounding samey all the time (gallops, slow intro, slow outro, etc) then turn around and say, "Well, this doesn't sound like Maiden!!" You surely cannot win. But this song is pretty f***ing killer and my opinion about it has only GROWN with additional listens as a single and in the context of the album. The riff is f***ing killer, way different for them, and maybe the most adventurous effort of them breaking from the norm in the past 20 plus years. Sadly the vocals are my least favorite part of the song, although I do really like how Dickinson executes. It's just not his highpoint. It's one of the rare true choruses in the most traditional "here's the title coming" sense of the word on the album. The guitars and Nicko just slay here though. This is all Adrian. I love this song 9/10 overall and 10/10 for its location and balls. That's three very different tracks to kick things off.

 

4. Lost In A Lost World

 

I love the intro with the acoustic strumming the effects and echo on Bruce's vocals, something that Kevin Shirley is often very against and an oddity for Maiden (less so Bruce solo, which is what this hearkens to). The soft and lilting harmonies between vocal phrases are lovely, also a real rarity for the band. Nothing in their catalogue sounds like this introduction, so like with the previous track I'm enjoying hearing some "new" things come about. You would think Bruce was all over this direction, but given Steve's love for The Moody Blues it originates from him instead. Steve often has Bruce doing very routine things, so that he is responsible for this intro is a pretty stunning turn. These kinds of things are almost common in Bruce's solo work, so it's a welcome sight. The rest of the song I'm less in love with. Musically it's okay and the chorus is fine, but there's a bit of No More Lies happening with the staccato guitar phrases chopping in under the syncopated delivery of the title. The solo work is quite nice. I like the song, but it's not a highlight for me. Not a knock though. 7.5-to-8/10 overall and 9/10 for the effort and balls to have that intro. Without the intro I like it a lot less.

 

5. Days Of Future Past

 

I really like this one. When the killer riff kicks in we're running and it's quite a tasty one at that. Another pretty straight forward delivery of the chorus in Maiden fashion, but what we're starting to glean by this point is that the usual trope of repeating lines over and over and over again....is gone. For instance, on the previous song on previous albums the Lost In A Lost World line would just likely be repeated ad nauseum, but not on this album. Here lines are traded out for other lyrics to keep the phrasing fresher and less...lazy, to be honest. I love the chorus to this song and the line "waiting for the judgment...but the judgment never comes." Great delivery, awesome attitude. Good solos again. Killer riff. Strong 8.5/10 for overall score and placement.

 

6. The Time Machine

 

This is one of the more unique songs on the album and perhaps its most original and playful lyrical idea as well. "Have I ever told you about my time machine?" sets the lyrical tone off the bat after the lullaby-like opening (shades of The Legacy and The Talisman, so bordering on repeatism. But it works, so no harm, no foul. The main riff after the intro is very cool, as is the delivery of both the verses and chorus, which has a bit of soaring vocal work from Bruce. There's a really heavy and cool bridge that plays with time signature under which some soloing begins. Just a cool and pretty unique-yet-familiar vibe from the band. I like it quite well. 8/10 for execution overall and 8.5/10 for lyrical originality.

 

7. The Darkest Hour

 

Reviews warned of an uncharacteristic ballad afoot, but the song has a Coming Home feel to it, so it's not as if it's some weepy, love-torn lyrical quality or uncharted territory, even if not overly-mined. Quite the opposite, it's a war ballad and wonderfully executed. It's my favorite cut on the album, from the opening and closing laps of the ocean on the bloodied shores to the f***ing masterful solo work. Nothing like this solo in the Maiden catalogue in its form, style, grace, and restraint. It's just lovely and perfect for the song. Bruce's voice shines. The vocal melody soar in the chorus gives me chills, in fact. Probably my favorite and best executed lyrics on the album as well. 9.5//10 overall. Amazing song.

