Piece Of Mind is my favourite Iron Maiden album, although
The Number Of The Beast
are incredibly close. It was my first Maiden album, and was very influential in guiding the
evolution of my musical tastes.
And God shall wipe away all tears from their eyes;
and there shall be no more Death.
Neither sorrow, nor crying.
Neither shall there be any more Brain;
for the former things are passed away.
– Revelations ch. xxi v. 1.
(Quoted inside the Piece Of Mind sleeve)
What does it mean? It might be alluding to the eastern concept of nirvana, which when achieved
features the extinction of individual consciousness and desire (hence, no 'Brain'). It could also be
referring to Christianity, implying that it is for brainless morons. But it is most probably referring to
the lobotomisation of Eddie... you can see on the album cover that he has had is brain removed and
his skull is now screwed shut.
The original idea for the cover was to kill Eddie, but the band thought that it was too extreme.
The trepanation is, according to a Bruce Dickinson interview, an allusion to an old
ritual during human sacrifices. The album was originally going to be called Food For Thought,
but they finally decided to give it a more subtle name.
Commercially Piece Of Mind was a huge success, and was even voted the number one
metal LP of all time in a KERRANG! magazine poll. It was also the first album with drummer Nicko
McBrain, completing a line-up which would last through four studio albums – the longest
stable line-up in Maiden history.
The comments by Steve Harris were taken from an
with John Stix in July 1983.
(...) The first Maiden album to feature Nicko, Piece Of Mind actually begins with a big
drum flourish, as if announcing the arrival of the Mad McBrain into their midst. Like Bruce with Paul,
in terms of sheer technique, Nicko was a far superior performer to his predecessor, and his addition
to their ranks allowed the band an even greater capacity to finesse what was now recognised as the
quintessential Maiden sound: full-metal-jacket vocals, combat guitars, artillery-fire drums and the
ever-present rythmic pulse of Steve's manic bass, bulging like a vein in the foreground. The sheer
strength of the material on Piece Of Mind reflected the fact that, in master technicians like
Bruce, Adrian and Nicko, allied to the gutsy rock 'n' roll energy and emotion of Steve and Davey,
Maiden now had all the tools they needed to stretch out and begin to create their first real
"For me, Piece Of Mind was the best album we'd done up to then, easily,"
says Steve, "and I carried on thinking that right up until the Seventh Son... album,
which was five years later. I'm not saying the two albums we did in between –
Powerslave and Somewhere In Time – weren't good, 'cause there's a
lot of stuff on those albums I still think of as some of our best ever, but Piece Of Mind
was just special. You can nearly always go back to an album and pick out things you might have
done differently, or whatever, but I still think Piece Of Mind is good the way it is. It was
Nicko's first album. We felt like we were on a high, and you can hear that mood on the album, I think.
Most of all, though, it was just the songs. Between us, I thought we'd really come up with the goods
They certainly had. As usual, a clutch of Harris-penned tracks provided the backbone of the album,
including 'Where Eagles Dare', a sky-kissing paean to self-reliance and inner strength; 'The Trooper',
a Boy's Own tale of wartime derring-do; 'Quest For Fire', inspired by the thought-provoking movie
of the same name, released in 1982; 'To Tame A Land', an epic album-closer with lyrics only
comprehensible to readers of Dune, Frank Herbert's labyrinthine novel of space-age politics,
love and war. In fact, the band had originally planned to call the track 'Dune', and had discussed using
a spoken-word passage from the book as an intro, but then Herbert sent word via his agent that he was
refusing them permission because, he said, "Frank Herbert doesn't like rock bands,
particularly heavy rock bands, and especially bands like Iron Maiden." Ouch!
"He just assumed that, because we were a rock band, we must be a load of morons,"
says Rod, nonplussed, "which, to say the least, is a pretty narrow-minded
Of the remaining five tracks, 'Flight Of Icarus' and 'Sun And Steel' were Bruce and Adrian numbers;
'Still Life' was a Steve and Davey tune; 'Die With Your Boots On' was a Bruce and Adrian idea onto
which Steve grafted some ideas of his own; and 'Revelations' was a song that Bruce came up with
on his own. All of them were superb, but two, 'Flight Of Icarus' and 'Revelations', deserve special mention.
