With Bruce Dickinson replacing Paul Di'Anno as vocalist, The Number Of The Beast
was a huge step upward for Iron Maiden, launching the band into fame and controversy.
It began the second phase of Maiden, what could be called the "golden years",
spanning five studio albums through the rest of the 1980s. Dark, introspective, and violent
themes dominate the album, which incited controversy and unfounded charges of devil worship.
There were rumours of strange occurrences during the recording of the album, such as lights
turning on and off by themselves, strange noises, and such. Here's what Bruce Dickinson had
to say about it during the heavily bootlegged 1982 concert at the Palladium in New York:
While we're on the subject of strange goings on, a few of you might know we had
a few weird things happen on the album right, that one or two people have attributed to be the
work of Satan or the devil or this kind of nonsense, right? Just want to say to all the people
who play records backwards and burn albums out in the streets, they can go and get...
stick their heads up their arse or something like that 'cause...
we ain't interested.
Bruce Dickinson, New York, 29th June 1982
It is possible that these rumours might have been merely a publicity ploy... "satanic"
was popular in the 80s, just as "gangsta" was popular in the 90s. Many such rumours
are embellished and even fabricated by religious bigots, for the purposes of their own propaganda
campaigns. However, regardless of whether or not they actually happened, the one thing that
isn't a possibility is the actual existence of Satan, who is merely a symbol of evil. Nevertheless,
The Number of the Beast is among the very best of Maiden's albums, along with
Piece Of Mind and
and today remains a heavy metal classic – one of the best and most influential metal
albums of all time.
The comments by Steve Harris were taken from an
with John Stix in July 1983.
This fast and energetic track is an excellent opener for the album. It graphically depicts
the violence and horror of a defence against a
invasion, starting with the sighting of the longboats and culminating in a last bloody stand
against the invaders. An evolution from the early song 'Invasion' which appeared on
The Soundhouse Tapes EP, 'Invaders''s driving power compensates for a somewhat
weak chorus, and begins a tradition in battle songs that will later be followed and improved upon by
'The Trooper' and
On a more historical note, the Vikings were Scandinavian warriors who raided the coasts of Europe
and the British Isles from the 9th century to the 11th century. At the beginning of the Viking Age,
they were the best shipbuilders and sailors in the world; they later ventured as far as Greenland
and North America (recent findings indicate that Eric the Red, a famous Viking chief, discovered
America a few centuries before Columbus did). At the height of the Viking Age, the typical Viking
warship, the "long ship", had a high prow, adorned with the figure of an animal, and
a high stern. It seated up to 30 oarsmen and had an average crew of 90. Its square sails were
perpendicularly striped in many colours, and the entire ship was vividly painted and elaborately carved.
On both sides of the ship hung a row of painted round shields. This is the most familiar Viking ship;
the many other types varied according to purpose and period.
'Invaders' felt like a great rock'n'roll opener. Funny enough we've never played it live.
This song was an extension of another song called 'Invasion', which was the B-side of the single
Women In Uniform. It's like an invasion of
Among the causes that drove the Vikings from their lands were overpopulation, internal dissension,
quest for trade, and thirst for adventure. Many local kingdoms came into existence in Scandinavia,
and from them stemmed the kingdoms of Norway, Denmark, and Sweden. The Vikings' religion was
paganism of the Germanic type; their mythological and heroic legends form the content of Old Norse
literature. The Viking Age ended with the introduction of Christianity into Scandinavia, with the emergence
of the three great Scandinavian kingdoms, and with the rise of European states capable of defending
themselves against further invasions. Many Vikings settled where they had raided. The Scandinavian
raiders in Russia were known as Varangians; their leader Rurik founded the first Russian state. Elsewhere,
the Vikings came to be known as Danes, Northmen, Norsemen, or Normans.
Children Of The Damned (Harris)
This dark and compelling track is inspired by the
of the same name, which is about six children with psychic abilities who are forced to battle for
their survival against an inferior human race. The song describes the death of the last of the children,
as he steps out to face the humans which are intent on destroying him by burning him at the stake.
It is a deep and thought-provoking film, worthy of the song which it inspired.
It's based on the film of the same name. The mood is sort of like 'Remember
The story of the film is that of six children who are born at different locations around the world with
amazingly high intelligence and special powers. United Nations scientists have the children moved
to London for closer investigation. But while the researchers argue among themselves about the
children's fate, the military tries to figure out a way to harness the youngsters' special powers for
their own purpose. However, the six children decide to take matters into their own hands,
which ultimately leads them to their destruction.
