Latest / Booked On Rock with Eric Senich / Iron Maiden at 50: An Ironclad Legacy [Episode 323]

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Iron Maiden at 50: An Ironclad Legacy [Episode 323] · Booked On Rock with Eric Senich

• 0:00
  Speaker 1: It's a deep dive into fifty years of Iron Maiden
• 0:04
  Speaker 1: with author Daniel bucks Band. That's next. I'm booked on rock.
• 0:08
  Speaker 2: We're totally bummed rock and roll. I mean got to
• 0:12
  Speaker 2: leave you.
• 0:12
  Speaker 1: You're reading Little Hands says it's time to rock and roll.
• 0:16
  Speaker 1: Band Rode up, I totally booked. Welcome back to book
• 0:24
  Speaker 1: don Rock the podcast for those about to read and rock.
• 0:27
  Speaker 1: I'm Eric Sanitch. Daniel Buckspan is back on the podcast,
• 0:31
  Speaker 1: this time to talk about his latest book titled Iron
• 0:34
  Speaker 1: Maiden at fifty. Daniel, welcome back to the podcast.
• 0:38
  Speaker 2: Thank you very much for having me. I appreciate it.
• 0:41
  Speaker 1: Another fantastic retrospective milestone celebration book put together by our
• 0:46
  Speaker 1: friends at Motorbooks. An epic tribute. Tell us about what's
• 0:50
  Speaker 1: in the book, how it's packaged by Motor Books. This
• 0:52
  Speaker 1: is a must have for fans of Iron Maiden. More
• 0:54
  Speaker 1: than just a great read.
• 0:56
  Speaker 2: It's my loving tribute to the baddest band in the UK.
• 1:01
  Speaker 2: And you know the band that I really consider. You know,
• 1:04
  Speaker 2: they kind of really created you know, what I feel
• 1:07
  Speaker 2: is the archetype for heavy metal. Like when you talk
• 1:09
  Speaker 2: about heavy metal, it's those guys. Obviously there's Judas Priest
• 1:16
  Speaker 2: and Metallica and all that, But to me, the template
• 1:20
  Speaker 2: for it really came from those guys. And this takes
• 1:24
  Speaker 2: the whole story from you know, Steve Harris Lowly Street
• 1:29
  Speaker 2: Sweeper deciding to name a band someday Iron Maiden on
• 1:34
  Speaker 2: Christmas Day in nineteen seventy five, right up to now.
• 1:39
  Speaker 2: And what's different about this at fifty book as opposed
• 1:44
  Speaker 2: to some of the other ones is these guys are
• 1:46
  Speaker 2: on tour this minute and never stopped, never took a break,
• 1:51
  Speaker 2: They had no sabbatical, nothing. It was just constant activity
• 1:55
  Speaker 2: the entire fifty years, which you cannot say that about
• 1:59
  Speaker 2: a lot of bands.
• 2:01
  Speaker 1: Yeah, fifty years in counting, and who better to do
• 2:03
  Speaker 1: a celebration book like this in motor books. Plenty of
• 2:06
  Speaker 1: photos in here, not just a timeline of the band.
• 2:10
  Speaker 1: I mean we got some other sidebars in there as well.
• 2:13
  Speaker 1: Oh yeah.
• 2:14
  Speaker 2: I talked about the Iron Maiden gallop, which is you know,
• 2:18
  Speaker 2: I would say, the prime that and like, you know,
• 2:21
  Speaker 2: the harmonized lead guitars. I would say, probably, you know,
• 2:23
  Speaker 2: those are like the primary musical motifs that they use
• 2:28
  Speaker 2: most of the time. I did one about the creation
• 2:31
  Speaker 2: of Eddie, the longest surfing mascot in history. I think
• 2:37
  Speaker 2: one about their third singer, Blaize Bailey's heart attack, after
• 2:42
  Speaker 2: which he immediately just ran back on stage the second
• 2:45
  Speaker 2: he was able to oh ed force one the plane.
• 2:50
  Speaker 2: That Yeah, just so happens that their singer, Bruce Dickinson, who's,
• 2:55
  Speaker 2: you know, one of the greatest living singers you know,
• 2:58
  Speaker 2: is also a licensed commercial airline pilot who flies them
• 3:02
  Speaker 2: around the world, which is why they can hit every
• 3:05
  Speaker 2: continent at you know, relative low cost. Yeah, there's a
• 3:09
  Speaker 2: lot in there. And as we were putting the finishing
• 3:13
  Speaker 2: touches on it, Paul Diano, the original singer, passed away,
• 3:18
  Speaker 2: and Nicko McBrain had to step down as their touring
• 3:24
  Speaker 2: drummer because he had a stroke that really compromised his
• 3:28
  Speaker 2: mobility on his right side, so he can't he could
• 3:32
  Speaker 2: not do the Trooper Phil, which I've said is like
• 3:36
  Speaker 2: Linda Ronstadt not being able to sing. That's just like
• 3:40
  Speaker 2: horrible tragic. Although I understands he is still playing and
• 3:46
  Speaker 2: you know, still doing his thing and still running rock
• 3:49
  Speaker 2: and roll ribs, the greatest rib place in Florida, so
• 3:53
  Speaker 2: he's he keeps it going. But I will say, I
• 3:57
  Speaker 2: feel very bad for him that he can't be up
• 3:59
  Speaker 2: there right now. I'm sure it's very upsetting to him
• 4:03
  Speaker 2: be on tour with those guys.
• 4:04
  Speaker 1: Iron't Maiden for you? You say that experience of becoming
• 4:09
  Speaker 1: a fan was less immediate infatuation than a slow subduction.
• 4:14
  Speaker 1: How did you become a fan?
• 4:15
  Speaker 2: Well, I mean, for my experience, I think is pretty typical.
• 4:19
  Speaker 2: You know, I'm gen X, so I saw them on
• 4:21
  Speaker 2: MTV like a lot of people, and at first it
• 4:26
  Speaker 2: was like, Wow, geez, what's what's the what's the story
• 4:29
  Speaker 2: with these guys? Yikes? But I think you know, their
• 4:34
  Speaker 2: their realness and their authenticity and the fact that they
• 4:39
  Speaker 2: were just absolutely unapologetic and everything that they did. I mean,
• 4:44
  Speaker 2: even in the time when I wasn't listening to them,
• 4:46
  Speaker 2: you could tell that about them, that this was the
• 4:48
  Speaker 2: real thing. And you know, finally, by like the late eighties,
• 4:53
  Speaker 2: I finally like gravitated more towards there. You know, Seventh
• 4:58
  Speaker 2: Son was the first rac there's that I bought as
• 5:02
  Speaker 2: you know, as it came out, you know, as I
• 5:05
  Speaker 2: was a fan because I was late to the party
• 5:08
  Speaker 2: to all the earlier stuff. But you know, I mean,
• 5:11
  Speaker 2: it's like if you can, you cannot deny some of
• 5:14
  Speaker 2: those songs, And even if you know they're maybe not
• 5:20
  Speaker 2: your thing or whatever, there's you know, really accessible stuff,
• 5:25
  Speaker 2: you know like Run to the Hills and the Trooper,
• 5:27
  Speaker 2: and you know that it gives a lot of people
• 5:30
  Speaker 2: an entry point. And for me that it was it
• 5:35
  Speaker 2: was easy to come in and decide, oh, I'm at
• 5:38
  Speaker 2: home here. As soon as that happened.
• 5:41
  Speaker 1: Let's go back to the beginning. Christmas Day, nineteen seventy five,
• 5:44
  Speaker 1: to be exact. Chapter one is titled Merry Christmas, mister Harris,
• 5:47
  Speaker 1: Bye by Football, Hello Prague. How does Iron Maiden come
• 5:51
  Speaker 1: to be?
• 5:52
  Speaker 2: I was taken to task for this already in one review,
• 5:55
  Speaker 2: But it was it was his idea that he wanted
• 5:58
  Speaker 2: to have this band iron that he had on that day.
• 6:01
  Speaker 2: It was not formed on that day, so to that person,
• 6:05
  Speaker 2: I said that, but that was the day that he
• 6:08
  Speaker 2: was like, I saw this movie The Man in the
• 6:11
  Speaker 2: Iron Mask. They had this thing in it called an
• 6:15
  Speaker 2: Iron Maiden. That is a cool ass name for a band,
• 6:19
  Speaker 2: and I am calling my band that. Then it takes
• 6:23
  Speaker 2: some time to actually get the band together, but you know,
• 6:27
  Speaker 2: he had the idea right off the Bat and you know,
• 6:30
  Speaker 2: and he designed the logo right off the bat and
• 6:33
  Speaker 2: you know, he was not even twenty at the time
• 6:37
  Speaker 2: when he thought of those things, and you know, had
• 6:39
  Speaker 2: those ideas which were still today, they're still going. You know,
• 6:46
  Speaker 2: the Eddie mascot was from the early days. You know,
• 6:50
  Speaker 2: they had all these ideas early on that have just
• 6:52
  Speaker 2: lasted the whole time, and that's that's really unusual.
• 6:56
  Speaker 1: The debut single, Running Free was released on Feburary eighth, Tanadian.
• 7:00
  Speaker 1: That's notably because it's the first appearance of the band's mascot, Eddie.
• 7:05
  Speaker 1: Let's talk about him some more. What is the origin
• 7:08
  Speaker 1: story there?
• 7:09
  Speaker 2: Yeah, a friend of their lights guy, the guy who
• 7:12
  Speaker 2: did lights at their shows. In fact, they even called
• 7:15
  Speaker 2: him Dave Lights Beasley, you know with the scare quotes.
• 7:20
  Speaker 2: I think it was a friend of his. They just
• 7:22
  Speaker 2: it was a paper machine mask that they molded on
• 7:25
  Speaker 2: his face and that was just behind them on stage
• 7:30
  Speaker 2: when they would play these little clubs, and at the
• 7:32
  Speaker 2: end for the big finale, it would like vomit blood,
• 7:37
  Speaker 2: usually on the back of their drummer, who was not
• 7:42
  Speaker 2: happy about that. But you know, show business, you know,
• 7:45
  Speaker 2: the show must go on. And it just got more,
• 7:50
  Speaker 2: It got bigger as it went on. But you know,
• 7:53
  Speaker 2: when they really put in you know, I think when
• 7:54
  Speaker 2: they like really put in an identity to it was
• 7:57
  Speaker 2: when Derrick Riggs designed the rawing that they picked and
• 8:02
  Speaker 2: that just became Eddie and it was perfect, you know,
• 8:06
  Speaker 2: in the book at their manager, Rod Smallwood, you know,
• 8:12
  Speaker 2: came in with all these drawings that Derek Riggs had
• 8:15
  Speaker 2: done and said, what, you know, which one of these
• 8:16
  Speaker 2: do you like for the cover? And they all pointed
• 8:19
  Speaker 2: at the same one and that was the picture, the
• 8:22
  Speaker 2: picture of Eddie, and they were right on target with that,
• 8:28
  Speaker 2: and it's just gotten bigger and crazier as the years
• 8:31
  Speaker 2: have gone on. But it just started on some guy's face.