The former, a mid-paced growler that suddenly bursts into a multi-tracked vocal chorus straight out
of the REO Speedwagon back catalogue, was the controversial first single from the album.
An unbelievably cheesy piece or just unbelievably catchy, depending on your point of view,
despite reaching Number Eleven in the UK in April 1983 and gaining the band their first single
release in the US (where, unlike the UK, singles aren't released unless a record company is utterly
convinced that they have a potential hit record on their hands), 'Flight Of Icarus' divided critical opinion,
not least amongst the band themselves. "I don't think there's anything wrong with 'Flight Of Icarus'
as a song," says Steve, "though I do wish we'd had more time to break it in live before
we recorded it. It was a lot more powerful live, a lot faster and heavier." However, Bruce insists,
"Steve never liked it. He thought it was too slow, but I wanted it to be that rocksteady sort of beat.
I knew it would get onto American radio if we kept it that way, and I was right."
He was. 'Flight Of Icarus' remains the only Iron Maiden track ever to receive any real level of airplay
in the USA, and climbed as high as Number Twelve in the Rock Radio charts in 1983. It was this radio
success, plus the tour, which led to their first American platinum album. However, it was the
storming follow-up single, 'The Trooper', which most Maiden fans from those days still recall first
when you mention the Piece Of Mind album.
The only people who didn't like Bruce's 'Revelations', though, were the ones who weren't supposed
to like it, the neo-fundamentalist religious groups in America who still accused Maiden of being Satanists.
Ironically, what appeared to offend them most this time was the witty use on the sleeve of an actual quote
from the Bible's Book of Revelations, chapter 14, verse 1, which reads, "And God shall wipe away
all the tears from their eyes; and there shall be no more Death. Neither sorrow, nor crying. Neither shall
there be anymore pain; for the former things are passed." However, where the scripture reads
"pain", the band had inserted the word "brain" as a pun on the title of the album,
itself a pun on the fact that a post-lobotomy Eddie is pictured on the sleeve of the album chained up
in a padded cell, the top of his skull sawn off. It was a deliberate wind-up which worked only too well,
and before long families all over the American South were again being urged to burn their teenage
children's Iron Maiden records.
The band themselves found the whole situation so absurd that they couldn't resist really taking
the piss, and at the last minute inserted a few words played backwards between 'The Trooper' and
'Still Life' as a joke on anyone gullible enough to believe stories that accused bands like Maiden
and Led Zeppelin of inserting evil messages on their albums that could only be revealed by playing
the records backwards. Playing Maiden's little message on Piece Of Mind backwards would
reveal a very different kind of devilment, one extremely drunken Nicko McBrain doing what he calls
"my famous Idi Amin impression". He still laughs when he remembers the story.
"We were sick and tired of being labelled as Devil worshippers and all this bollocks
by these fucking morons in the States," he says, "so we thought, 'right, you want
to take the piss? We'll show you how to take the bleeding piss, my son!' And one night the boys
taped me in the middle of this Idi Amin routine I used to do when I'd had a few drinks. I remember it
distinctly ended with the words, 'Don't meddle wid t'ings yo don't understand.' We thought, if people
were going to be stupid about this sort of things, we might as well give them something to be really
stupid about, you know?"
The album was recorded at Compass Point Studios, on the beautiful Bahamian island of Nassau,
in January 1983, and was their first recorded outside England. Apart from the relaxing atmosphere
provided by the beachside studio, the main reason for this was financial. As Rod explains simply,
"It was for tax reasons. We were still trying to save every penny. The problem with being a
rock band is you're either earning a lot of money or you're earning nothing. And no matter how well
you've been doing one year, you never know what's going to happen the next. It's not like a normal
business, where you can fairly safely predict what the figures will be over the next two or three years;
in the music business, you're only ever as good as your last record. Particularly in the early days,
when you're still trying to build an artist's reputation, you can just assume that everything you do is
going to be as successful as the last thing you did."
Even so, Rod never personally doubted that Maiden would continue to enjoy ever greater
success, as his ever-astute partner, Andy Taylor, now remembers: "You can't balance
the books entirely on dreams, and we don't want to end up with a big tax bill and no money to pay it.