Musically, 'Children Of The Damned' is superb. The slow beat and mix of acoustic and metal guitar
creates a mood of sadness and loss, which is perfectly matched by the hauntingly beautiful guitar
solo. The description of the child's last moments while burning ("melting his face, screaming
in pain, peeling the skin from his eyes") is particularly vivid and will send a shiver down
the spine of anyone who has enough imagination to picture what's going on. Bruce once said that
he had been heavily influenced by Black Sabbath's 'Children Of The Grave' when singing this song.
This is in any case one of Maiden's most memorable songs.
The Prisoner (Smith, Harris)
Inspired by the 17-episode British TV cult-series of the same name starring
'The Prisoner' begins with the famous spoken dialogue that also constitutes
the introduction of every episode of the series. The full transcript is:
Where am I? – In The Village.
What do you want? – Information.
Which side are you on? – That would be telling.
We want information... information... information...
You won't get it. – By hook or by crook we will. Who are you? – The new number two.
Who is number one? – You are number six.
I am not a number! I am a free man!
A great drum rhythm and heavy guitar lead into this relatively fast-paced song of individuality, defiance,
and freedom. While the song itself is fairly average (by Maiden standards), guitar solos in this song are
Mick Wall explains in the authorised biography of the band how they managed to get permission to use
the intro dialogue from Patrick McGoohan himself:
[...] the recording of Number Of The Beast, like any Maiden album, also had its lighter moments,
none more memorable than the evening Rod sat down to phone actor Patrick McGoohan and ask for
his permission to use a recording of his voice on the album. Taking its title from the name of the cult
'60s TV series, the band had come up with the idea of prefacing 'The Prisoner' with McGoohan (who
played the central character, known simply as Number Six) uttering his famous catchphrase from the
show: "I am not a number, I am a free man!" DJ Tommy Vance had helped out by lending
them an original recording of the quote from the show, but they still needed McGoohan's permission
before they could go ahead.
Steve recalls how, for once, their unflappable manager looked almost star-struck as he nervously
dialled on the phone. "Oh, bloody 'ell," Rod moaned later. "It's alright dealing
with these arsehole rock stars, but he's a real bona fide superstar actor. I was fucking terrified!"
The rest of the band watched and laughed as Rod hesitantly began explaining the details to the actor,
who was speaking from his home in Los Angeles. "What was the band's name again?"
he asked. "Iron Maiden," Rod replied. "A rock band, you say," McGoohan
mused. "Do it!" he snapped in the most imperious manner of his TV character and hung up
the phone. So they did.
Mick Wall (2001) Run To The Hills – The Authorised Biography of Iron Maiden
– Revised Edition p. 227.
Ironically, the Prisoner manages to escape from the Village at the end of the song ("Not
a prisoner I'm a free man, and my blood is my own now, don't care where the past was, I know where
I'm going"), only to find himself back to square one in the 1984 song
'Back in the
Village' on the
Powerslave album. This particular twist of the tale is reminiscent of the
seventh episode of the series, where Number Six escapes only to find
himself tricked into returning to the Village.
The opening for this song is from the actual Prisoner T.V. series with Patrick McGoohan.
Adrian took the solo on this one and it's one of his favourites. It's a very strong live number, although
we don't play it on the set
22, Acacia Avenue (Harris, Smith)
This is an extension of 'Charlotte The Harlot'. This is where she's living in London's
This is the second instalment of the 'Charlotte the Harlot' series of songs, which began
very first Iron Maiden album. It is a complex and non-standard song, with several parts which differ radically
from each other both in lyrical perspective and musical style. Yet these individual parts combine
well into a cohesive whole, making this one of the most creative and unique songs in the metal genre
as well as one of Maiden's classic tracks.
"The red light's burning bright tonight"
'22, Acacia Avenue' is originally an Adrian Smith song, from the time he was playing in his own band,
called Urchin. Adrian recalls years later, in an interview with Mick Wall, how it all started and what triggered
the birth of the song as we know it:
"One of the first things I wrote was '22 Acacia Avenue', which of course ended up
in a slightly different form on the Number Of The Beast album. I wrote that when I was
18, but I ended up working on it over a period of years with various different line-ups I had of the band.