• 8:34
  Speaker 1: You're right. Quote. Some bands take a couple of albums
• 8:37
  Speaker 1: to hit their stride. Iron Maiden's self titled debut had
• 8:39
  Speaker 1: no such issues, released April eleventh, nineteen eighty Running Free
• 8:43
  Speaker 1: and Sanctuary the singles pretty different lineup than the one
• 8:47
  Speaker 1: music fans know or the casual Maiden fan may know.
• 8:51
  Speaker 1: Tell us about the album. Who's in the lineup and
• 8:54
  Speaker 1: why you're a fan of it.
• 8:56
  Speaker 2: The original singer Paul Deiano, he's he does the vocals
• 9:01
  Speaker 2: and their lead guitar player on that was Dennis Stratton,
• 9:05
  Speaker 2: who was a little bit older than the other guys
• 9:07
  Speaker 2: in the band and not like one hundred percent metal
• 9:11
  Speaker 2: as they were, but he was just a very good
• 9:15
  Speaker 2: guitar player, really good musician, and for him, he was
• 9:19
  Speaker 2: really into, you know, sort of the challenge of it
• 9:22
  Speaker 2: because it was not really his thing, but he said,
• 9:25
  Speaker 2: you know, their their sound was very unique. They had
• 9:28
  Speaker 2: their own edge, and I respected that, and so he
• 9:31
  Speaker 2: was really approaching it in that way. Unfortunately, apparently he
• 9:36
  Speaker 2: listened to stuff like Steelee Dan and the Eagles in
• 9:40
  Speaker 2: his off hours, and the and their manager like that
• 9:44
  Speaker 2: became this problem between him and the and their manager
• 9:49
  Speaker 2: and Steve Harris, and he was asked to leave, which
• 9:52
  Speaker 2: seems a little weird to me. But to me, he's like,
• 9:56
  Speaker 2: when I listened to that record, to the debut, like,
• 9:59
  Speaker 2: I can't say anything bad about that record at all.
• 10:01
  Speaker 2: I think it's perfect from start to finish. All the
• 10:05
  Speaker 2: playing is top notch. Everything is just completely on point.
• 10:09
  Speaker 2: And you know, I mean, to me, the thing that
• 10:12
  Speaker 2: people listening to Iron Maiden today would be most surprised
• 10:15
  Speaker 2: by is just how like raw and savage that first
• 10:20
  Speaker 2: record is, you know, because we think of them now
• 10:22
  Speaker 2: they're a lot more grandiose, I guess in what they do.
• 10:26
  Speaker 2: But at the time they were like that was the
• 10:29
  Speaker 2: sound of a band who would cut you. You know,
• 10:32
  Speaker 2: if you ran into them in an alley, they would
• 10:35
  Speaker 2: cut you. And Paul Deiano even carried a blade around
• 10:39
  Speaker 2: with him, you know. So you know, they had just
• 10:43
  Speaker 2: this real thuggish kind of energy that I think really
• 10:46
  Speaker 2: worked for them in the early days. And did I
• 10:47
  Speaker 2: mention all the songs are great on that first record,
• 10:50
  Speaker 2: I skip nothing.
• 10:51
  Speaker 1: Ever, well, do they revisit those songs?
• 10:55
  Speaker 2: Yeah? They still do Running Free. The song Iron Maiden
• 10:59
  Speaker 2: is on their or so you know they do that
• 11:01
  Speaker 2: all the time. They I mean, they do everything from
• 11:05
  Speaker 2: their entire catalog. There really isn't There is no period
• 11:08
  Speaker 2: really that they downplay.
• 11:10
  Speaker 1: Okay, so it's not a Seemi Higgar. I'm not going
• 11:13
  Speaker 1: to sing the Dave stuff unless I absolutely have to know.
• 11:16
  Speaker 2: Every Bruce Dickenson saying all you know, not all the material,
• 11:23
  Speaker 2: but the material from both singers who were in the band.
• 11:26
  Speaker 2: When he wasn't in it, he had no attitude about
• 11:29
  Speaker 2: it whatsoever. Uh, you know, and I think Steve Harris
• 11:32
  Speaker 2: sees the whole thing is kind of a continuum that
• 11:36
  Speaker 2: we are Iron Maiden, this is what we've done. Some
• 11:39
  Speaker 2: people maybe have come and gone, but Eddie is forever,
• 11:44
  Speaker 2: and as long as you know, Eddie is there forever,
• 11:47
  Speaker 2: so are all these songs. At least to me, that's
• 11:50
  Speaker 2: kind of how I look at it. It's it's been
• 11:52
  Speaker 2: a you know, it's it's been a consistent thing, regardless
• 11:55
  Speaker 2: of whether you know one person has been in or
• 11:58
  Speaker 2: out of it. But that, yeah, they still do all
• 12:01
  Speaker 2: the old stuff, they do the new stuff.
• 12:04
  Speaker 1: Deanna was on another album. It's not like they got
• 12:07
  Speaker 1: they removed him right away. He was on Killers and
• 12:10
  Speaker 1: also A Live plus One. Yeah, a Live plus One
• 12:14
  Speaker 1: was a live album, so that came before the second album.
• 12:17
  Speaker 2: So Killers, I would say the same thing also about
• 12:19
  Speaker 2: the debut. It is excellent from start to finish. Those
• 12:23
  Speaker 2: are the only two Iron Maiden albums where I don't
• 12:27
  Speaker 2: skip any songs when I listened to them. I've listened
• 12:29
  Speaker 2: to the whole thing start to finish, and it's like
• 12:33
  Speaker 2: that Killers has a little bit of an edge on
• 12:37
  Speaker 2: the debut for me because of a couple of the songs.
• 12:41
  Speaker 2: But that is just like raw, savage stuff. And you know,
• 12:44
  Speaker 2: I think people who discovered them when the music was
• 12:47
  Speaker 2: a little more slick, if they go back and listen
• 12:50
  Speaker 2: to that stuff, they'll be very surprised by it.
• 12:53
  Speaker 1: Chapter ten is titled did He Try Tea with Honey
• 12:56
  Speaker 1: and Lemon? Made in parts of Diano? The title is
• 12:59
  Speaker 1: a hint as to led to Diano's departure if you
• 13:02
  Speaker 1: talk about that, how he was relieved by the band's
• 13:05
  Speaker 1: decision to let him go, which is interesting, and what
• 13:07
  Speaker 1: he went on to do in the years after made
• 13:09
  Speaker 1: he was.
• 13:10
  Speaker 2: Not taking care of himself on the road.
• 13:12
  Speaker 1: You know.
• 13:12
  Speaker 2: I mean, when you're singing, you really have to take
• 13:15
  Speaker 2: care of your voice or you it will go you know.
• 13:17
  Speaker 2: I mean even singers who do take care of their voice,
• 13:20
  Speaker 2: it goes out on them. Sometimes it just happens. But
• 13:25
  Speaker 2: you know, he was a young man and liked a
• 13:28
  Speaker 2: young man's pursuits. Uh, and it was not good for him,
• 13:32
  Speaker 2: and uh, you know, like that that got to be
• 13:35
  Speaker 2: an issue, but more for him. What he said was,
• 13:39
  Speaker 2: you know, the thing, this thing is just going to
• 13:41
  Speaker 2: get bigger and bigger. And I just don't know if
• 13:44
  Speaker 2: that's what I want. Uh, and when you know he's decided, okay,
• 13:48
  Speaker 2: we're going to part ways now. He was actually kind
• 13:51
  Speaker 2: of relieved by that, like you said, because now he
• 13:55
  Speaker 2: didn't have you know, that the band that they became
• 13:59
  Speaker 2: this like stadium packing entity. Uh you know, I mean
• 14:03
  Speaker 2: he had no way of seeing that they would become that.
• 14:06
  Speaker 2: But certainly seeing like you're going to be on tour
• 14:08
  Speaker 2: for the next two years, that does give some people pause,
• 14:13
  Speaker 2: you know, even people who are really committed. And you know,
• 14:15
  Speaker 2: because I'm sure I know he was committed, and uh,
• 14:18
  Speaker 2: you know he was there during you know, the early
• 14:21
  Speaker 2: days of the band when it's the hardest. Uh. But
• 14:24
  Speaker 2: you know, you after a while it just became not uh,
• 14:29
  Speaker 2: not right for him and not right for them, I
• 14:31
  Speaker 2: think is the best way to say it.
• 14:33
  Speaker 1: And then he went on to a solo career. Did
• 14:35
  Speaker 1: he put out a lot of studio albums?
• 14:37
  Speaker 2: Yeah, uh he had. He did one band called Gagamugog
• 14:43
  Speaker 2: and another one called battle Zone, and he also toured
• 14:46
  Speaker 2: under Just Diano and just under Paul Diano. Uh, and
• 14:51
  Speaker 2: you could not stop him.
• 14:53
  Speaker 1: Uh.
• 14:53
  Speaker 2: He performed in a wheelchair for a while as his
• 14:57
  Speaker 2: health was really failing. Towards the end. You know, so
• 15:00
  Speaker 2: the guy was a lifer, totally dedicated, but you know,
• 15:04
  Speaker 2: the Maiden, the Maiden plan is not for everybody. But
• 15:09
  Speaker 2: you know, I know, I'm pretty sure he was happy
• 15:12
  Speaker 2: with what he was doing, even at a smaller scale
• 15:15
  Speaker 2: after that. And as far as money is concerned, he said,
• 15:20
  Speaker 2: those guys always took care of me. They did right
• 15:22
  Speaker 2: by me. I'm good.
• 15:23
  Speaker 1: Okay. I was going to ask you, how are things
• 15:26
  Speaker 1: between him and the band after he left? Did they
• 15:28
  Speaker 1: maintain any kind of relationship?
• 15:31
  Speaker 2: Yeah? And at the end, actually they they he got
• 15:35
  Speaker 2: really sick with a bunch of things, and towards the end,
• 15:39
  Speaker 2: Maiden paid all his medical expenses. Oh wow, which is
• 15:43
  Speaker 2: I mean, that's pretty solid. You know, when their original drummer,
• 15:47
  Speaker 2: Clive Burr, he got multiple sclerosis and he couldn't play anymore.
• 15:53
  Speaker 2: But they, you know, they helped sort of customize his
• 15:57
  Speaker 2: house in his car because he was wheelchair bound at
• 16:01
  Speaker 2: that point, and they helped them with all those expenses,
• 16:04
  Speaker 2: and you know, they they really did the right thing.
• 16:06
  Speaker 1: That is so cool.
• 16:08
  Speaker 2: Yeah. You know, everyone who was ever in the band
• 16:11
  Speaker 2: is you know, still has a connection to the band,
• 16:13
  Speaker 2: and you don't hear you know, Dennis Stratton from the
• 16:16
  Speaker 2: first record, or you know Blaize Bailey who sang from
• 16:20
  Speaker 2: them later. You just don't hear them going like those guys,
• 16:24
  Speaker 2: they're awful. You never get in the same room with them.
• 16:27
  Speaker 2: Those are terrible people, you know. I mean that when
• 16:32
  Speaker 2: they had to leave for one reason or another, they
• 16:34
  Speaker 2: were not happy about it, obviously, you know they were
• 16:36
  Speaker 2: upset by that. But they always stayed in touch with
• 16:39
  Speaker 2: them and always had a good relationship. You know, to
• 16:45
  Speaker 2: this day it's still a good relationship.
• 16:48
  Speaker 1: That's a great story to hear, especially in that business
• 16:51
  Speaker 1: that you don't hear those stories often.
