Published on Apr 28, 1997
When Bruce Dickinson left the British heavy metal band Iron
Maiden in 1993, many wondered if there would be life after the
vocalist who made the band superstars.
So when Blaze Bayley took over the lead vocalist position on the
band’s “comeback” album
The X Factor, he was already fighting a tough battle. He
needed to bring some life back into a band that was very stagnant –
they hadn’t released a solid album since
Somewhere In Time – and heavy metal had fallen very much out
of fashion.
Did Iron Maiden succeed in rejuvenating themselves? The answer
is “yes,” though the band has taken some turns that are not
welcome.
Bayley’s vocals are a little more subdued than Dickinson’s –
there is not the balls-in-a-vice style of screaming that Dickinson
brought to the band. And while there are some higher vocals, Bayley
holds his own very well – better, in fact, than with his previous
band Wolfsbane. Just listen to cuts like “Man On The Edge,” “Lord
Of The Flies” and “Sign Of The Cross,” and you’ll hear the new
direction Bayley is leading Iron Maiden.
And this new direction causes one of the greatest difficulties
for me as an old-time fan of the band. All but nonexistent is the
presence of rhythm guitar on many tracks, instead being drowned out
by noodling on synthesizers. Iron Maiden had always been known for
a powerful two-guitar attack (most recently by founding member Dave
Murray and Janick Gers). But while the solos rip as usual (and
haven’t lost their bite after 20 years of performing), the rhythm
guitar is sorely missed on this one. I’ll pin the blame on
production work by bassist Steve Harris and longtime assistant
Nigel Green.
But once you get past this one major style change, both the
songwriting and the performances will surprise you – even if you’re
not a big heavy metal fan. The songs, as they have for the past
decade plus, are mostly story-tellers, sone with a moral (“Fortunes
Of War,” “Judgment Of Heaven”), some with a not-so-happy message
(“2 A.M.”). But the stories are all there, unfolding as the band
eschews the traditional heavy metal they have become known for and
go for something a little more musical here.
Worth special attention is the drumming of Nicko McBrain, who
puts in the best performance I ever remember him doing. Normally
banging out a rhythm on a ride cymbal, he seems to have discovered
the joys of the hi-hat, and his drumming is all the more powerful
because of this.
I won’t deny that the shock of not hearing Dickinson screaming
on
The X Factor is a change that takes some time for adjustment
– long-time fans may not consider this the real Iron Maiden. Two
words: Paul Di’Anno – remember him, kids?
He used to front the band in the early ’80s before Dickinson
stepped in? In fact, only two original members of the band remain:
Murray and Harris.
The X Factor dares to push heavy metal forward in a world
where it is no longer a dominant force in the music market, but the
new version of Iron Maiden successfully are able to reinvent
themselves and create their best album in some time. Five years
ago, I pronounced it was time for Iron Maiden to hang it up and
call it a career. Now, I’m glad I was wrong.