To save as much money as possible against that rainy day is the job of all responsible managers to
consider, especially on those sunny days when no one else wants to think about it, so we recommended
the band do the next album outside Britain."
"Rod said to me, 'We've got to record the album outside England. Where can we go?"
says Martin Birch. "The options were Air Studios, in Antigua, which later got blown down
by a hurricane, or Compass Point, in Nassau. I went down and checked them both out and I liked
Compass Point, so we went there. Personally, I would have preferred to go somewhere like the
Record Plant, in New York, or somewhere in Los Angeles. It would have been easier and we might
possibly have got better technical results. It was pretty bare bones down in the Bahamas, but it was
sunny, we liked it and it was available, so we decided to do the recording there and then mix it later
in New York."
Released in Britain on 16 May 1983, Piece Of Mind entered the UK charts at Number Three.
Critical response in the UK had been lukewarm, compared with the fanfare that accompanied the release
of Number Of The Beast, and although Piece... would outsell any previous Maiden album
in the UK, it never quite reached Number One in the charts and remains strangely overlooked by the
critics to this day. Only the readers of Kerrang! magazine seemed to get it, voting the album
Number One Album Of All Time in their 1983 end-of-year polls, with Number Of The Beast just
behind it at Number Two.
With no title track in evidence, for once, the title of the album was conceived around an idea that
Rod and Steve came up with for the cover and which Derek Riggs had actually flown out to Nassau to
paint for them while they were still recording, depicting a typically grotesque Eddie who had quite
literally flipped his lid. "We decided to lobotomise him," Rod explains. "Originally,
the working title was 'Food For Thought'. Then we were talking about it in this pub in Jersey, where
they were writing before they went into the studio, and one of us – we can never remember who,
because I think we were pissed at the time – said, 'Piece Of Mind,' and we both went,
'Yes! That's it! Quick, get Derek on the phone.'"
Mick Wall (2001) Run To The Hills – The Authorised Biography of Iron Maiden
– Revised Edition pp. 243-248.
Where Eagles Dare (Harris)
Beginning with a brief but brilliant drum intro, this is another excellent album opener. Steve mentioned
to Nicko that they needed some kind of drum intro. Nicko was still kind of nervous, being the new kid
on the block and all, but he stayed in working almost all day on a drum intro for the song. At the end
of the day, he had a little 6–7-second thing that entailed hitting basically every piece of his kit,
going from small tom to big tom, like a kind of ending to a song – and then jumped into the chorus.
The next day, Nicko played it for Steve and Steve went "no... no... no... nothing like that... just
something simple like rat-tat-tat-tat... rat-tat-tat-tat (you get the idea)". Steve tried to play something
on Nicko's kit, but he's about as good as that as his grandmother would be... Nicko said "oh...
you mean like this?" and played it. "That's it!" replied Steve. And "it"
became this brilliant technical piece we all know.
The song is based on an
Alistair Maclean (1922-1987) novel, published in 1967, and that was also made into a
film (1968) starring Richard Burton and Clint Eastwood, about a WWII
covert rescue of an American general from a Nazi stronghold in the Bavarian Alps. Burton is
absolutely fantastic in the role of Major John Smith. Who really is this character? Could he
be a double agent spying for both Britain and Germany? And why is this American general
so important? Read the book and/or watch the film, you'll love every minute of it!
[The instrumental section] is supposed to sound like a machine gun. It's not very loud
in the mix, but we wanted it that way so people who listened to it a couple of times would say
"What's that?" This song was done in two
The drum track is great and makes a good introduction to Nicko's skill and style. There's also a
machine-gun sound that can be heard near the beginning of the instrumental section, highlighting
the reference to the war story. It was difficult to hear it in the original release on LP and cassette,
but it seems to be much more apparent on the CD.
'Revelations' is a song with a double meaning. Of course, it refers to the christian
mythology, but at the same time, it is possible to reverse the basic idea and
it takes an entirely different meaning if you look a bit further.
The works of
Aleister Crowley (1875–1947) influenced the writing of this song
(as it is also the case, and in a more obvious way, with
on the 1988 Seventh Son Of A Seventh Son album).
As an atheist philosopher, he thought that, by concentrating all his energy
only into his brain, man could influence and change the way things were.
