Iron Maiden - The Final Frontier

i picked it up yesterday and i have to admit it's not as generic as i thought it was going to be. it's not a great album all the way through but there are about 4 tracks on it i really dig which is more than i can say for the last few albums. even one of the solo sections made me think of Rush which was odd, but was cool to hear something like that in a Maiden tune.
 
This is for those that say the album is a bit slow and lacks energy which is a fair enough criticism to be honest. This is what the opener sounds like sans intro and speeded up 25% and a slightly higher pitch. I think it sounds pretty cool still in a slightly hilarious way. Would you like it more if the whole album was speeded up 25%? LOL!

 
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Maiden is the world's premiere live heavy metal band.

Hands down... there is nothing like the feeling I get when I am at a Maiden show at the rails...with Steve gunning his bass and singing along with us up front... or watching Bruce leap all over the place... the lights, the backdrops, the sheer energy... do I need to go on?
 
Fire Breath, I love it that way :tickled: maybe someone should send it to Maiden and we can get a "re-issue" or better yet make a single out of it :D
 
Upon first listen I rank this more with Dance of Death than the other post 2k CD's.
Brave New World is still my favorite, and although I like Dance of Death, there are filler songs throughout.
Kind of the same with this CD.
The one thing that stands out in my mind on this CD though are the solos. I hear classic rock, very 70's influenced...not like traditional Maiden solo's.
This adds an air of mystery to the CD
My fav track is Isle of Avalon
I also like Coming Home, The Talisman, The Alchemist, and Where the Wild Wind Blows...however I don't think it's the best track by a long shot.
I'm torn with this CD because while I don't care that much for El Dorado or StarBlind...I don't think they are anywhere near as generic as Face in the Sand or Gates of Tomorrow off of Dance of Death. Those songs I won't even listen to...but I can tolerate every song on this CD.
 
The one thing that stands out in my mind on this CD though are the solos. I hear classic rock, very 70's influenced...not like traditional Maiden solo's.

I noticed this too!
I like it a lot.
The solos aren't the traditional noodly Maiden solos, which I certainly love as well.

It almost seems like Janick's free spirited playing style shines through more than ever.
 
I noticed this too!
I like it a lot.
The solos aren't the traditional noodly Maiden solos, which I certainly love as well.

It almost seems like Janick's free spirited playing style shines through more than ever.

Yeah, I like the traditional Maiden solo's as well.
When I first heard the solo's on this CD it was sort of jarring, like listening to Maiden and then some other band doing solo's...then it really made the CD feel unique from other Maiden CD's, and I think it will improve the shelf-life and listenablitly of The Final Frontier for me. :D
 
The one thing that stands out in my mind on this CD though are the solos. I hear classic rock, very 70's influenced...not like traditional Maiden solo's. This adds an air of mystery to the CD. My fav track is Isle of Avalon.

I think the guitar sound has a lot to do with Adrian Smith's extensive songwriting contributions on this disc...more primary credits than any other Maiden disc. Adrian is credited as the principal songwriter on 6 of 10 tracks. In contrast, Harris only 1 of 10 as credited principal songwriter. That's a reversal from their recent discs. Of course, Steve has input on everything (he co-produced the last four discs with Kevin Shirley) even if he isn't the principal songwriter.

1. Satellite 15…The Final Frontier (Smith/Harris)
2. El Dorado (Smith/Harris/Dickinson)
3. Mother Of Mercy (Smith/Harris)
4. Coming Home (Smith/Harris/Dickinson)
5. The Alchemist (Gers/Harris/Dickinson)
6. Isle Of Avalon (Smith/Harris)
7. Starblind (Smith/Harris/Dickinson)
8. The Talisman (Gers/Harris)
9. The Man Who Would Be King (Murray/Harris)
10. When The Wild Wind Blows (Harris)
 
Two words... Janick Gers.

Women love him, teenagers love him, and I believe he's Yngwie's favorite guitar player. He's like Tom Cruise, Steve Vai and Shaft all rolled up into one.

Very down-to-earth guy...

http://www.bravewords.com/videos/100

Also a very good interview with Janick on the Flight 666 DVD.

I've come to accept Janick with Maiden. He's credited with writing some of my favorite songs from the last four CDs.

Initially though, he came across as very aloof with the fans when the band was much more accessible on the "X Factor" and 'Virtual XII" tours. As for all the jumping around on stage, I don't really care for it, but as he's been in the band so long now, his stage presence is no longer a shock like it used to be soon after he joined the band.
 
This is for those that say the album is a bit slow and lacks energy which is a fair enough criticism to be honest. This is what the opener sounds like sans intro and speeded up 25% and a slightly higher pitch. I think it sounds pretty cool still in a slightly hilarious way. Would you like it more if the whole album was speeded up 25%? LOL!

http://www.youtube.com/watch?v=7rfI6gPQbJY

Now listen to the album cut...it's soooooo slow.
 