 

8. Death Of The Celts

 

This was immediately my least favorite song, but goddamn if it isn't the one that's grown on me the most. While I think it's a bit long in the tooth, it offers several key and classic Maiden moments. Does the intro nick The Clansman? Sure. I can live with it, though, especially since I f***ing never listen to Virtual XI. Other than the live versions with Bruce it's as if the song doesn't exist. The first of 'Arry's BIG THREE to close things out has a marvelous instrumental bridge to it that hearkens back to a romp like Losfer Words or something from the 83-84 period and it really stands out as a welcome bit of retro romp. Takes you off guard too. The lyric-less sections are pretty invigorating and have a fine, fun, uptempo pace. Vocally this song doesn't really stand out to me. Were it just a long-lost Maiden instrumental it would work as well. But it's a song I unfairly dismissed as aimless and wandering, but find myself enjoying more each go 'round. It's ascended from an initial 5/10 or so to a strong 7 or 7.5/10 and climbing.

 

9. The Parchment

 

This one registered with me quickly. It has a very middle eastern/Powerslave feel to it for sure. The ensuing riff is one of the best on the album and quickly puts me in place to settle in. Lyrically and vocally the song is stronger the previous number. Parchment features one of my single favorite vocal moments on the album as well, the delivery of the final couple lines of the song on which Bruce perfectly soars along with his own harmony part. Might be the vocal highlight on the entire thing. Not listening to it now and with previous songs in my head and co-workers chattering around me I'm struggling to recall more specific musical phrases, but I really dig this song from start-to-stop and have since about listen two. I rate it a strong 8.5/10 overall.

 

10. Hell On Earth

 

'Arry's best on the album, with a very disciplined and well-considered bit of musical phrases and transitions. It's also perhaps his most melodic piece too. There's a lot going on here, but what it does better than its immediate two predecessors is more carefully organize and execute those changes. It's a long song that doesn't feel that way at all due to its flow and wise editorial choices, something Steve can't always be accused of making. It's also one of Bruce's best songs vocally. His seething of the lines, "Love in anger, life in danger" to perfections is chilling. Moments like this are why we love Dickinson. He so believes in what he is saying and you will too. More fine soloing here and an uncharacteristic long fade out to end the album. 9.5/10

 

This is a fine album that grows for me as it reveals itself beyond the initial impression stage. We're such a f***ing awful set of "Oh, it didn't immediately blow me the f**k away" fans, so we hit *NEXT* if not immediately satisfied. Also, there are just people who are NOT into the proggier/more epic Maiden of the 21st century. So that end, if Maiden under the umbrella of Kevin Shirley has not spoken to you so far, this album will not change that. It either benefits or suffers from the same affliction, depending on your perspective. That said, if you like their output and direction since 2000 then I encourage you to give this album your patience. I think and hope it will continue to reveal itself nicely and stand up to scrutiny long-term.

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After several (10-ish) listens or so, I really like this album. We'll see what time does to things. I was a huge fan of Book Of Souls, but that album's luster isn't what it was on repeat listenings, although I really think the Dickinson bookend pieces are the primary highlights. It's a pretty average Maiden album with those two removed, I think. So, who knows what I'll think of Senjutsu's longevity over 6 months or a year. But right now it's an album that gets better each listen and I can't honestly say I felt that about Book Of Souls. Albums like The Final Frontier have leapt to the front of the line as far as 21st century Maiden goes, and I didn't expect that either.

 

1. Senjutsu

 

I really love this opening piece. It has a samey quality to it that is borderline long. I think it could have benefitted from being a tad more succinct by a hair, but that's a quibble. The tribal drum pattern and the riff suggest something ominous. I love Bruce's stern, low register voice here and the chorus is lovely, letting the song breathe again before immersing you into the tumult again. The solos are fine and I especially like the one near the end. Again, only flaw is that it's probably a minute or 90 seconds too long, but hardly a fatal flaw. I believe in too little of a good thing myself. Leave them wanting more. But what the song lacks in a bit of discipline it makes up for in attitude. Has a very Bruce solo vibe in the deliveries and in the verse harmonies. 8/10 overall and 10/10 for beginning the album on the right kind of note and setting a proper tone.