• 16:53
  Speaker 2: They have. Most of what I know about them, they've
• 16:56
  Speaker 2: conducted themselves the right way and done the right thing
• 17:00
  Speaker 2: most of the time. No one back to a thousand,
• 17:03
  Speaker 2: as we all know when I from what I know,
• 17:07
  Speaker 2: they've really tried to be above board and how they
• 17:09
  Speaker 2: treat people.
• 17:11
  Speaker 1: Booked on rock Podcasts We'll be back after this Bam.
• 17:15
  Speaker 2: The Future rock and.
• 17:17
  Speaker 1: Roll Iron Maiden at fifty is the book. The author
• 17:22
  Speaker 1: is Daniel bucks Band. Chapter eleven, titled The Air Raid Siren,
• 17:26
  Speaker 1: Bruce Dickinson joins, How does Bruce, once known as Bruce Bruce.
• 17:30
  Speaker 1: Bruce Bruce while in a band Samson, how does he
• 17:33
  Speaker 1: end up joining Iron Maiden? And speaking of nicknames, what's
• 17:36
  Speaker 1: behind that title the air Raid Siren.
• 17:39
  Speaker 2: He was Bruce Bruce in a band called Samson, who
• 17:42
  Speaker 2: were a heavy metal band, you know, at the same
• 17:45
  Speaker 2: time as Iron Maiden. And when Iron Maiden were first
• 17:48
  Speaker 2: coming up, they opened for Samson. But then like Samson's
• 17:52
  Speaker 2: label had some problems and they eventually shut down, and
• 17:56
  Speaker 2: eventually Samson was opening for Iron Maiden, and I think
• 18:00
  Speaker 2: they did Redding Festival and it was clear that, you know,
• 18:05
  Speaker 2: Samson was over after Redding Festival, but Paul Diiano was
• 18:10
  Speaker 2: still an Iron Maiden and Rod Small, with their manager,
• 18:15
  Speaker 2: had a talk with Bruce Dickenson saying, this is what
• 18:19
  Speaker 2: we're playing, you know, And it was kind of a
• 18:22
  Speaker 2: kind of behind the scenes sort of thing that you know,
• 18:27
  Speaker 2: not great probably for everybody, but yeah, they he auditioned,
• 18:33
  Speaker 2: you know, he auditioned for for them. They sang, he
• 18:36
  Speaker 2: did four songs with them. He was in the band immediately,
• 18:40
  Speaker 2: and oh and he his nickname is the air Raid Siren.
• 18:46
  Speaker 2: And when I first heard that, I was like, that's great,
• 18:48
  Speaker 2: that's fantastic, what a great name for him. And then
• 18:54
  Speaker 2: it turned out I found out it was a fan
• 18:57
  Speaker 2: wrote in who really liked Paul Diano. And this fan
• 19:02
  Speaker 2: was very angry because he was like, you got this
• 19:05
  Speaker 2: new guy and he sings all my all my favorite
• 19:08
  Speaker 2: Iron Maiden songs. It makes them sound like an air
• 19:11
  Speaker 2: raid siren. But you know, they they, you know, they
• 19:16
  Speaker 2: took the He took it and was like thank you, and.
• 19:20
  Speaker 1: Took a negative and a negative and turned it into a positive.
• 19:24
  Speaker 2: Yeah. Yeah, it's you know, it's like if you know
• 19:26
  Speaker 2: when someone calls you, you know, the you know, the
• 19:28
  Speaker 2: biggest jerk in the universe, and you're like, thank you,
• 19:30
  Speaker 2: thank you exactly.
• 19:33
  Speaker 1: Speaking speaking of that, then you know it's funny. You know.
• 19:36
  Speaker 1: I had you on to talk about Ozzie's book, Ozzie.
• 19:40
  Speaker 1: Was it Ozzie at seventy five?
• 19:42
  Speaker 2: Yeah, And I put up a.
• 19:44
  Speaker 1: Highlight clip of when you were telling the story about
• 19:47
  Speaker 1: the doves, you know, Ozzie biting the head off the dove,
• 19:50
  Speaker 1: and some somebody commented they were not happy with me
• 19:55
  Speaker 1: that I was. I was laughing at the craziness of Ozzie.
• 19:59
  Speaker 1: I wasn't laughing at biting the head off of an animal.
• 20:03
  Speaker 1: That's not funny. And boy, she was just like, do
• 20:06
  Speaker 1: you think that's funny, Eric, you're a jerk or something
• 20:10
  Speaker 1: like that. I said, oh my god. You know I
• 20:11
  Speaker 1: usually I don't respond. I go, oh my god, come on,
• 20:14
  Speaker 1: please are we let let's just let's just make sure
• 20:16
  Speaker 1: we're clear of this. I'm not laughing. The idea of
• 20:19
  Speaker 1: biting a head off of an animal is not fun.
• 20:21
  Speaker 2: You're not. But everyone on the internet has something to say,
• 20:26
  Speaker 2: and if I may, you should have responded with thank you.
• 20:30
  Speaker 2: I hope it was painful.
• 20:32
  Speaker 1: I should have taken it. Yes, I should have taken
• 20:34
  Speaker 1: the Bruce Dickinson approach on that one. Oh my god,
• 20:37
  Speaker 1: that just you reminded me of that when you mentioned that.
• 20:40
  Speaker 1: So Dickinson, the results are immediate with him in the band.
• 20:44
  Speaker 1: Nineteen eighty two's Number of the Beast was their first
• 20:46
  Speaker 1: UK number one and it features two songs that are
• 20:49
  Speaker 1: forever part of Iron Maiden history, which are Run to
• 20:52
  Speaker 1: the Hills and the Number of the Beast. And everything
• 20:54
  Speaker 1: seemed to fall in place with Bruce and the band,
• 20:56
  Speaker 1: and not just vocally, because you talk about how producer
• 20:59
  Speaker 1: Martin Birch really push him to sing higher and harder,
• 21:02
  Speaker 1: and he did. But also Steve Harris now can write
• 21:05
  Speaker 1: music that he wanted to write all along. Now he's
• 21:09
  Speaker 1: able to.
• 21:10
  Speaker 2: Yeah, I don't know if people really knew quite what
• 21:13
  Speaker 2: Harris had in mind, you know, when when he was thinking,
• 21:17
  Speaker 2: you know, maybe this Paul Deiano guy that we have
• 21:20
  Speaker 2: has some as good as he is, he has some limitations.
• 21:24
  Speaker 2: I don't know that he was necessarily thinking, I want
• 21:27
  Speaker 2: that guy from Samson called Bruce Bruce, but you know,
• 21:32
  Speaker 2: I'm sure he was thinking, like, you know, maybe the
• 21:34
  Speaker 2: next guy could have, you know, a bigger range or
• 21:37
  Speaker 2: something like that, you know, and it just so happens that,
• 21:40
  Speaker 2: you know, Bruce Dickinson is one of the greatest heavy
• 21:43
  Speaker 2: metal singers in the world, you know, and if everybody
• 21:47
  Speaker 2: wants the greatest heavy metal singer in the world for
• 21:49
  Speaker 2: their band, but he, like, he actually got it. So
• 21:52
  Speaker 2: I don't know how much they understood his capability when
• 21:56
  Speaker 2: they first got him, or if that was something that
• 21:58
  Speaker 2: they sort of figured out once they were in the
• 22:00
  Speaker 2: studio with him and everything. But you know, when you
• 22:03
  Speaker 2: listen to Hallow be Thy Name, you know, the last
• 22:06
  Speaker 2: song on Number of the Beast no offense to Paul Deianno,
• 22:11
  Speaker 2: the late great Paul Deianno, whom we love. He didn't
• 22:14
  Speaker 2: have the range for it. I mean, the vocal range.
• 22:17
  Speaker 2: It wasn't possible. There's you know, he goes to Bruce Dickinson,
• 22:22
  Speaker 2: goes to very high in some parts of it and
• 22:25
  Speaker 2: pretty low in other parts of it. And their performance
• 22:31
  Speaker 2: in nineteen eighty two at Hammersmith of that song, which
• 22:35
  Speaker 2: is all over MTV, very easy to find, I highly
• 22:38
  Speaker 2: recommend it. His vocal on that is just amazing. And
• 22:43
  Speaker 2: there's no part of the song that where you feel like, Okay,
• 22:47
  Speaker 2: he's just kind of winging it here, or okay he's
• 22:50
  Speaker 2: just kind of phoning it in here, or like every
• 22:52
  Speaker 2: part of it he's absolutely on point. And that's just
• 22:57
  Speaker 2: something about him that I found, you know, through route
• 23:00
  Speaker 2: all of Iron Maiden's records, is there's just no part
• 23:03
  Speaker 2: of it where he does the easy thing. And so
• 23:07
  Speaker 2: you know, every time we listen we listen to them, it's,
• 23:10
  Speaker 2: you know, we're kind of taken into this sort of
• 23:14
  Speaker 2: unexpected place that's a little bit beyond what we can
• 23:17
  Speaker 2: imagine and certainly beyond what we're capable of doing ourselves.
• 23:22
  Speaker 1: And so that helps Steve Harris songwriting wise, you could
• 23:25
  Speaker 1: write some pieces of music now that he couldn't before
• 23:29
  Speaker 1: because of the vocal range.
• 23:30
  Speaker 2: Yeah, and also just because of you know, Dickinson also
• 23:34
  Speaker 2: was a good songwriter.
• 23:36
  Speaker 1: That's what I was going to ask you. Yeah, how
• 23:37
  Speaker 1: much does he contribute to this songwriting?
• 23:39
  Speaker 2: He contributed a lot. And the guitar player who replaced
• 23:43
  Speaker 2: the guitar player on the first record, Adrian Smith. He
• 23:47
  Speaker 2: and Dickenson ended up like kind of pairing up a
• 23:51
  Speaker 2: little bit and writing songs together, and a lot of
• 23:54
  Speaker 2: them I think are some of Maiden's best songs, like
• 23:56
  Speaker 2: two Minutes to Midnight, which no Maiden or can happen
• 24:02
  Speaker 2: without it, you know that, you know what I mean.
• 24:05
  Speaker 2: That's that's just top flight Maiden right there. An excellent
• 24:09
  Speaker 2: example of them at their best. So Dickens said he
• 24:13
  Speaker 2: really had a lot to offer, you know, and again
• 24:14
  Speaker 2: it's you know, Paul Deianno wrote lyrics too, He wrote
• 24:17
  Speaker 2: music too, but it was just different with Brups. It
• 24:21
  Speaker 2: was just a different thing entirely, and that's that's really
• 24:24
  Speaker 2: the distinction.
• 24:25
  Speaker 1: Clive Burr is on Number of the Beast. He plays
• 24:27
  Speaker 1: drums on that album, but soon we would see the
• 24:29
  Speaker 1: arrival of another beloved member of Maiden, Nico McBrain, the
• 24:34
  Speaker 1: decision to remove Burr. He's partying too hard too.
