Iron Maiden Album: “Matter of Life and Death [Bonus DVD]”

THE BAND: Bruce Dickinson (vocals), Steve Harris (bass & keyboards), Adrian Smith (lead & rhythm guitars), Dave Murray (lead & rhythm guitars), Janick Gers (lead & rhythm guitars), Nicko McBrain (drums & percussion).

THE DISC: (2006) 10 songs clocking in at just over 72 minutes. There are 2 versions of the release... 1. the standard disc, and 2. the "limited edition" release with a short DVD included (the DVD includes a 30 minute behind-the-scenes making of the album; "Reincarnation Of Benjamin Breeg" video; studio performance footage of "Different World"; and a Maiden photo gallery). Included with the disc is an 18-page booklet containing many band photos, song titles/credits, song lyrics, dates and tour stops on the '06 World Tour (most outside the U.S.), and thank you's. Steve Harris, as usual, had a hand in writing all tracks, and all band members (except McBrain) helped in co-writing duties on all songs. Recorded at Sarm West Studios, London. Cover art NOT by the long used Derek Riggs (but instead Tim Bradstreet & Grant Goleash). Label - Sanctuary.

COMMENTS: "A Matter Of Life And Death" (AMOLAD) starts off in the same fashion as their previous two releases - giving you a short 4 minute burst of in-yer-face metal (i.e. - "The Wicker Man" and "Wildest Dreams" from "Brave New World" and "Dance Of Death"). Track 1 - "Different World" (the 1st hit slated for release) gives you exactly the same feel... but doesn't leave you as exhausted as "The Wicker Man" did at the time. For me, it took 5 or 6 spins to really enjoy this disc. On first listen, the only thought that crossed my mind was... it's not as good as "Brave New World", but it's head and shoulders above "Dance Of Death". Songs/Melodies were better, and sound production was crisper. Most of the song lyrics lean toward war and religion. Most of Dickinson's vocals are trademark Maiden, but at times, I feel he's trying to fit too much in a particular verse. I have not been a fan of Janick Gers for some time (and do they really need 3 guitarists?), however I feel his song writing on this album shines... 2 great songs in "The Pilgrim" and the closer "The Legacy". Several of the songs have that "Somewhere In Time" (1986) progressive feel to them - with Harris' keyboards in the background ("These Colours Don't Run" in particular). Spin after spin, this album gets better the deeper you get into it. The last 4 tracks are the best (all 7 to 9 minutes in length)... the slow and heavy rocker "The Reincarnation Of Benjamin Breeg" (with a mid section reminiscent of "Rime Of The Ancient Mariner"), "For The Greater Good Of God" (a Steve Harris penned song featuring some great bass guitar and questioning what is important in life), "Lord Of Light" (a great melody - outstanding guitar solos and I dig McBrain's drumming on this one), and "The Legacy" (a great 3 minute acoustic intro followed by a slow and heavy band entrance... simply a classic 9 minute Maiden epic journey). I rank "AMOLAD" in front "Dance Of Death" or anything else they released with replacement singer Bailey in the 90's. However, as good as this album may be, it's still not on par with any of their classic early 80's metal masterpieces (i.e. - "Number Of The Beast", "Piece Of Mind", "Powerslave"). The DVD is worthy as well for long time fans - showing some of what they went through in the studio - the good and the bad... great to see the band members making the music (and clowning around at the end doing an improvised unplugged version of ZZ Top's "Tush"). Also noted in the DVD is Dickinson and Harris agreeing to disagree - Harris thinks the melody is the key to a song, while Dickinson thinks the lyrics are most important. This album is absolutely essential to your Iron Maiden collection. Look for the limited edition with the bonus disc (4+ stars).