 

2. Stratego

 

This seemed to be a salve for the folks hearing Writing On The Wall and wondering where the cowboy riff came from. It definitely is more conventional Maiden, but in this case that's nothing terribly special. The verses and riff are fine, but I really do enjoy the chorus quite a bit. It's a bit paint-by-numbers, but effective. 7/10 overall and 9/10 for where it's placed because, honestly, it's the perfect second track after the head bashing of the opener. So far a well edited track list.

 

3. The Writing On The Wall

 

Well, this was a bit divisive, wasn't it? I found it funny the folks who complain about Maiden sounding samey all the time (gallops, slow intro, slow outro, etc) then turn around and say, "Well, this doesn't sound like Maiden!!" You surely cannot win. But this song is pretty f***ing killer and my opinion about it has only GROWN with additional listens as a single and in the context of the album. The riff is f***ing killer, way different for them, and maybe the most adventurous effort of them breaking from the norm in the past 20 plus years. Sadly the vocals are my least favorite part of the song, although I do really like how Dickinson executes. It's just not his highpoint. It's one of the rare true choruses in the most traditional "here's the title coming" sense of the word on the album. The guitars and Nicko just slay here though. This is all Adrian. I love this song 9/10 overall and 10/10 for its location and balls. That's three very different tracks to kick things off.

 

4. Lost In A Lost World

 

I love the intro with the acoustic strumming the effects and echo on Bruce's vocals, something that Kevin Shirley is often very against and an oddity for Maiden (less so Bruce solo, which is what this hearkens to). The soft and lilting harmonies between vocal phrases are lovely, also a real rarity for the band. Nothing in their catalogue sounds like this introduction, so like with the previous track I'm enjoying hearing some "new" things come about. You would think Bruce was all over this direction, but given Steve's love for The Moody Blues it originates from him instead. Steve often has Bruce doing very routine things, so that he is responsible for this intro is a pretty stunning turn. These kinds of things are almost common in Bruce's solo work, so it's a welcome sight. The rest of the song I'm less in love with. Musically it's okay and the chorus is fine, but there's a bit of No More Lies happening with the staccato guitar phrases chopping in under the syncopated delivery of the title. The solo work is quite nice. I like the song, but it's not a highlight for me. Not a knock though. 7.5-to-8/10 overall and 9/10 for the effort and balls to have that intro. Without the intro I like it a lot less.

 

5. Days Of Future Past

 

I really like this one. When the killer riff kicks in we're running and it's quite a tasty one at that. Another pretty straight forward delivery of the chorus in Maiden fashion, but what we're starting to glean by this point is that the usual trope of repeating lines over and over and over again....is gone. For instance, on the previous song on previous albums the Lost In A Lost World line would just likely be repeated ad nauseum, but not on this album. Here lines are traded out for other lyrics to keep the phrasing fresher and less...lazy, to be honest. I love the chorus to this song and the line "waiting for the judgment...but the judgment never comes." Great delivery, awesome attitude. Good solos again. Killer riff. Strong 8.5/10 for overall score and placement.

 

6. The Time Machine

 

This is one of the more unique songs on the album and perhaps its most original and playful lyrical idea as well. "Have I ever told you about my time machine?" sets the lyrical tone off the bat after the lullaby-like opening (shades of The Legacy and The Talisman, so bordering on repeatism. But it works, so no harm, no foul. The main riff after the intro is very cool, as is the delivery of both the verses and chorus, which has a bit of soaring vocal work from Bruce. There's a really heavy and cool bridge that plays with time signature under which some soloing begins. Just a cool and pretty unique-yet-familiar vibe from the band. I like it quite well. 8/10 for execution overall and 8.5/10 for lyrical originality.