• 24:37
  Speaker 2: That is what he was told. He denied that, you
• 24:41
  Speaker 2: know the way he told it, that he had to
• 24:44
  Speaker 2: leave the band to go back home because they were
• 24:47
  Speaker 2: on tour in America and he had to go back
• 24:50
  Speaker 2: home because his father died. And so Nico, who they
• 24:54
  Speaker 2: knew already from this other band called Trust, was going
• 24:58
  Speaker 2: to sit in for sit in for Clive while they
• 25:02
  Speaker 2: did their tour dates. But when he came back, they
• 25:06
  Speaker 2: decided they just they wanted to keep Nicko. And the
• 25:10
  Speaker 2: whole thing sounds a little like we don't really know
• 25:14
  Speaker 2: what the whole story was there, you know, because you
• 25:18
  Speaker 2: know Steve Harris as one thing, Clive bur says another thing,
• 25:22
  Speaker 2: and you just kind of get the feeling the truth
• 25:25
  Speaker 2: is somewhere in the middle. But again, these guys, I
• 25:30
  Speaker 2: really have to kind of hand it to them. They
• 25:32
  Speaker 2: don't get out there and just like talk a lot
• 25:35
  Speaker 2: of shit about each other and said, you know, there's
• 25:38
  Speaker 2: no feuding in the press or you know, they don't
• 25:42
  Speaker 2: do that. They're here and there, But for the most part.
• 25:45
  Speaker 2: They don't do that even when they're out of the band,
• 25:48
  Speaker 2: you know. Clive bur said, obviously, who wasn't happy about it,
• 25:52
  Speaker 2: and he thought it was a very unfortunate thing. But
• 25:56
  Speaker 2: he just went on to his next band and got
• 25:59
  Speaker 2: on with it and played until he couldn't anymore.
• 26:02
  Speaker 1: First album with Niko is eighty three's Peace of Mind,
• 26:05
  Speaker 1: featuring Flight of Vicarus and The Trooper, two more iconic
• 26:08
  Speaker 1: Maiden songs, and the final track on the album is
• 26:11
  Speaker 1: Interesting to Tame a Land. If they were up to
• 26:14
  Speaker 1: the band, they would have called it Dune with different lyrics.
• 26:17
  Speaker 1: You cover this topic in chapter fourteen, which is titled Revelations.
• 26:21
  Speaker 1: Frankie Herbert hates Iron Maiden.
• 26:23
  Speaker 2: Yes, he said so, you know, while he had his
• 26:26
  Speaker 2: assistant say so, you know, because they wanted to do
• 26:31
  Speaker 2: this song about the book Doune. There's all these lyrics
• 26:35
  Speaker 2: in it that are just come directly. I don't know
• 26:37
  Speaker 2: if you've read the book, but it's it's direct.
• 26:40
  Speaker 1: Yeah, I had the book. It's been locked out. The
• 26:42
  Speaker 1: movie came out around that time, right with Sting.
• 26:45
  Speaker 2: The movie came out in eighty four. Yeah, so Peace
• 26:48
  Speaker 2: of Mind was a year earlier and I must give
• 26:53
  Speaker 2: Steve Harris credit because a lot of the songs that
• 26:57
  Speaker 2: he's written are based on the book, but not the
• 27:00
  Speaker 2: adaptation of the book. So he actually reads. He's a reader,
• 27:04
  Speaker 2: not a lot of readers in this genre, I got
• 27:06
  Speaker 2: to say, but no, he They wanted to call it Dune.
• 27:11
  Speaker 2: They sent a letter to Frank Herbert's office, may we
• 27:15
  Speaker 2: call it done? And basically the guys like, absolutely not.
• 27:19
  Speaker 2: I don't like rock music. I don't like heavy rock music,
• 27:22
  Speaker 2: and I especially don't like heavy rock bands like Iron Maiden. Again,
• 27:26
  Speaker 2: this is through his assistant.
• 27:28
  Speaker 1: So I'm hearing the Steve Martin will excuse me.
• 27:32
  Speaker 2: Yeah, yeah, pretty much. So they had to call it
• 27:34
  Speaker 2: to Tame a Land Wow, which is fine. Uh, And
• 27:39
  Speaker 2: I don't I don't think it would have done anything
• 27:41
  Speaker 2: to sales of you know, copies of Done One Way
• 27:45
  Speaker 2: or whatever they had called it. But yeah, it was
• 27:49
  Speaker 2: that was That was sad. That was sad. They just
• 27:51
  Speaker 2: they just wanted to do a nice tribute to the guy,
• 27:54
  Speaker 2: and he went very sad.
• 27:56
  Speaker 1: Book on Rock podcast will be back after this.
• 27:59
  Speaker 2: Now might be a dandytown for that.
• 28:01
  Speaker 1: Recess Maiden's run continues with nineteen eighty four's power sleeve
• 28:07
  Speaker 1: that features two Minutes to Midnight and mentioned that one
• 28:09
  Speaker 1: ace is High. That is followed by nineteen eighty six
• 28:12
  Speaker 1: is Somewhere in Time, features Wasted Years and Stranger in
• 28:16
  Speaker 1: a Strange Land. The title of chapter seventeen is It's
• 28:19
  Speaker 1: no Turbo Maiden gets a lunch break now. The titles
• 28:23
  Speaker 1: refern to Judas priest controversial album from the same year
• 28:27
  Speaker 1: which I didn't even realize, which is Turbo, which that
• 28:29
  Speaker 1: had notable change commercial glam metal sound synthesizers in it.
• 28:33
  Speaker 1: For the first time on Somewhere in Time, Maiden incorporates
• 28:38
  Speaker 1: guitar synthesizers, so first for them as well. And it's,
• 28:41
  Speaker 1: you say, the most slickly produced and ornately arranged thing
• 28:44
  Speaker 1: the band had ever done. What response did the album
• 28:47
  Speaker 1: get from fans and critics? And how did afair compared
• 28:49
  Speaker 1: to Priest Turbo.
• 28:51
  Speaker 2: Priest Turbo is hated to this day. But a lot
• 28:56
  Speaker 2: of that, I must be blunt with you, is because
• 28:59
  Speaker 2: the songs are all terrible. Uh, it's not just the arrangement.
• 29:02
  Speaker 2: The arrangement that that's a problem, and all the synthesizers
• 29:07
  Speaker 2: were a problem, but the songs are awful. If the
• 29:10
  Speaker 2: songs had been good, maybe this would be a different discussion.
• 29:13
  Speaker 2: All the songs on Somewhere in Time are good. That's
• 29:17
  Speaker 2: that's really the difference. And also it wasn't as like
• 29:21
  Speaker 2: drenched in synthesizers as Turbo was Turbo. The title just
• 29:27
  Speaker 2: should have been we're using a lot of synthesizers on
• 29:29
  Speaker 2: this one.
• 29:30
  Speaker 1: You know, uh yeah, that would have been funny for
• 29:34
  Speaker 1: the album title.
• 29:35
  Speaker 2: I mean, that's how everyone talks about it. So maybe,
• 29:38
  Speaker 2: you know, with Somewhere in Time, I mean, it's still
• 29:42
  Speaker 2: sounded like Iron Maiden. It's still the songwriting, it still
• 29:45
  Speaker 2: sounded like them, and the you know, the keyboards are there,
• 29:49
  Speaker 2: but they're not like, you know, super obnoxious, like you know,
• 29:54
  Speaker 2: who the hell are these guys all of a sudden.
• 29:56
  Speaker 2: I do remember people complaining about it.
• 29:58
  Speaker 1: Anyway, though, another eight sidebar on the book, and you
• 30:02
  Speaker 1: talk about this at the beginning, and I find this fascinating,
• 30:06
  Speaker 1: the band's hallmark galloping rhythm sound. You really get into
• 30:10
  Speaker 1: this in the history of it started on the song Killers,
• 30:13
  Speaker 1: and then again on the songs The Trooper and Run
• 30:15
  Speaker 1: to the Hills. You're right. Quote though Maiden gets a
• 30:18
  Speaker 1: lot of credit for this musical motif. They did not
• 30:20
  Speaker 1: invent it, not by a long shot. This goes all
• 30:24
  Speaker 1: the way back to the nineteenth century.
• 30:26
  Speaker 2: The William tell overture, which a lot of people will
• 30:29
  Speaker 2: call the Lone Ranger song. It has that sort of
• 30:34
  Speaker 2: it basically has that rhythm to it and that sort
• 30:36
  Speaker 2: of get you know. I don't know if that's the
• 30:38
  Speaker 2: first time it ever appears in Western music, but it's
• 30:42
  Speaker 2: the earliest famous example. And you know, in music theory
• 30:48
  Speaker 2: it's two sixteenth notes and an eighth note for those
• 30:50
  Speaker 2: of you listening at home who have studied music theory,
• 30:54
  Speaker 2: but it does. It's that like and you only find
• 30:59
  Speaker 2: it in the William Telloverture and heavy metal. Uh it's
• 31:04
  Speaker 2: and it's such a like identifiably heavy metal thing. You
• 31:10
  Speaker 2: do not see it in other genres ever, except in
• 31:15
  Speaker 2: no more words by the band Berlin other than that, Wow,
• 31:21
  Speaker 2: I've never heard it. And I remember hearing that and
• 31:23
  Speaker 2: being like, wow, they're doing the galloping their sound.
• 31:29
  Speaker 1: What's that Steve Harris had said, He's like, that's cool
• 31:31
  Speaker 1: that we're associated with that, but we're more than just that.
• 31:35
  Speaker 2: Yeah, but that's that's a pretty big deal.
• 31:39
  Speaker 1: I still it's cool man love it.
• 31:41
  Speaker 2: It's really the thing they're known for, you know. And
• 31:43
  Speaker 2: they didn't do it first, that you know, and certainly
• 31:46
  Speaker 2: a lot of bands that were influenced by them really
• 31:48
  Speaker 2: ran with it and did different things with it that
• 31:51
  Speaker 2: were really interesting. But people just respond to the gallop
• 31:56
  Speaker 2: all the time. New listeners, they just immediate we respond
• 32:00
  Speaker 2: to that, and it's just a very strong motif, you know,
• 32:04
  Speaker 2: it's hard not to react to it.
• 32:06
  Speaker 1: Chapter eighteen is titled seventh Son of a Seventh Son
• 32:09
  Speaker 1: America disappoints Steve Harris. You lead this with quote too
• 32:13
  Speaker 1: many longtime fans In nineteen eighty eight, Seventh Son of
• 32:15
  Speaker 1: a Seventh Son is the best album Iron May never recorded.
• 32:19
  Speaker 1: Can I Play with Madness? The Evil that Men Do?
• 32:21
  Speaker 1: And the Clairvoyant all from this one when platinum, But
• 32:24
  Speaker 1: Harris felt it could have done better. What was his
• 32:27
  Speaker 1: frustration with the US fans? And was he right?