The greatness of this album is not really the songs, although all of them are no doubt high-quality rockers. It's rather the fact that this is serious metal again with no filler, an album you can listen to from beginning to end and fully enjoy it. Although I do believe that Bruce's voice has deteriorated with age, plus there's been a departure from his operatic singing style, on the positive side it's still great to hear a screaming Bruce Dickinson with his voice full of passion, accompanied by heavy riffing, great solos, and a return to using harmonies in songs. There are signs to me that this album is a work of brilliance because of the fact that this album feels almost like a full-blown concept album, simply because often the same melody recurrs in differnt songs under differnt disguises, which is evidence of the fact that the band knew exactly what they were doing this time and were all on the same page. The heavy, dark riffs and an uncompromised devotion to emotion give the whole thing that special magic, the feeling that you had when you first listened to Seventh Son of a Seventh Son. Although Bruce's singing is not as operatic as on the classic albums, Kevin Shirley was finally smart enough to put much more echo on the vocals than was the case in the last two releases, so the whole doesn't sound dry and flat and gives it that certain "je ne sais quoi." It's a joy to listen to this output and it doesn't really bother me this time that some of the songs got quite lengthy. Somehow it just all makes sense. Just like the rest of the band, Adrian Smith, too, and maybe the most, seems to have found himself again on this record by going back to the modern Jackson guitars he used on Somewhere in Time and Seventh Son of a Seventh Son and getting heavily involved in the songwriting process again. This is certainly another shining moment of his talent and shows what he means to the band and what the Murray/Gers duo was missing in all those wasted years. If the guys can keep the momentum going, I am 100% positive that the next record will be an absolute and undisputed masterpiece. Not to say that this one isn't. Just listen to it. Then open the booklet and look at the pictures of the band members and how calm and confident they look this time, how they, just like good wine, have ripened, come full circle and found themselves again at a stage in their carreer when everybody believed it was all over and time for them to resign with dignity.

I bought this record because my 6 years old son likes the picture of Eddie. I already have the classical albums from Iron Maiden's first album to Seventh Son Of A Seventh Son. I didn't expect much because of the 3 or 4 albums before this one, but I am very glad of this acquisition; this a classic Maiden's album, strong, sharp and vigourous !!!. Take the risk, go for it BUY IT is really good !!!

this album is a supreme metal outfit. the progressivness shown is amazing with heavy riffs and solos, this may be one of maiden's greatest album yet. (The epic track "The reincarnation of Benjamin breeg" will blow your brains out). Of course, there are some down points. one would be the length of some songs. which may not be a problem with all of you, but for people like me, who are used to 5- 7 minute songs usually (for i always listen to piece of mind and number of the beast), it gets tedious. But with soon to be classic epics like "Lord of light" and "the legacy", i won't complain that much. Oh and if you think that "reincarnation" is an epic, you really won't believe the 9+ minute song, "For the greater good of god". Simply mind blowing. the drum fills and complex basslines played, are really mind boggoling. Of course there are some tracks that are hard to remember like Out of the shadows, and the pilgrim. and while i'm talking about these 2, i'd like to say that "out of the shadows" is one HEAVY BALLAD!! The pilgrim also has a great riff to it, and is one of the true classics that i thank janick for. And don't think that i forgot about the strong opener, "different world" (litterally out of this world!), the 8 minute epic, "brighter than a thousand suns (a great song about a nuclear bomb), and "these colours don't run" ( i think that this song is either an anti war song or about sharon osbourne at ozzfest).

in the end, this album will eventually climb to the top of the iron maiden heap. a True 5 star album with long epics, heavy riffs, incredible solos, excelent drumfills, complex basslines, and Bruces amazing voice! Get this album if you liked "seventh son of a seventh son", "brave new world" "the x factor" (similar dark material shown here), and....well actually you just have to be an iron maiden fan to enjoy this. Up the irons. Rock On iron maiden rock on.

After (and including) Fear of the Dark, Iron Maiden went through something of a mid-life crisis. The Blaze Bayley era had precious few truly good songs (The Clansmen and Sign of the Cross come to mind), and the last two albums, especially the penultimate Dance of Death, while containing some undeniably great moments, showed the 'classic' line-up at their most ambivalent. Now, happily, Iron Maiden are in top form, releasing an album more grandiose than Seventh Son of a Seventh Son, melodically equal or even superior to their self-titled album, and with an incessantly motive heaviness--a heaviness only emphasised by the acutely and thoughtfully measured sound production.

Each song, as with all great Maiden songs, becomes more enjoyable with repeated listenings. That cannonade of drum rolls that you missed, or that foregounding of Harris's galloping bassline, or a momentary harmony between the three guitars--whatever detail it may be, each song is masterfully layered.