 

7. The Darkest Hour

 

Reviews warned of an uncharacteristic ballad afoot, but the song has a Coming Home feel to it, so it's not as if it's some weepy, love-torn lyrical quality or uncharted territory, even if not overly-mined. Quite the opposite, it's a war ballad and wonderfully executed. It's my favorite cut on the album, from the opening and closing laps of the ocean on the bloodied shores to the f***ing masterful solo work. Nothing like this solo in the Maiden catalogue in its form, style, grace, and restraint. It's just lovely and perfect for the song. Bruce's voice shines. The vocal melody soar in the chorus gives me chills, in fact. Probably my favorite and best executed lyrics on the album as well. 9.5//10 overall. Amazing song.

 

8. Death Of The Celts

 

This was immediately my least favorite song, but goddamn if it isn't the one that's grown on me the most. While I think it's a bit long in the tooth, it offers several key and classic Maiden moments. Does the intro nick The Clansman? Sure. I can live with it, though, especially since I f***ing never listen to Virtual XI. Other than the live versions with Bruce it's as if the song doesn't exist. The first of 'Arry's BIG THREE to close things out has a marvelous instrumental bridge to it that hearkens back to a romp like Losfer Words or something from the 83-84 period and it really stands out as a welcome bit of retro romp. Takes you off guard too. The lyric-less sections are pretty invigorating and have a fine, fun, uptempo pace. Vocally this song doesn't really stand out to me. Were it just a long-lost Maiden instrumental it would work as well. But it's a song I unfairly dismissed as aimless and wandering, but find myself enjoying more each go 'round. It's ascended from an initial 5/10 or so to a strong 7 or 7.5/10 and climbing.

 

9. The Parchment

 

This one registered with me quickly. It has a very middle eastern/Powerslave feel to it for sure. The ensuing riff is one of the best on the album and quickly puts me in place to settle in. Lyrically and vocally the song is stronger the previous number. Parchment features one of my single favorite vocal moments on the album as well, the delivery of the final couple lines of the song on which Bruce perfectly soars along with his own harmony part. Might be the vocal highlight on the entire thing. Not listening to it now and with previous songs in my head and co-workers chattering around me I'm struggling to recall more specific musical phrases, but I really dig this song from start-to-stop and have since about listen two. I rate it a strong 8.5/10 overall.

 

10. Hell On Earth

 

'Arry's best on the album, with a very disciplined and well-considered bit of musical phrases and transitions. It's also perhaps his most melodic piece too. There's a lot going on here, but what it does better than its immediate two predecessors is more carefully organize and execute those changes. It's a long song that doesn't feel that way at all due to its flow and wise editorial choices, something Steve can't always be accused of making. It's also one of Bruce's best songs vocally. His seething of the lines, "Love in anger, life in danger" to perfections is chilling. Moments like this are why we love Dickinson. He so believes in what he is saying and you will too. More fine soloing here and an uncharacteristic long fade out to end the album. 9.5/10

 

This is a fine album that grows for me as it reveals itself beyond the initial impression stage. We're such a f***ing awful set of "Oh, it didn't immediately blow me the f**k away" fans, so we hit *NEXT* if not immediately satisfied. Also, there are just people who are NOT into the proggier/more epic Maiden of the 21st century. So that end, if Maiden under the umbrella of Kevin Shirley has not spoken to you so far, this album will not change that. It either benefits or suffers from the same affliction, depending on your perspective. That said, if you like their output and direction since 2000 then I encourage you to give this album your patience. I think and hope it will continue to reveal itself nicely and stand up to scrutiny long-term.

 

Spot on take of Writing On The Wall.

 

This song leaped out to me on the very first listen.....I was like....yes!!! New Territory!!! A great song with tremendous melody and a totally different pocket and groove for Maiden. It is one of the true standout tracks on the record.

 

I am on my third listen of the album and it get’s better and better with each one. It is a dark album and I like dark Maiden.

 

Death Of The Celts is another stand out track for me. It has that visual quality that I love about 21st century Maiden.

 

Call me crazy but this album has a lot more in common with A Matter Of Life and Death than any of the other modern Maiden records. Powerful visuals and story telling and great guitar work.

 

Lost in a Lost World another standout for me through almost three full listens.