• 32:30
  Speaker 2: It was not quite as popular in the US as
• 32:34
  Speaker 2: it was in the UK. And he I think wanted
• 32:38
  Speaker 2: also that it was going to be even bigger than
• 32:41
  Speaker 2: somewhere in time. But unfortunately, right around then things were,
• 32:45
  Speaker 2: you know, things were starting to change in the US
• 32:48
  Speaker 2: in terms of metal and you know, stuff like Metallica
• 32:52
  Speaker 2: and Slayer and stuff like that was you know, nineteen
• 32:54
  Speaker 2: eighty eight when Seventh Son came out. That's the same
• 32:57
  Speaker 2: year as Injustice for All by Metallica, South of Heaven
• 33:03
  Speaker 2: by Slayer, State of Euphoria by Anthrax. I mean that
• 33:07
  Speaker 2: was that was really a moment of you know, thrash
• 33:10
  Speaker 2: metal coming in metal Fancer. We're still into Maiden and
• 33:14
  Speaker 2: I still bought that record, but you know, here comes
• 33:17
  Speaker 2: the new pretty girl, you know, the younger, sexier you know, uh,
• 33:23
  Speaker 2: you know, I mean it they got through it because
• 33:26
  Speaker 2: Maiden gets through everything. But I mean I remember at
• 33:32
  Speaker 2: the time, it was if you were into metal most
• 33:36
  Speaker 2: of the time you're you were definitely talking about Metallica
• 33:39
  Speaker 2: or Slayer or something like that, and you know, more
• 33:41
  Speaker 2: classic stuff. Uh, you know, Judas Priest Iron Maiden Doo
• 33:46
  Speaker 2: was starting. I wouldn't say to decline, but people were
• 33:52
  Speaker 2: into the new thing. Is probably more accurate to say.
• 33:56
  Speaker 1: I'm assuming time has been kind to Seventh Son of
• 33:59
  Speaker 1: a Seventh Son here in the States.
• 34:01
  Speaker 2: Oh well, I mean, first of all, like I said,
• 34:03
  Speaker 2: there are some Maiden fans who absolutely swear by that record,
• 34:06
  Speaker 2: and they're like that that's the one that's their best record.
• 34:09
  Speaker 2: That's it, and you cannot you cannot tell them otherwise
• 34:13
  Speaker 2: they will fight you, you know. But yeah, no, I
• 34:17
  Speaker 2: mean it's you know now, you know, everyone is like,
• 34:19
  Speaker 2: oh yeah, I loved that record. That was great. I
• 34:22
  Speaker 2: loved it right when it came out, you know. But
• 34:25
  Speaker 2: it's really solid. It's great all the way through. Can
• 34:28
  Speaker 2: I Play with Madness is probably my least favorite song
• 34:32
  Speaker 2: on it, but it's still really strong record. It's got
• 34:34
  Speaker 2: great stuff on it. And you know, if you like concepts,
• 34:37
  Speaker 2: it's united. It's unified, and it's great stuff on it.
• 34:41
  Speaker 1: Chapter twenty titled agonizing a member of the classic lineup
• 34:45
  Speaker 1: moves on another quote from you here. Iron Maiden's classic
• 34:47
  Speaker 1: nineteen eighties lineup ended in December nineteen eighty eight after
• 34:51
  Speaker 1: a tour ending performance at Hammersmith Odeon in the band's
• 34:54
  Speaker 1: hometown of London. No one knew yet, but the lineup
• 34:57
  Speaker 1: was about to fracture. So let's talk about the de
• 35:00
  Speaker 1: archer of Adrian Smith. In nineteen eighty nine.
• 35:03
  Speaker 2: He felt that, you know, the direction that the band
• 35:07
  Speaker 2: was going in creatively, where it was progressive and there
• 35:10
  Speaker 2: were synthesizers and these epics, you know, was really the
• 35:15
  Speaker 2: way to go. And as they were starting to talk
• 35:18
  Speaker 2: about the next record that they would do, Steve Harris
• 35:21
  Speaker 2: was talking about that he wanted to really, you know,
• 35:23
  Speaker 2: strip it down. This may have been kind of a
• 35:28
  Speaker 2: reaction to what was going on in the US with
• 35:32
  Speaker 2: thrash metal. Possibly that's a theory of mine. I don't
• 35:35
  Speaker 2: know if that's the case or not. But he was like,
• 35:39
  Speaker 2: we're going to strip everything down, and the stage sets
• 35:41
  Speaker 2: are going to be small, We're going to take it
• 35:44
  Speaker 2: way down. And Adrian Smith didn't want any part of that.
• 35:48
  Speaker 2: He said that he thought the direction that they were
• 35:50
  Speaker 2: already on was great and he really loved it and
• 35:53
  Speaker 2: he couldn't see any reason to deviate from that at
• 35:58
  Speaker 2: that point. So he left and he took a lot
• 36:03
  Speaker 2: of good songwriting with him. Unfortunately, and to me, the
• 36:07
  Speaker 2: results on the next album, the Strip Down one, you
• 36:12
  Speaker 2: can tell that they lost a very important part of
• 36:16
  Speaker 2: the picture when they lost him, because No Prayer for
• 36:20
  Speaker 2: the Dying, in my opinion, is the absolute worst record
• 36:23
  Speaker 2: they ever made. There is nothing good on it. And
• 36:28
  Speaker 2: I can completely understand if someone told me Adrian Smith
• 36:33
  Speaker 2: bought that record, took it home, put it on, and went, oh,
• 36:36
  Speaker 2: thank god, I left it just the right time. I
• 36:39
  Speaker 2: would believe them that bad.
• 36:41
  Speaker 1: What about Fear of the Dark that came in ninety three.
• 36:43
  Speaker 2: Fear of the Dark, I feel is marginally better because
• 36:46
  Speaker 2: instead of having no good songs, it has two good songs.
• 36:50
  Speaker 2: One of them is the title track, which they still play.
• 36:54
  Speaker 2: But I feel like at that point they were kind
• 36:58
  Speaker 2: of pulling in different directions and like maybe just not
• 37:02
  Speaker 2: you know, I mean, they like I said, they like
• 37:05
  Speaker 2: I said, they never phoned it in. They were never like,
• 37:07
  Speaker 2: let's just throw something out there and we don't care.
• 37:10
  Speaker 2: But you can still care and put a lot of
• 37:13
  Speaker 2: effort into something and it doesn't get across for whatever reason.
• 37:18
  Speaker 2: And you know, on the rare occasions when I ever
• 37:20
  Speaker 2: listen to those records, it's it just always feels like
• 37:23
  Speaker 2: something's not right here. It's very much like Black Sabi's
• 37:29
  Speaker 2: thirteen album, where when I listen to that, I'm sort
• 37:34
  Speaker 2: of like, well, there's nothing, there's nothing wrong with it.
• 37:37
  Speaker 2: I hear all the things I'm supposed to hear, like
• 37:41
  Speaker 2: all the you know, all the maiden things you expect
• 37:43
  Speaker 2: to hear are on no prayer for the dying and
• 37:47
  Speaker 2: Fear of the Dark. But it's like it's just there's
• 37:50
  Speaker 2: something beyond that that's not there and you and you
• 37:54
  Speaker 2: notice it, you miss it. I can't say what it is,
• 37:57
  Speaker 2: but something is not right. I don't know.
• 38:00
  Speaker 1: Yeah. Well, and Bruce Dickinson, he wouldn't be there much longer.
• 38:03
  Speaker 1: He leaves after Fear of the Dark. This was a
• 38:06
  Speaker 1: risk that he was taking. He knew it was a risk,
• 38:09
  Speaker 1: but he still did it. What was his reason and
• 38:11
  Speaker 1: how did his bandmates respond?
• 38:13
  Speaker 2: There had been a couple of moments up up until
• 38:16
  Speaker 2: then when he felt like Iron Maiden should do this,
• 38:21
  Speaker 2: and like on Somewhere in Time he submitted a bunch
• 38:24
  Speaker 2: of acoustic songs which you know, would not have fit
• 38:28
  Speaker 2: in and were, in my opinion, rightly rejected. So he
• 38:32
  Speaker 2: doesn't have any songs on that album at all. But
• 38:34
  Speaker 2: I think for him that was a little bit that
• 38:39
  Speaker 2: that was a little bit alienating to him, and I
• 38:42
  Speaker 2: think he was just, you know, after Seventh Son, I
• 38:45
  Speaker 2: think he was starting to feel like it was getting
• 38:47
  Speaker 2: to be a bit a bit of a job at
• 38:50
  Speaker 2: that point as opposed to a passion.
• 38:53
  Speaker 1: And maybe that's part of what you're hearing in those
• 38:55
  Speaker 1: two albums, that's something missing along with obviously Adrian not
• 39:00
  Speaker 1: being there.
• 39:01
  Speaker 2: Yeah maybe. I mean, you know, he had been doing it.
• 39:04
  Speaker 2: At that point. He'd been with the band for ten years.
• 39:07
  Speaker 2: For a young person, that's a very long time to
• 39:10
  Speaker 2: be you know, that probably feels like forever. He had
• 39:14
  Speaker 2: problems just with the touring schedule even before then, during
• 39:18
  Speaker 2: Life After Death, and you know, I think he had
• 39:23
  Speaker 2: just the very understandable desire to see what he could
• 39:26
  Speaker 2: do on his own. The big hit single from No
• 39:31
  Speaker 2: Prayer for the Dying bring Your Daughter to the Slaughter.
• 39:35
  Speaker 2: He originally wrote that as a solo thing that he
• 39:38
  Speaker 2: was going to put on a movie soundtrack. Iron Maiden
• 39:41
  Speaker 2: ended up appropriating it, but I think he kind of
• 39:44
  Speaker 2: got a taste of it, and then when he did
• 39:48
  Speaker 2: his own solo stuff before leaving Iron Maiden, I think
• 39:53
  Speaker 2: it just sort of fell to him like again, oh,
• 39:56
  Speaker 2: here's the pretty new girlfriend, and let's see we can
• 40:00
  Speaker 2: do here, you know again. And I'm not and I'm
• 40:04
  Speaker 2: not like trying to give them a hard time or anything.
• 40:06
  Speaker 2: I think, you know, those are all very understandable, uh
• 40:10
  Speaker 2: feelings and impulses, But you know, we all, we all
• 40:15
  Speaker 2: sometimes get distracted by you know, who's who's that, Who's
• 40:18
  Speaker 2: that lady? You know.
• 40:20
  Speaker 1: Yeah, Well, his bandmate seem to be supportive of it.
• 40:22
  Speaker 1: But I think it's in the book where they talk
• 40:24
  Speaker 1: about they maybe it was Steve Harrison's saying, Okay, we'll
• 40:28
  Speaker 1: let you finish out the tour here, but he kind
• 40:30
  Speaker 1: of regrets that.
• 40:31
  Speaker 2: Well, the band, the band felt like it again that
• 40:34
  Speaker 2: you know, at the end and that last leg of
• 40:37
  Speaker 2: that tour before he left. Uh, they were you know,
• 40:40
  Speaker 2: and again I was not there. I don't know to
• 40:43
  Speaker 2: what degree this is true, but they were saying that
• 40:46
  Speaker 2: like he would really only make an effort if they
• 40:49
  Speaker 2: were in like Paris or London or you know, some
• 40:53
  Speaker 2: major city. But you know, if they were in Iowa City, Uh,
• 40:58
  Speaker 2: he would maybe not try. Is hard. Uh and that
• 41:02
  Speaker 2: really bothered them. Uh yeah, he Bruce Dickinson's take is different, Uh,
• 41:08
  Speaker 2: you know where he said just that everyone knew he
• 41:10
  Speaker 2: was leaving, so the vibe you know, coming from the
• 41:14
  Speaker 2: audience was a little weird and was hard for him
• 41:17
  Speaker 2: to work with.
• 41:18
  Speaker 1: You know.