But it was weird how it came to end up as a Maiden song. Urchin did a gig in the local park and we
played '22 Acacia Avenue', and it probably sounded completely different than the version we would
later do in Maiden, but the weird thing was, Steve Harris was at the gig. I didn't even know him then,
but he remembered it when I joined the band, years later. We were getting stuff ready for Number
Of The Beast, and out of the blue Steve turned to me and said, 'What was that song you used to do
in Urchin?' and he started humming it and it was '22...'. I mean, it had changed quite a bit since then,
and we probably ended up changing it quite a bit again by the time we did it in Maiden, but it was weird
how he'd remembered that one song all those years. We probably didn't even play well that day,
and were probably really down afterwards, but because we had a go and did our best someone
in the audience remembered. That's why it always pays off to do your best. Even if it feels like
a dismal disaster at the time, you always come away with something from it."
Mick Wall (2001) Run To The Hills – The Authorised Biography of Iron Maiden
– Revised Edition p. 167.
The Number Of The Beast (Harris)
This song was loosely inspired by the 1978 movie
Omen II, and a Steve Harris nightmare. It begins ominously with quoted text from the Bible:
Woe to you, oh Earth and Sea,
for the Devil sends the beast with wrath,
because he knows the time is short...
Let him who hath understanding reckon the number of the beast
for it is a human number, its number is Six hundred and sixty six.
– Revelations 13:18
The reference of this quote is however not entirely correct, as only the last sentence
corresponds to Revelations 13:18, the first one being found in Revelations 12:12.
There are several English translations of the Bible, but Steve Harris seems to have
used the quotes from the
Revised Standard Version:
Rejoice then, O heaven and you that dwell therein!
But woe to you, O earth and sea, for the devil has come down
to you in great wrath, because he knows that his time is short!
This calls for wisdom: let him who has understanding reckon
he number of the beast, for it is a human number, its number
is six hundred and sixty-six.
Basically this song is about a dream. It's not about devil
The first sentence corresponds to the description of Satan's eviction from Heaven
after a battle with the archangel Gabriel and his legions (the legend states that
Satan used to be also an archangel), whereas the last sentence actually refers
to the second beast of Saint John's Apocalypse and not to the Devil himself,
which is probably why the verse was modified into
"the Devil sends the beast with wrath" in order to give some cohesion
to the whole quote. It still doesn't make it right, though, and the correct quotation
of the Bible's passages should have been included to avoid some confusion.
Still on the topic of the song intro, Bruce mentioned during a Radio Scotland
special 2-hour Download Festival programme that the band had asked the
famous horror films actor Vincent Price to read the text. However, still
according to Bruce, Price refused to do it for anything less than
£25,000. They had heard of someone who reads ghost stories
at the Capitol radio station and got him to do it. The man was a thespian
(a theatre actor) who had no interest in Maiden, but they asked him to put
on a Vincent Price kind of voice and he was amazing.
In any case, this is one of Maiden's most powerful and memorable songs.
The mid-song instrumental riffs are
particularly good. Bruce's vocal range is also showcased by a huge scream after the song intro.
The band received much flak from various religious zealots, very few of which even bothered to
actually listen to the song and understand its meaning. And as is often the case, the controversy
only served to bring more publicity to Maiden.
Here is Mick Wall's account of the controversy that occurred at the time:
In America, where the title of the album had caused a storm of protest from the emerging
so-called "moral majority", a right-wing American political pressure group ludicrously
accused Maiden of being Devil worshippers and of "trying to pervert our kids".
As Steve says, "It was mad. They completely got the wrong end of the stick. They obviously
hadn't read the lyrics. They just wanted to believe all that rubbish about us being
Satanists." Nevertheless, the resulting publicity kept the band's name in the news
in every town that they visited that year, as kids everywhere were desperate to check out for
themselves this band that was putting the fear of God into their parents.
Mick Wall (2001) Run To The Hills – The Authorised Biography of Iron Maiden
– Revised Edition p. 228.
Run To The Hills (Harris)
Perhaps Maiden's most publicly recognisable song and their first big hit single, 'Run To The Hills'
describes the Indian wars of the American west, first from the Indian's perspective and then from
the white man's perspective. It is a fast-tempo song with a drum beat that is reminiscent of gallopping
horses. Although it is a Maiden classic, it is a bit too short. Nevertheless, the song was critical
in opening the way for Maiden's invasion of America.