You also can't forget that Maiden is a marketing machine.

A million different shirts. Shoes. Every accessory you can think of.

This definitely has a lot to do with it. Another thing you have to figure, especially with the younger fans is that a lot of it is being passed through generations. I know when I saw Maiden last month there were a lot of families that came.


So I suppose we have to ask ourselves is how Maiden does it...

I think it's kind of how the Grateful Dead remained as a going concern for so many years.

Maiden is the world's premiere live heavy metal band.
Their performances are legendary.
They are one of those bands that everyone has to see once, even if you aren't a big fan of.

I think that word spreads and everytime they tour, it's a show that all metal / rock fans want to check out.

Indeed. I for one am not even the biggest Maiden fan. They probably don't even hit my top 10, but without a doubt they are probably the top metal live act. Though I still did enjoy Therion more but still...

Two words... Janick Gers.

Women love him, teenagers love him, and I believe he's Yngwie's favorite guitar player. He's like Tom Cruise, Steve Vai and Shaft all rolled up into one.


Zod, I think you may have just killed Jason. :loco:


i picked it up yesterday and i have to admit it's not as generic as i thought it was going to be. it's not a great album all the way through but there are about 4 tracks on it i really dig which is more than i can say for the last few albums. even one of the solo sections made me think of Rush which was odd, but was cool to hear something like that in a Maiden tune.

I don't think many people were thinking it to be generic as much as "too progressive" or "not Maiden." I've only listened to it once and while it isn't my favorite, I think it will grow on me. In terms of their last four, it may end up being my favorite or 2nd favorite after AMOLAD.

I think the guitar sound has a lot to do with Adrian Smith's extensive songwriting contributions on this disc...more primary credits than any other Maiden disc. Adrian is credited as the principal songwriter on 6 of 10 tracks. In contrast, Harris only 1 of 10 as credited principal songwriter. That's a reversal from their recent discs. Of course, Steve has input on everything (he co-produced the last four discs with Kevin Shirley) even if he isn't the principal songwriter.

1. Satellite 15…The Final Frontier (Smith/Harris)
2. El Dorado (Smith/Harris/Dickinson)
3. Mother Of Mercy (Smith/Harris)
4. Coming Home (Smith/Harris/Dickinson)
5. The Alchemist (Gers/Harris/Dickinson)
6. Isle Of Avalon (Smith/Harris)
7. Starblind (Smith/Harris/Dickinson)
8. The Talisman (Gers/Harris)
9. The Man Who Would Be King (Murray/Harris)
10. When The Wild Wind Blows (Harris)

Very well could be. I know the Dickinson solo albums were MUCH better once he came into the fold.
 
As for all the jumping around on stage, I don't really care for it, but as he's been in the band so long now, his stage presence is no longer a shock like it used to be soon after he joined the band.
I found his performance style out of character for Maiden, the first time I saw him perform with them. But similar to you, it just seems like Maiden now.
 
However, the reason Maiden will sell 800K copies of the new CD (or whatever the final number is) and the reason they will draw 20,000 to MSG, is nostalgia (or whatever you wish to call it).

I call it, "loyalty", not "nostalgia".

It's a loyalty built upon Steve Harris refusing to compromise his vision for anyone -- record label, critic, or even fans -- over the course of 30+ years. Regardless of the flavor of the release, each album is undeniably Maiden at it's very core. That has never changed, and the fans who love the core sound and values unique to this band -- whether they be 43 or 13 years old -- reward the band with a respect, devotion, and loyalty that other bands can only dream of having. It is also a loyalty and core base of which fans of lesser-known bands can be quite jealous of.
 






Messed around with the album a bit in Audacity. Here is El Dorado, The Final Frontier (-intro), and The Talisman changed a bit and shortened. Played around with the speed, pitch, equalizer.
 
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So I suppose we have to ask ourselves is how Maiden does it...

I know everyone won't agree with this, but I believe one (read: just one) of the reasons Maiden is so successful is that they made their fortune before the dawn of the internet and digital file sharing. For a solid decade plus, they sold (for cash) millions of albums, millions of T-shirts, and played sold-out arenas around the world every night before the internet became accessible to the masses. With royalties still rolling in 30 years after their first release, Steve and the guys have been financially set for life for quite some time. And because two decades have passed without any of them squandering their fortune like a pro athlete, it's unlikely they will partake in such reckless behavior in the future.

Why does this matter? Because of their wealth, they don't have to appease anyone other than themselves. They can afford to write the music they want to write, purely for the love of it. They don't have to bow down to a record label's demands because they have a mortgage to pay and kids to feed. They don't have to work a second day-job to make ends meet. Their focus is entirely on their craft and building the enterprise they have built (due in no small part to manager Rod Smallwood). This luxury certainly doesn't guarantee a home run with each release, but it makes life for the professional musician much easier knowing that if the next album doesn't do well, it isn't the end of the world -- the royalties from the previous 14 studio albums (not to mention live releases and compilations) will still be coming in the mail.