• 41:19
  Speaker 2: Again, this is probably one of those things where the
• 41:21
  Speaker 2: truth is somewhere in the middle. Again, but Nico himself said,
• 41:28
  Speaker 2: by the end of that tour, we could not wait
• 41:30
  Speaker 2: to get rid of him. So you know, but I
• 41:33
  Speaker 2: must say, also as a former musician myself, when you
• 41:39
  Speaker 2: go on tour with other musicians, if it goes on
• 41:42
  Speaker 2: for a really long time, you will start to hate
• 41:45
  Speaker 2: them and they will start to hate you. So again, inevitable. Yeah, yeah,
• 41:50
  Speaker 2: it's just too long with the same people and in
• 41:53
  Speaker 2: a in a bus and it's it's gonna there will
• 41:56
  Speaker 2: be problems.
• 41:57
  Speaker 1: Book On podcast will be back after.
• 42:00
  Speaker 2: This short pause. Hold your breast for the Dynamic duo.
• 42:07
  Speaker 1: They recorded two albums with Blaze Bailey ninety five's The
• 42:11
  Speaker 1: X Factor ninety eighth Virtual eleven. You say the band
• 42:15
  Speaker 1: wanted to go in a new direction, and while Bailey's
• 42:17
  Speaker 1: tenure with the group has remained polarizing, they got the
• 42:20
  Speaker 1: change they wanted. So what's your opinion of those two
• 42:23
  Speaker 1: albums and the Blaze Bailey era.
• 42:25
  Speaker 2: I'm actually a huge fan of both records. I really
• 42:29
  Speaker 2: think they're good. Virtual Leafin Has Future Real and The Klansmen,
• 42:38
  Speaker 2: which are both like bangers, just absolute bangers. They still
• 42:43
  Speaker 2: play them too.
• 42:44
  Speaker 1: Dickinson sings those Yeah, yeah, that's cool.
• 42:47
  Speaker 2: Yeah, and as all the comments sections say, he is better,
• 42:51
  Speaker 2: he is better than Blaze. But no, I like Blaize.
• 42:56
  Speaker 2: I think he's a good singer. I thought he was.
• 42:57
  Speaker 2: Really he was good on those records. There's you know,
• 43:01
  Speaker 2: live video out there of him fronting Maiden. You know,
• 43:05
  Speaker 2: you sit there watching and it's like, this is different.
• 43:08
  Speaker 2: And that's probably what the problem was was like a
• 43:12
  Speaker 2: lot of people just could not accept how different it was.
• 43:15
  Speaker 2: His voice is very different from Bruce's. He's not that
• 43:19
  Speaker 2: kind of like operatic singer at all. He said so himself,
• 43:25
  Speaker 2: you know what I mean. You know what that unfortunately
• 43:28
  Speaker 2: turns into among fans who are talking is he sucks,
• 43:33
  Speaker 2: which is not which is not true. He's gotten a
• 43:36
  Speaker 2: really bad rap over the years, and there are people
• 43:39
  Speaker 2: who still just will never get on board with that
• 43:42
  Speaker 2: period that he was in. But I think those two
• 43:45
  Speaker 2: records are actually the two best records made and did
• 43:48
  Speaker 2: in the nineties.
• 43:50
  Speaker 1: Wow.
• 43:51
  Speaker 2: I think that there's a lot to them. The X
• 43:54
  Speaker 2: Factor has really great stuff on it and like you know, again,
• 43:59
  Speaker 2: none of it is fund none of it is half assed. Uh,
• 44:03
  Speaker 2: you kind of get the feeling almost that, like you know,
• 44:06
  Speaker 2: Steve Harris is I think his father had died and
• 44:10
  Speaker 2: he was getting divorced while that record was being made,
• 44:14
  Speaker 2: and Bruce had left the band. There was just a
• 44:16
  Speaker 2: lot of turmoil and I feel like he just challenged,
• 44:19
  Speaker 2: he challenged channeled it really well.
• 44:22
  Speaker 1: Nineties it was crazy with with just that whole with
• 44:24
  Speaker 1: the grunge era, the bands changing singers, Motley Crue without
• 44:29
  Speaker 1: Vince Neil and John Krobbie steps in and of course
• 44:33
  Speaker 1: the Sharon with Van Halen, and it was just all
• 44:35
  Speaker 1: these bands were Ripper Owens with Judas Priest.
• 44:39
  Speaker 2: Yeah, I mean all of those guys. I feel really
• 44:42
  Speaker 2: bad for all of them because, you know, they stepped
• 44:44
  Speaker 2: into the breach at a time when metal was like
• 44:47
  Speaker 2: absolutely unhip. Nobody was anymore right, but they were. You know,
• 44:53
  Speaker 2: they got those bands through that time when it seemed like,
• 44:58
  Speaker 2: you know, maybe this it forever, Maybe you know, we're done,
• 45:02
  Speaker 2: maybe it's over.
• 45:03
  Speaker 1: What kind of venues did they play with with Blaize Bailey.
• 45:06
  Speaker 2: They the venues got a lot smaller in the UK
• 45:10
  Speaker 2: and the US, uh in the rest of Europe and
• 45:14
  Speaker 2: South America, they were playing stadiums and like beating attendance
• 45:18
  Speaker 2: records and really, yeah, but you know, you need you
• 45:23
  Speaker 2: need to be popular in the US and the UK though,
• 45:26
  Speaker 2: that's the thing and you and Blaze himself said that
• 45:30
  Speaker 2: he knew it was really hard for the other guys,
• 45:33
  Speaker 2: you know, who had paid their dues already and who
• 45:36
  Speaker 2: had like really been to the top of the mountain
• 45:37
  Speaker 2: to now kind of get this demotion, uh to small
• 45:41
  Speaker 2: clubs and that you know, it was the same for
• 45:43
  Speaker 2: you know, Sabbath went through the same thing too with
• 45:46
  Speaker 2: Tony Martin. Uh, you know, it was it was just
• 45:49
  Speaker 2: a really hard time. Uh Doo was playing clubs. Doo
• 45:54
  Speaker 2: opened for Maiden at one point during that period, which
• 45:57
  Speaker 2: you know, Blaize Bailly himself was like, I'm opening for
• 46:01
  Speaker 2: you know, God is opening for us. God should not
• 46:04
  Speaker 2: be opening for me in.
• 46:06
  Speaker 1: The twilight Zone. Is this really happening?
• 46:09
  Speaker 2: Yeah, I mean it was a really I remember it
• 46:12
  Speaker 2: very well. It was just a really rough time for
• 46:14
  Speaker 2: Nettle generally. But to you know, to Maiden's credit, they
• 46:19
  Speaker 2: still do those songs. They acknowledge that period, they're proud
• 46:24
  Speaker 2: of that period. Judas Priest will never play a Ripper
• 46:28
  Speaker 2: Owen song ever when they step on stage, you know,
• 46:33
  Speaker 2: but you know, in Maiden's case, they're proud of what
• 46:35
  Speaker 2: they did, and they're proud of everything that was under
• 46:38
  Speaker 2: the Eddie banner.
• 46:40
  Speaker 1: So you know, it's part of the complete body of
• 46:43
  Speaker 1: work that is Iron Made.
• 46:44
  Speaker 2: Absolutely, Yeah, and I encourage people to go back and
• 46:49
  Speaker 2: listen to those records and try not to imagine Bruce
• 46:54
  Speaker 2: Dickinson singing them, try to accept them for what they are.
• 46:57
  Speaker 2: Those are good records, except for on Virtual eleven, there's
• 47:02
  Speaker 2: a song called The Angel and the Gambler, which is
• 47:05
  Speaker 2: the worst song Iron Maiden ever worked. Okay, so just
• 47:09
  Speaker 2: skip that one. But everything else, everything else, Yeah, the
• 47:12
  Speaker 2: other seventeen songs are great.
• 47:14
  Speaker 1: Yeah, listen with an open mind. So Adrian Smith rejoins
• 47:17
  Speaker 1: in nineteen ninety nine, and so did Bruce Dickinson, and
• 47:20
  Speaker 1: I remember this well. This made a lot of headlines
• 47:23
  Speaker 1: among the classic rock fan base, you know, on the websites.
• 47:28
  Speaker 1: The media was loving this because this was a period
• 47:31
  Speaker 1: where we had the Kiss reunion, and reunions were a thing.
• 47:35
  Speaker 1: Two thousand's Brave New World was released with Bruce and
• 47:39
  Speaker 1: Adrian back. Aujanet Gerz, who replaced Adrian in nineteen ninety remained,
• 47:44
  Speaker 1: which is interesting, very in line with just what you're
• 47:47
  Speaker 1: saying about Iron Maid and it's like, worries, man, we're
• 47:50
  Speaker 1: not going to replace you or we're not going to
• 47:52
  Speaker 1: remove you and have the other guy come back. Just
• 47:55
  Speaker 1: stick around.
• 47:56
  Speaker 2: Well they, I mean they really didn't. Adrian Smith himself
• 48:00
  Speaker 2: said like, if it had been that they had me
• 48:02
  Speaker 2: back and we're back to like just the you know,
• 48:04
  Speaker 2: the Peace of Mind line up again, the five of us,
• 48:08
  Speaker 2: there would have been too much baggage. But because there's
• 48:11
  Speaker 2: this sixth guy, it's a it's a different band and
• 48:15
  Speaker 2: so there is no baggage. And you know, the sound
• 48:19
  Speaker 2: is different. The way they behave on stage is different,
• 48:25
  Speaker 2: you know, and you know, having three guitar players, they
• 48:28
  Speaker 2: can do all kinds of you know, craziness now. So
• 48:32
  Speaker 2: it is it is different, and you know the music
• 48:35
  Speaker 2: is more progressive too than what they were doing in
• 48:38
  Speaker 2: the eighties. And some of that progressive sound I do
• 48:43
  Speaker 2: feel started with Blaze because that's that's when the song
• 48:47
  Speaker 2: started to get more epic and eleven minutes long, although
• 48:50
  Speaker 2: they had done long songs already, but they really kind
• 48:55
  Speaker 2: of took that and ran with it. When those guys came.
• 48:57
  Speaker 1: Back, the Wackerman out of the Silent Planet. Those are
• 49:01
  Speaker 1: the singles, A number thirty nine album on Billboard, number
• 49:04
  Speaker 1: seven in the UK. The reunion tour big success. I
• 49:07
  Speaker 1: saw them on that tour. I think they were on
• 49:09
  Speaker 1: Were they on Ozfest?
• 49:11
  Speaker 2: They were on oz Fest in two thousand and five
• 49:14
  Speaker 2: and there was an incident, okay, but yeah, supposedly there
• 49:20
  Speaker 2: was this whole thing where Sharon Osbourne was throwing exit them. Yeah,
• 49:29
  Speaker 2: they were playing, yeah, fine, whatever. What I would really
• 49:34
  Speaker 2: like to say though, about the Ozzie camp and the
• 49:37
  Speaker 2: Iron Maiden camp, is that when Ozzie passed away, Maiden
• 49:41
  Speaker 2: put out a very nice statement saying, like, you know,
• 49:45
  Speaker 2: this guy, you know, none of us would even be
• 49:48
  Speaker 2: here without him. He is, you know, fundamental to this
• 49:52
  Speaker 2: music that we make and that we love and we
• 49:54
  Speaker 2: make our living off of. And then after that they go,
• 49:57
  Speaker 2: our condolence are sinceris condolence is to Sharon and the
• 50:02
  Speaker 2: entire Osborne family. So they did it exactly right as
• 50:06
  Speaker 2: I saw it, and you know, they said nothing about
• 50:09
  Speaker 2: whatever may have happened in the past or whatever. They
• 50:12
  Speaker 2: were totally classy about it, and that to me says
• 50:17
  Speaker 2: a lot about it who they are as people.