In the lyrics, the sentence "the only good Indians are tame" probably refers to
the infamous American saying "The only good Indian is a dead Indian". This mindless
and absurd proverb is said to stem from the following anecdote that took place in January 1869,
at old Fort Cobb, Indian Territory, now Oklahoma, shortly after Custer's fight with Black Kettle's
band of Cheyennes: Old Toch-a-way (Turtle Dove), a chief of the Comanches, on being introduced to
General Philip Sheridan
(1831–1888), desired to impress the white man and managed to say in English "Me,
Toch-a-way; me good Injun." The General, a known bigot and Indian hater, just smiled and
answered: "The only good Indians I ever saw were dead.". Although Sheridan
later denied having made such a statement, the sentence became quickly a saying that is still used
nowadays, although the Indians that have not been physically killed now live in reservations where
alcoholism – caused mainly by unemployment – and squalor contribute to kill an
already dying culture. Who said that America was "the land of the free and home
of the brave"?
This song is about the American Indians. It's written from both sides of the picture.
The first part is from the side of the Indians. The second part is from the side of the soldiers.
I wanted to try and get the feeling of galloping horses. But when you play this one, be careful
not to let it run away with
Gangland (Smith, Burr)
This short song describes the fear and uncertainty of life in a 1930s Al Capone-style
or maybe in London's EastEnd of the '60s when the
Kray brothers were about. For the album, the band had to choose between this song and
and since that time they have felt that maybe 'Gangland' was the wrong choice. Although many people
don't like this song, it is actually not too bad – maybe just not so good by Maiden standards.
Both songs ('Gangland' and 'Total Eclipse') also share the distinction of being the only Maiden songs
that were ever co-written by Clive Burr.
This one is by Adrian and Clive. The intro is very much a drum thing which Clive
got together. It's probably a bit jazz influenced and a bit different than things we'd done before.
But the basic riff is very much a rocker. It's a very good song, but one we've never done
Total Eclipse (Harris, Murray, Burr)
'Total Eclipse' is a doomsday song, describing the catastrophic end of the world by ecological distaster.
It is possible that the lyrics are making a subtle political statement for the conservation and protection
of the Earth. Before The Number Of The Beast album was released, the band had trouble deciding
whether this song or 'Gangland'
should be included on the album. They eventually chose 'Gangland',
relegating 'Total Eclipse' to b-side status, but later regretted that decision. Consequently, 'Total Eclipse'
was added to the album when it was re-mastered in 1998. This is an excellent song, whose mood fits
well into the dark and brooding themes of The Number Of The Beast album.
Hallowed Be Thy Name (Harris)
This is what many fans consider the best Iron Maiden song ever, and perhaps the best song of all time.
'Hallowed Be Thy Name' describes the thoughts and emotions of a condemned man on his way to the
gallows. There is a striking similarity with the lyrics of
a song by a band called Beckett that was later covered by Maiden on the B-side of the
2 Minutes To Midnight single.
And though the end is near I'm not sorry
Catch my soul, it's willing to fly away
– Hallowed Be Thy Name
And your bird she's singing
Catch your soul, he's willing to fly away
– Rainbow's Gold
The unfolding story of the song is seen through the eyes of a man who, facing imminent death,
experiences first anguish, then terror, and finally hope that he will return – hence the
final line taken from the Lord's Prayer. The sentence referring to life being "just a strange
illusion" should probably not be taken literally, and it seems to be indicating that the way
most people consider their own lives is an illusion and not life itself. They have this illusion that the life
they're living is the one that was meant for them, and this prevents them from looking any further.
They often never fulfill their original dreams because they have been deceived by all those fake dreams
that have been instilled into them by society.
There is actually no way to describe this song other than absolutely inspired and brilliant.
The long instrumental section that dominates the last half of the song is rivalled only by
Of The Opera', and the lyrical depth and emotion stand alone, unapproached by anything else
that can be heard. This is probably the best song ever written!
That's one of my favourite songs and still one we play live. We're trying to create a mood
with the build-up of the song. The classical guitar-like opening was Dave building the mood, with bells
in the background. It's about someone with only a few hours left to live. In concert the end part of
this one takes off. Dave takes the first solo and then Adrian.