Compare Maiden's situation above to that of your favorite "modern-era" musicians. How many work a second job to make ends meet? How many have quit music to get a real job because the music business alone cannot support their wife and kids?

When the modern-day metal musician works just as hard as Maiden did to get to the top, but are promised only a miniscule fraction of what Maiden did for the same effort, what's the financial incentive for up-and-coming bands to stick it out for more than a few releases?

For sure, the internet is a great way for Maiden to access younger generations of metalheads just as MTV was back in the very early 80s. But crappy music/crappy reviews flow just as free and fast as great music/great reviews over the internet. That Maiden's new releases continue to enjoy commercial success in a world where music is free for the taking is a testament that their songwriting skills are as strong and appealing as ever to legions of metalheads.
 
That Maiden's new releases continue to enjoy commercial success in a world where music is free for the taking is a testament that their songwriting skills are as strong and appealing as ever to legions of metalheads.

Not true. It's a testament that they're just as visible to the public eye as ever. With songs appearing in Guitar Hero and Tony Hawk, shoes being put out by Vans, t-shirts being worn by teen pop stars, and Bruce Dickinson having his own radio show, I can't say I'm surprised.
 
So the review by skyrefuge and the comments made by a few others piqued my curiosity.

I can see both sides of the coin on this one. Clearly, Maiden is making an effort to push forward and keep things fresh, while remaining true to their deep, deep roots. The guitar work and production are well done. Bruce is Bruce. However, when all is said and done, it's about the songs and they just don't grab me. I suppose if I spun this CD half a dozen times, I might unearth the hooks. Though to be fair, that's true of most discs. Oddly, while some take issue with the drawn out musical passages, that extend the songs beyond what their content would seem to warrant, I found them to be the best part of the disc. It's the vocal melodies that leave me cold.
 
Upon second and third listens the album is really growing on me. Still hate the intro. Is it just me or does the drum beat sound off like there is a clip or something. Maybe it is supposed to be that way. Anyone noticed this?

yes i totally noticed it yesterday on my ipod and at first i thought something was wrong with the file. it's a loop and they didn't cross fade the cuts properly, although my guess it was intentional. it was so annoying i re-burned the file into my itunes at the space before FF starts.
 
So the review by skyrefuge and the comments made by a few others piqued my curiosity.

Cool. I was wondering if you'd be able to hold out. :) While I certainly wasn't going to get angry at you for *not* wanting to listen to it, I was curious to hear what the opinion of a "disinterested" metal fan with your tastes might be. I actually consider myself similarly neutral, since I didn't really take a serious interest in AMOLAD until a few months ago, and am not crazy about BNW or DoD as entire albums. That means I was quite surprised at how strongly I've taken to this one, so I'm trying to figure out if that difference has more to do with the music, or with me.

I see checking out a new Maiden album as something similar to going to their shows: it's one of the last universal experiences that we can share in today's highly-fragmented metal world, a rare time when we all hop aboard the same boat. So it's kind of fun to be a part of it just for that. But that's also why seeing a bunch of negative comments isn't really a good indicator of the quality of a Maiden album, simply because the number of people commenting is so enormous, and a fair percentage of them have no chance of being impressed by a modern Maiden album, but check it out anyway.

Oddly, while some take issue with the drawn out musical passages, that extend the songs beyond what their content would seem to warrant, I found them to be the best part of the disc.

Yeah, I'm completely baffled by the "wah wah, it's boring!!" song editors. I really wonder what kind of other music they listen to, and what would happen if they were forced to listen to some Isis, or Agalloch, or Drudkh, or Primordial, or any other bands that deal strongly in atmosphere and dynamics. Can boredom reach such intensity that it causes heads to explode, or would the death come quietly by way of coma?

It's the vocal melodies that leave me cold.

Interesting, since it's the melodies (both vocal and guitar) that draw me in so strongly. But, predicting whether a melody that works for one person will work for another is one of the most random and difficult things in the world, so I will not scold your obvious, embarrassing, and nearly-criminal lack of good taste. :)

I do find it interesting that I've seen multiple people specifically say that they dislike the "Mother of Mercy" chorus, while that's one of the highlights of the album for me. And then I just saw someone complain specifically about the "Starblind" verse melody, which is another moment that I highlighted in my review for its awesomeness. So, whether those conflicting opinions are because I'm more "forward thinking" in my taste in melodies, or because I simply like stuff that sucks, it's clear that those melodies *must* be unique and affecting, which, in my book, is always better than boring and unnoticed.

Neil