• 50:20
  Speaker 1: Yeah, booked on Rock podcasts will be back after this.
• 50:27
  Speaker 1: Find the booked on Rock website at booked on rock
• 50:30
  Speaker 1: dot com. There you can find all the back episodes
• 50:33
  Speaker 1: of the show, the latest episode in video and audio,
• 50:36
  Speaker 1: links to all of the platforms where you can listen
• 50:38
  Speaker 1: to the podcast, plus all the social media platforms were
• 50:41
  Speaker 1: on Blue Sky, Facebook, Instagram, TikTok, and x. Also check
• 50:45
  Speaker 1: out the Booked on Rock blog. Find your local independent bookstore,
• 50:49
  Speaker 1: find out all the latest hot rock book releases, and
• 50:52
  Speaker 1: before you go, check out the Booked on Rock online store.
• 50:55
  Speaker 1: Pick up some booked on Rock merch. It's all at
• 50:58
  Speaker 1: booked on rock dot com. The legacy of Iron Maiden
• 51:02
  Speaker 1: Following that successful comeback album and tour, it just gets
• 51:05
  Speaker 1: bigger and bigger and bigger the tours expand. In twenty fifteen,
• 51:10
  Speaker 1: the Book of Soul's album hit number one, number four
• 51:14
  Speaker 1: in the US, number one I think in the UK.
• 51:19
  Speaker 1: Is that I think I have that right, the Book
• 51:21
  Speaker 1: of Souls. It's one UK four in the US, I think.
• 51:25
  Speaker 2: But they had hit number one with the album forty
• 51:27
  Speaker 2: three countries. Yeah, I mean they were yeah. Final Frontier,
• 51:32
  Speaker 2: the one they put out in twenty ten, the one
• 51:34
  Speaker 2: before Book of souls. Okay, I think that that went
• 51:38
  Speaker 2: that was the first one to go top ten in
• 51:40
  Speaker 2: the US. I think, Sorry, I'm getting all my different
• 51:44
  Speaker 2: Billboard charts mixed up here, but yeah, I mean they
• 51:48
  Speaker 2: were a stadium band and selling in stadium band quantities
• 51:53
  Speaker 2: at that point, you know. And it's funny because to
• 51:55
  Speaker 2: a lot of people made in as an eighties metal band,
• 51:59
  Speaker 2: but they have never been bigger than they are now
• 52:02
  Speaker 2: and last twenty years. I mean, they're one hundred times
• 52:06
  Speaker 2: bigger than they ever were, you know, and mostly you know,
• 52:10
  Speaker 2: a lot of it is because they can fly around
• 52:12
  Speaker 2: on their own jet so they can play places like
• 52:15
  Speaker 2: India and Saudi Arabia, New Zealand that most bands just
• 52:20
  Speaker 2: skip those places because they're too expensive to get to it.
• 52:24
  Speaker 1: It's not worth it for most cost effective.
• 52:26
  Speaker 2: Yeah, yeah, for them, it's cost effective. And you know,
• 52:30
  Speaker 2: they did other things. You know. This again, this kind
• 52:33
  Speaker 2: of resides in rumor land, but I put it in
• 52:37
  Speaker 2: the book. Anyway. Supposedly they were following a bit Torrent
• 52:44
  Speaker 2: traffic and seeing where the places were where the most
• 52:50
  Speaker 2: illegal downloading of Iron Maiden music was happening, and they
• 52:54
  Speaker 2: said to themselves, let's tour in those places. Brilliant if
• 52:59
  Speaker 2: it if it's true that happened allegedly, right, I remember.
• 53:04
  Speaker 1: That in the early two thousands, bit Torrent yeah yeah,
• 53:07
  Speaker 1: now sharing.
• 53:08
  Speaker 2: Yeah yeah, and Gene Simmons said we're going to sue
• 53:12
  Speaker 2: all of those people who download Kiss albums, and Iron
• 53:16
  Speaker 2: Maiden said, we're going to tour where all those people
• 53:19
  Speaker 2: are instead. And so they have a huge following in
• 53:22
  Speaker 2: South America and Eastern Europe, you know, and all these
• 53:25
  Speaker 2: places where it's hard they don't you know, you don't
• 53:32
  Speaker 2: have a record store around the corner. It was not
• 53:36
  Speaker 2: as easy and a lot of these places to get
• 53:39
  Speaker 2: their music. But you know, even in the nineteen eighties
• 53:43
  Speaker 2: when they played in Poland when it was still a
• 53:46
  Speaker 2: communist country, and you know, getting one of their records
• 53:50
  Speaker 2: was just completely out of reach. People would smuggle them in.
• 53:56
  Speaker 2: So people are willing to break the law to hear
• 53:58
  Speaker 2: Iron Maiden music. Yeah, and Iron Maiden are like, let's
• 54:02
  Speaker 2: exploit that as opposed to let's punish them.
• 54:05
  Speaker 1: Right, Why why swim against the tide? Swim with it, roll.
• 54:10
  Speaker 2: With it one hundred and uh. They did the right thing,
• 54:13
  Speaker 2: and my opinion it paid off for them.
• 54:16
  Speaker 1: Yeah, Senjitsu in twenty twenty one. Another one that was
• 54:20
  Speaker 1: studio album number seventeen, number one in several countries, number
• 54:24
  Speaker 1: three in the US. Going back to your introduction, you
• 54:26
  Speaker 1: say it feels weird to be writing a retrospective book
• 54:29
  Speaker 1: about Iron Maiden because they are still going strong. Talk
• 54:33
  Speaker 1: a little bit more about you talked at the top
• 54:35
  Speaker 1: about the fact that Iron Maiden is still going. They're
• 54:38
  Speaker 1: touring right now, So what is the current status of
• 54:40
  Speaker 1: Iron Maiden.
• 54:41
  Speaker 2: As far as I can tell, they intend to continue
• 54:45
  Speaker 2: until all of them are dead. That's you know. Bruce
• 54:49
  Speaker 2: Dickinson said as much. We will probably all die on stage.
• 54:54
  Speaker 2: I bet Nico McBrain if he could have would have
• 54:56
  Speaker 2: loved to die on stage. He would have loved nothing
• 54:58
  Speaker 2: more than that. But you know, he had to step down.
• 55:03
  Speaker 2: They brought in this new guy, Simon Dawson, and they've
• 55:06
  Speaker 2: not missed a beat from what I can tell, and
• 55:09
  Speaker 2: I expect them to just basically to continue for as
• 55:11
  Speaker 2: long as Steve Harris says we're going on, because he
• 55:15
  Speaker 2: really is the guy.
• 55:16
  Speaker 1: Studio albums included. Yeah, we're gonna get back in the
• 55:20
  Speaker 1: studio probably.
• 55:21
  Speaker 2: I mean, he's I read something today where Bruce Dickinson
• 55:26
  Speaker 2: was talking about wanting to make a new Maiden album
• 55:28
  Speaker 2: soon and Steve Harris said something like we don't have
• 55:32
  Speaker 2: time right now, which, of course the clickbait headline was
• 55:36
  Speaker 2: Steve Harris doesn't know if there will ever be But no,
• 55:41
  Speaker 2: the reality is just they're on tour through next year,
• 55:44
  Speaker 2: you know, I mean right now is not they can't
• 55:48
  Speaker 2: book studio.
• 55:49
  Speaker 1: Steve Harris shocks Maiden fans.
• 55:52
  Speaker 2: I hate that stuff in all cats. It's so dishonest,
• 55:56
  Speaker 2: it is. Yeah, but he when they continue, that will
• 56:02
  Speaker 2: be disproven. So you know, the reality of it speaks
• 56:05
  Speaker 2: for itself now and it doesn't really matter what the
• 56:08
  Speaker 2: clickbait headlines say. I expect them to go on. I
• 56:13
  Speaker 2: just I can't see. Steve Harris just kind of seems
• 56:16
  Speaker 2: to me like the kind of guy who's not happy
• 56:18
  Speaker 2: sitting still, and he would just want to continue. You know,
• 56:24
  Speaker 2: there's the age thing, because they're all around seventy now,
• 56:27
  Speaker 2: and you know, and you can't do this forever, you know,
• 56:31
  Speaker 2: And we've we've talked on previous podcasts about like, you know,
• 56:36
  Speaker 2: Neil Peart having to stop playing because of what was
• 56:39
  Speaker 2: going on with his body when Black Sabbath got back
• 56:44
  Speaker 2: together in the twenty tens. You know, Bill Ward didn't
• 56:48
  Speaker 2: join them, but they got this much younger guy who's
• 56:52
  Speaker 2: an Aussi's solo band to play, to play drums for them.
• 56:56
  Speaker 2: And when I saw them, I was I was really feeling, like,
• 56:59
  Speaker 2: you know, playing heavy metal drums is a young man's
• 57:04
  Speaker 2: pursuit and once you get to be like sixty five seventy,
• 57:07
  Speaker 2: it's just really hard on your body. It's just really
• 57:09
  Speaker 2: hard to do. And I'm sure all these guys would
• 57:13
  Speaker 2: love nothing more than to just still be playing, but
• 57:17
  Speaker 2: sometimes your body doesn't let you.
• 57:19
  Speaker 1: Alex van Halen, Yeah, right, yeah, exactly. In fact, Alex,
• 57:24
  Speaker 1: I saw a video with Alex and Nico together. They
• 57:27
  Speaker 1: got received it was a drum magazine award and they
• 57:32
  Speaker 1: were together having a good laugh together.
• 57:35
  Speaker 2: Yes, as unemployed drummers, I guess. Yeah, they were commiserating. No,
• 57:41
  Speaker 2: but you know, it's you can. You can be a
• 57:44
  Speaker 2: seventy year old guitar player. Being a seventy year old
• 57:48
  Speaker 2: heavy metal drummer is very different. And certainly my hat's
• 57:52
  Speaker 2: off to what you know, Ian Pace from Deep Purple
• 57:55
  Speaker 2: is still going yep. Ginger Baker was playing all the
• 57:59
  Speaker 2: way up until he died when he was eighty, but
• 58:02
  Speaker 2: he had severe arthritis and talked about how, you know,
• 58:05
  Speaker 2: just how difficult it was, but they want to and
• 58:09
  Speaker 2: as long as they want to, and the part of
• 58:12
  Speaker 2: them that wants to is stronger than their physical limitations,
• 58:16
  Speaker 2: they can do it. Unfortunately, just the sometimes the physical
• 58:20
  Speaker 2: limitations speak louder than how much you want to do something, you.
• 58:25
  Speaker 1: Know, as poor Phil Collins, Yeah.
• 58:28
  Speaker 2: That's that's grim or Ozzy Osbourne, you know, having to
• 58:32
  Speaker 2: you know, sit there obviously not doing well but still
• 58:37
  Speaker 2: wanting to perform. You know, that's that's tough, you know.