A previous reviewer made the comment that this could not be Iron Maiden's best or even one of their best albums, not because the music is inferior, but because of their age. Something as extrinsic as their age only has a bearing on the quality of the album if it adversely affects the music. In 'A Matter of Life and Death' it certainly does not; were I given all of Iron Maiden's albums blind, I would put this in the same era as Seventh Son of a Seventh Son. Bruce Dickinson's voice is as strong as it ever was (though I do agree with yet another above reviewer that his voice could utilise the lower registers a bit more for some relief by contrast); the three guitarists are playing the best they've ever played; Harris's bass is perfectly integrated--and played. Special mention, however, must go to Nicko McBrain's drumwork: it is by far his best and most sophisticated yet.

On previous albums, war has been a common theme--equally common has been its somewhat naive and belligerent depiction. In 'A Matter of Life and Death' the writing has matured, and a cynicism about war, a concern for its human effects, and the role that religion plays take salience. I would hesistate in calling it particularly new or sophisticated, but there is certainly here a noble message.

Now I will give the obligatory track-by-track run-down:

The opener, 'Different World', is the weakest track on the album--on almost any other album by almost any other band, however, it would almost certainly be a flagship. Fast, cannonading, and with a strong riff, it is a good, if rather standard, opener.

The second track, 'These Colours Don't Run'--while being a reference to Sharon Osbourne's egg-attack on the band some years ago--starts with a classic Maiden build-up, from singular guitar melody to the simultaneous introduction of Bruce's operatic vocals and the rhythm section. While a good song, this is still rather pedestrian for Maiden.

Number three is the already famous 'Brighter than a Thousand Suns', which purports to present the details of a nuclear detonation. The guitars and the back-up vocals are put to fantastic use here, especially the rhythm guitar. The images are vivid--unusually vivid for Iron Maiden, whose lyrics usually tip into self-parody (though precious few listen to Maiden for the quality of the lyrics).

Next up is one of my favourites: 'The Pilgrim'. The drum and guitar dominant introduction is reminiscent of a Slavic dance--incredibly melodic and punctuated with powerful drum work. It is similar in tone to 'Mother Russia'. McBrain distinguishes himself here.

As Harris does in the next track, 'The Longest Day', with a downplayed and galloping bass complementing, but not overbearing or being overborne by, a distant and resonant guitar. Bruce lets loose on the vocals here--soaring and, I'll say it again, melodic.

The next track, 'Out of the Shadows', reminds me (perhaps unjustifiedly) of 'Strange World' from their self-titled release. Beautifully done.

And then there's 'The Reincarnation of Benjamin Breeg'. None of the tracks so far I would call classic, but this one will last--and if it doesn't, it is an indictment of modern muscial taste rather than of the quality of the track. A long, melodious, and rather haunting opening; the lyrics are now foregrounded, as they are first and foremost telling a story rather than being subservient complements to a riff or grind; and then something extraordinary happens: the neck of one of the guitars is almost flayed of its strings as the song falls into its most heavy section. Bruce's vocals here are in a lower register (though still rather high, as they are wont to be), which is refreshing. Fantastic song, and one I cannot recomment highly enough.

As is the next one--it is perhaps even superior, I can't quite decide. 'For the Greater Good of God' has a classic Harris opening--a full and emotive bassline. My review is becoming longwinded so I'll truncate it from here on. The song is (arguably) the most epic on the album, with some fantastic guitar work--the three men complement each other perfectly. Retaining Janick Gers was a great idea, it seems.

The final two tracks, 'Lord of Light' and 'The Legacy' maintain the quality of the album so far--the latter imbibed with a deathly and unsettling tone; the former being a classicly elevated hard-rocker.

Though some of the tracks are slightly overlong ('For the Greater Good of God' and 'The Legacy' could have a minute shaved off each) it is hardly to the detriment of the album. 'A Matter of Life and Death' is equal to Maiden's very best and, given time, may even supersede their 'Golden Years' efforts, rendering the former years quite silver and the following gold. How unusual it is for a band, after almost three decades, to release one of their best albums. It gives me hopes for Metallica's redemption--though not that much hope.