 

The Parchment is pure Maiden riffage bliss. It just rips and hit’s all the right spots for me.

Edited by Todem
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The Parchment is still a bit too repetitive for me but it's full of everything I want from Maiden, even if I wish they would've taken the best bits and made two songs out of them.

 

It's also worth saying that Nicko is playing some of his absolute best on this album.

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When Book of Souls came out I rated it pretty highly after digesting it for a time. Since then it's dropped a bit for me in favor of other albums, but I still enjoy it.

 

Senjutsu is, IMO, a better album and one that I will reach for VERY often.

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How i'd rank maiden since 2000 (cause i just love ranking)

 

1. Brave New World

2. Senjutsu

3. Book of Souls

4. A Matter of Life and Death

5. Dance of Death

6. The Final Frontier

 

Senjutsu only get's better for me. It better's BOS which i also love. but it still nowhere near how perfect BNW is too me. I LOVE AMOLAD but itis too much all at once.

 

Dance of Death is fine but bland. and hard pass for me on TFF

 

Mick

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Brave New World

Dance Of Death

Book Of Souls

The Final Frontier

A Matter Of Life and Death

Senjitsu

 

i never expected Dance to be so high but respect.

 

Mick

 

For me, it has the perfect balance between the epics and regular length songs. Some really great stuff on it. Rainmaker, No More Lies, Montsegur, the title track, Paschendale, Face In The Sand, Journeyman. All top quality songs.

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Really this pointing out solos is getting annoying. yes they're about the same. but why try to dampen peoples enjoyment? you and YYZ really don't like it...fine.....all cool.....great. but pointing out faults just comes off like the bitter fan not getting what he feels like he's owed by a band i think can do what they want.

 

sorry if this ruffles feathers but let folks enjoy this album man.

 

Mick

 

Don't you do the same thing with Clockwork Angels?

 

I'm not a bitter fan at least I don't believe I am. But there's a lot on Senjitsu that leaves me cold. That hasn't happened with me much with Maiden, so it's a very odd feeling for me to have. I will say the last three songs are the ones I'm starting to like the most. As for the rest of the album, if I never heard those songs again I don't think it would bother me too much.

 

i'm notsingling you or anyone out. but pointing out similar solos over and over came across as a little bitter is all. maybe it isn't.

 

Mick

 

I mean he actually has citations for his criticism. And each time he does it, it's different. It's not like he's pointing to the same riffs over and over. The feelings of sameness are keeping me from warming up to it as well. There's nothing groundbreaking and new like Empire of the Clouds.

 

Having said that I do quite like Writing on the Wall and Hell on Earth.

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21st century Maiden, at This moment:

 

1: Dance of Death

2: Senjutsu

3: The Book of Souls

4: Brave New World

5: Final Frontier

6: Matter of Life and Death

 

I like all of these

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The new album is a sleeper, meaning the songs take a while to set in then set their hooks in you. It's hard to rank this one so early, but I think it's going to have staying power. Song for song, the choruses might be better than any of the other 2000s Era Maiden albums.

 

Here goes:

1. Brave New World

2. The Final Frontier

3. Book Of Souls

4. Senjustsu

5. Dance Of Death (their second most under-rated album after NPFTD)

6. A Matter Of Life And Death (their most over-rated album, IMO. People too caught up in the killer album cover)

 

Senjutsu might turn out to be #1 or 2 eventually. :haz:

Edited by GeddyLeeRoth
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New Rankings

 

1. Matter of Life and Death

 

2. Brave New World

 

3. Senjutsu

 

4. Book of Souls

 

5. The Final Frontier

 

6. Dance Of Death

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I am listening to Book Of Souls RIGHT NOW as a comparison of new to most recent, having not spun Souls in a while, and while there are a couple/few songs that are every bit as good as anything on Senjutsu, I think pound-for-pound the new one is the more consistently good and cohesive effort. Senjutsu’s weaknesses are less pronounced.
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This is my answer:

 

megan-fox-2.jpg

 

This!!!!!!!!

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