• 58:41
  Speaker 2: But you know, all these all these guys now are
• 58:43
  Speaker 2: getting up there and you know, we who are younger
• 58:47
  Speaker 2: and got into them later and all that sort of thing,
• 58:49
  Speaker 2: you know, seeing them age. I don't know how many
• 58:52
  Speaker 2: of them really counted on that when they started.
• 58:55
  Speaker 1: I was going to say that yet they never think
• 58:57
  Speaker 1: past the age of thirty that.
• 59:00
  Speaker 2: Hope I die before I get old, you know, And
• 59:03
  Speaker 2: and now they're all old. That's that's got to be
• 59:06
  Speaker 2: kind of rough for them.
• 59:07
  Speaker 1: I know.
• 59:08
  Speaker 2: Pete Townsend has people, you know, ten times a day
• 59:11
  Speaker 2: saying to him like so now you're old. How do
• 59:14
  Speaker 2: you feel about that? Oh? Yeah, right, yeah, and he
• 59:17
  Speaker 2: has to defend himself every time. But I mean, you know,
• 59:20
  Speaker 2: we're up to them.
• 59:21
  Speaker 1: Man. They sound pretty damn good, though I don't sound
• 59:24
  Speaker 1: but I.
• 59:25
  Speaker 2: Mean enough already, you know, Yeah, we get it. You're
• 59:31
  Speaker 2: the thank you. They don't but they don't. I don't know.
• 59:35
  Speaker 2: They don't seem to be enjoying it. And like the
• 59:37
  Speaker 2: things that they say in the press, especially Roger Daltrey,
• 59:41
  Speaker 2: it just it sounds like, dude, you you proved it already.
• 59:44
  Speaker 2: You could, you can? You can? You can go home
• 59:47
  Speaker 2: and guarden and drink tea and you'll be fine.
• 59:50
  Speaker 1: Yeah. I loved but yeah, it does. He does have
• 59:52
  Speaker 1: that vibe of like this is a little bit of
• 59:54
  Speaker 1: work for him. Yeah, hard work, which is I mean
• 59:58
  Speaker 1: to belt out those songs at his age is tough.
• 1:00:02
  Speaker 2: Yeah, I mean he's still able to perform, you know.
• 1:00:05
  Speaker 2: And so is Townsend, you know. And I mean as
• 1:00:08
  Speaker 2: long as they're a you know, in Townshend sad. I
• 1:00:10
  Speaker 2: do this for money, so you know, so there's that.
• 1:00:13
  Speaker 1: But with Maiden, it's it seems like they're doing pretty
• 1:00:16
  Speaker 1: damn good. And Dickens and always seems to be somebody
• 1:00:20
  Speaker 1: who takes good care of himself.
• 1:00:21
  Speaker 2: Yeah, I mean the only uh, the only way I
• 1:00:25
  Speaker 2: can knock him at all is to talk about his
• 1:00:28
  Speaker 2: performance of the Star Spangled Banner a couple of weeks ago.
• 1:00:32
  Speaker 1: Oh not good.
• 1:00:34
  Speaker 2: It was he started, I think, in a higher key
• 1:00:38
  Speaker 2: and then sort of adjusted after like the first sentence,
• 1:00:41
  Speaker 2: and that was a little weird. And it's just it's
• 1:00:43
  Speaker 2: a little pitchy in places. But you don't usually hear
• 1:00:48
  Speaker 2: him singing like at full throttle without the band, so
• 1:00:53
  Speaker 2: you know, with all the you know, the drums and
• 1:00:55
  Speaker 2: guitars and all that stuff going on, you don't hear
• 1:00:58
  Speaker 2: any little flaws or imperfections or whatever that may be
• 1:01:02
  Speaker 2: happening in his voice. When you take all that away,
• 1:01:06
  Speaker 2: then you see everything, you know, and and sometimes it
• 1:01:09
  Speaker 2: doesn't always hold up. But I mean, you know, towards
• 1:01:11
  Speaker 2: the end of it, it was that was Bruce again. Uh,
• 1:01:14
  Speaker 2: you know, operatic, you know, nailing, you know when he
• 1:01:17
  Speaker 2: when he got to Land of the Free, when he
• 1:01:20
  Speaker 2: said free, you know, just extending that to the horizon
• 1:01:24
  Speaker 2: sounded great, you know, but he was only up there
• 1:01:28
  Speaker 2: for like a minute, and that's you know, that's not
• 1:01:30
  Speaker 2: enough time to warm up. That's you know, I don't
• 1:01:32
  Speaker 2: know if he did if he did his mime mimomu
• 1:01:35
  Speaker 2: in the dressing room out there. You know.
• 1:01:37
  Speaker 1: It's I defended Steven Tyler back when he took hits
• 1:01:42
  Speaker 1: for when he did the national anthem at Fenway, and
• 1:01:44
  Speaker 1: everybody's like, oh my god, he's terrible. Like he's a
• 1:01:46
  Speaker 1: rock and roll singer. He's one of the greatest rock
• 1:01:48
  Speaker 1: and roll singers of all time. But you're putting them
• 1:01:50
  Speaker 1: up there and having him do the the national anthem.
• 1:01:53
  Speaker 1: I just it's a different environment. It's a whole different situation.
• 1:01:57
  Speaker 2: It's it's not it's not the same. And it's you know,
• 1:01:59
  Speaker 2: they get they get these people to come and do it.
• 1:02:03
  Speaker 1: Uh.
• 1:02:03
  Speaker 2: And I think we see with you know, certainly with
• 1:02:05
  Speaker 2: like pop singers, it's just they don't get it and
• 1:02:09
  Speaker 2: they sort of they sort of don't understand what that's
• 1:02:12
  Speaker 2: all about and what the people in the stands want.
• 1:02:15
  Speaker 2: And I think that, you know, the people who do
• 1:02:17
  Speaker 2: the best job of singing the national anthem at ballgames
• 1:02:20
  Speaker 2: are usually here's little eight year old you know, Stella,
• 1:02:26
  Speaker 2: who just want to do isn't she great? She's going
• 1:02:30
  Speaker 2: to come, you know, and then everyone's like, oh, she's
• 1:02:32
  Speaker 2: so she's so cute. You know. That's that's my opinion.
• 1:02:35
  Speaker 2: That's really what it's for. I will say though, however,
• 1:02:40
  Speaker 2: in my off hours, when I am resting and relaxing,
• 1:02:44
  Speaker 2: my favorite thing to watch on YouTube is Star Spangled
• 1:02:48
  Speaker 2: Banner Fails.
• 1:02:51
  Speaker 1: Well, I thought you were going to say the what
• 1:02:53
  Speaker 1: you love to do is sing the national anthem at home?
• 1:02:55
  Speaker 2: Okay the minute you show no fire up YouTube and
• 1:03:00
  Speaker 2: oh my god, just it, I'm not guilty, pleasure It's
• 1:03:06
  Speaker 2: and how.
• 1:03:08
  Speaker 1: Booked on Rock Podcasts. We'll be back after this The
• 1:03:11
  Speaker 1: outlook Rosie a future Bride. Hey, guys, thanks so much
• 1:03:19
  Speaker 1: for checking out the Booked on Rock podcast. If you've
• 1:03:21
  Speaker 1: just found the podcast, welcome. If you've been listening, thank
• 1:03:25
  Speaker 1: you so much for your support, and make sure you
• 1:03:27
  Speaker 1: tell a friend, a family member, share on social media
• 1:03:30
  Speaker 1: and let people know about Booked on Rock. And if
• 1:03:33
  Speaker 1: you do like the podcast, make sure you subscribe give
• 1:03:35
  Speaker 1: a five star review. Wherever you listen to the Booked
• 1:03:38
  Speaker 1: on Rock podcast, We're on Amazon, Apple, iHeart, Spotify, Spreaker,
• 1:03:42
  Speaker 1: tune in, and on YouTube music. You can check out
• 1:03:45
  Speaker 1: the full episodes on video, along with video highlights from
• 1:03:48
  Speaker 1: episodes on the Booked on Rock YouTube channel. Find it
• 1:03:51
  Speaker 1: at Booked on Rock. Thanks again for listening. Now back
• 1:03:55
  Speaker 1: to the show, Iron Main fifty. The book is out now.
• 1:03:59
  Speaker 1: It came out September sixteen, so it's out there through
• 1:04:03
  Speaker 1: Motor Books. Find ou where books are sold, look forward
• 1:04:06
  Speaker 1: at your nearest bookstore. You can go to bookdown rock
• 1:04:09
  Speaker 1: dot com to find your nearest independent bookstore. And Daniel,
• 1:04:12
  Speaker 1: you're online where can people find you? Social media websites?
• 1:04:16
  Speaker 2: My website is notorious buk dot com and I'm on
• 1:04:23
  Speaker 2: Instagram just at Daniel Buckspan like it says on the
• 1:04:27
  Speaker 2: spine of my books. I'm on Facebook, same thing, and
• 1:04:34
  Speaker 2: that is my social media presence. And if you want
• 1:04:37
  Speaker 2: to just mail money to my house, I take cash.
• 1:04:40
  Speaker 2: All right.
• 1:04:41
  Speaker 1: That's the maybe the greatest website domain name note notoriousbuk
• 1:04:46
  Speaker 1: dot com.
• 1:04:47
  Speaker 2: I wasn't going to make people spell my last name.
• 1:04:50
  Speaker 1: That's awesome. Daniel, thanks again for coming on. I think
• 1:04:53
  Speaker 1: this was your third appearance on. We had Rush, Ozzie
• 1:04:56
  Speaker 1: and now Maiden, so we'll see. We'll see what's next
• 1:04:59
  Speaker 1: down the road. You got any projects?
• 1:05:01
  Speaker 2: Yeah, I just finished a book about Brushes twenty one
• 1:05:05
  Speaker 2: to twelve called oh Yeah, twenty one to twelve that
• 1:05:09
  Speaker 2: comes out in March. Okay, and later that year I
• 1:05:13
  Speaker 2: have a book about the Big Four Anthrax, Megadeth, Metallica,
• 1:05:17
  Speaker 2: Slayer coming out, and in twenty twenty seven I have
• 1:05:22
  Speaker 2: something else, but I can't say what it is yet.
• 1:05:24
  Speaker 1: Okay, all right, Well, I'll keep the podcast going until
• 1:05:27
  Speaker 1: twenty twenty seven.
• 1:05:28
  Speaker 2: At least, and the Mighty will keep getting in your
• 1:05:32
  Speaker 2: face about booking me and I will be there.
• 1:05:35
  Speaker 1: I'll show Steve Roth from Motor Books. Yeah, yeah, yeah,
• 1:05:38
  Speaker 1: he's the.
• 1:05:39
  Speaker 2: Man, Stephen Lee Roth. Now like for the rest of the.
• 1:05:43
  Speaker 1: Step Stephen Lee Roth. Yeah, he is the co host
• 1:05:45
  Speaker 1: of the DLR cast. By the way, do you know that? Yeah, yeah, Steve.
• 1:05:51
  Speaker 1: All right, Daniel, thanks so much man. This is great
• 1:05:53
  Speaker 1: and I'll talk to you a getting down the road.
• 1:05:54
  Speaker 2: Thanks for having me. Appreciate it.
• 1:06:02
  Speaker 1: That's it. It's in the box.
• 1:06:05
  Speaker 2: M