I really really like the Book of Souls. Speed of Light was a surprising single, Tears of a Clown is perhaps the closest I've ever come to getting teary-eyed at a song, If Eternity Should Fail has a great air about it. And of course Empire of the Clouds! A couple of the songs do fade into the background a little in comparison to them (Great Unknown, Man of Sorrows) but that doesn't mean they're bad. The intro to the Red and the Black isn't a patch in the intro to Blood on the World's Hands though.
The Final Frontier being ten is a bit scary. I remember the cover having my least favourite mainline Eddie, but when I saw him live and he looked like the vindaloo monster from Red Dwarf he grew on me. I'm probably in the minority in that I grew more attached to the first half than the second half of the album, which is a bit weird as I acknowledge that the second half is largely better: the Talisman, When the Wild Wind Blows (which I adore), Isle of Avalon etc. I haven't listened to it properly for around a year or so so I should go back and listen. In fact, I think I will. Oh, and when it was first released I really wasn't a fan of AMOLAD (I've warmed to it since, especially Out of the Shadows and For The Greater Good of God) so Sat 15 followed by the big ol' riff of the title track made me literally breathe a sigh of relief. I do wish they were divided into two tracks, though.
I don't understand the about post about Bruce's weird voice things, I think his voice has matured really well, far more than any metal vocalist of similar age and range. ex-Sabbath Tony Martin these days just lets the crowd sing the high bits, and while Halford can reach those heights he basically has to wind himself by jumping on a foldback amp to do it. Still, both better than Meat Loaf, who just screams get-off-my-land style in his female co-singer's face.
The production though, yes. It was partly why I was turned off of AMOLAD - let them master the record Steve, you yoghurt. Even the jump from The X Factor to Virtual XI was shocking and getting Kevin Shirley in afterward hasn't exactly rectified it. Granted it's not all his fault (Steve
) and the unique production of Brave New World really helps its bleak atmosphere (bar the start of The Wicker Man when Janick's loud obnoxious strat sound farts all over H's sweet Les Paul chugging), but god what I wouldn't give to have Andy Sneap produce a Maiden record in the style of As Live As It Gets or either of the Hell albums.
Opinions expressed in this post are those of RJ Badman and do not reflect the views of Bovril Fluid Beef Ltd.