He was describing religions as deceitful, useless and promoting passivity,
and to him religion lead directly to the brain of thoughts. According to Crowley,
man was supposed to struggle against nature in order to exercise his brain and
the powers that it contains, and attain by this means supreme felicity.
Bruce Dickinson wrote 'Revelations' in reference to this theory. Beyond the biblical
meaning, there is the principle that man can reveal himself to himself. There is
therefore a pun here because there is the christian theory on the one hand, and
something religion wants to keep quiet on the other.
The first verse is an excerpt of an English hymnal, written by
G. K. Chesterton (1874–1936), that
Bruce learned at school. The song itself is in three parts.
The first part is made of this hymnal that Bruce chose because he thought that there was
some sort of vision in it. Although the text was written in the 19th Century, the description
it contains corresponds eerily to what is happening nowadays. Bruce also states that,
"there's a lot of money going around in our society, but, in fact, the more money
you have and least likely you are to be really happy." The last verse,
"Take away our pride", is the central piece of the mystical universe.
The main hindrance to communication and happiness is made of selfishness and
misplaced self-esteem that divide people among themselves..
The next two verses refer to the Hindu philosophy. "Just a babe in a black abyss"
alludes to Aleister Crowley, the word "babe" corresponds to the human being
and "black abyss" means a hopeless world. "No reason for a place
like this" shows the nonsense of man's existence on Earth if hope doesn't
Then we come to the "secret of the hanged man". In popular Hindu beliefs,
the hanged man is a sign of good luck. This is why the song states that he has
"a smile on his lips": this is what his secret is.
In the third verse, the most important line is: "The venom that tears my spine".
In Yoga, there is a snake called
(see also here)
who is supposed to live at the base of the spinal cord of every person. During orgasm or
intense meditation, a spiritual entity is created, the
symbolising the transcendental union with God. At that point, the Kundalini is set free
and crawls up the spine up to the brain where he releases his venom. The union
between the venom and the brain substance then promotes a union with God.
The next verse, "The Eyes of the Nile are opening" imply then
that a whole universe of possibilities is open as soon as the venom makes its
way into the individual. Whereas the Bible considers the serpent to be evil incarnate,
the Hindu philosophy associates it with creation and extasy. The serpent has therefore
here a positive and constructive aspect.
The "Serpent's kiss" has also been the topic of many of Crowley's
philosophical discussions. Then, "The Eye of the Sun" is mentioned,
as the sun is the symbol of creation, representing the masculine side of life.
The feminine side appears a bit further in the word "Moonlight",
the moon being the symbol of feminity. The complete sentence, "Moonlight
catches silver tears I cry", closes the full circle, as silver is the colour of the sun.
We find therefore here both male and female entities, and they cannot be separated.
In fact, this philosophy considers the universe to be a dual, binary world where everything
only exists because of its opposite. In other words, there is no manichean dichotomy like
in the christian school of thoughts where Good and Evil are kept apart and Evil should be
eliminated. Only the christian system of values is monolithic, whereas all the other great
philosophies are based on a duality of notions, like the Ying and the Yang in China,
or the Jewish Kaballah. Bruce handles all these concepts efficiently and with caution
because of their complexity.
'Revelations' is quite a cryptic song a first sight, but it shouldn't prevent us from
admiring also its musical value that makes it a little masterpiece and a great
classic of Maiden.
To me it's sort of a heavy version of the Wishbone Ash feel. 'Revelations' comes together
more live. That tends to be like that with us. Usually the numbers are better live than on record.
That has to do with the feel of the songs. Most of them were written to be played on the stage.
They're not really for the recording
Flight Of Icarus (Smith, Dickinson)
'Flight Of Icarus' is very loosely based on the ancient Greek myth of
who was imprisoned by king Minos of Crete. He and his son Icarus fashioned wings from feathers
and wax and made their escape, but Icarus flew too near the sun, melting the wax that held the
feathers, and he fell to his death in the sea.
The purists in Greek mythology always have had a problem with this song. Of course,
there was no crowd in the original tale, as Dædalus and Icarus were discreetly escaping
the labyrinth where they were held prisoners (and that ironically Dædalus had designed himself!).
Besides, Icarus was not the only one to fly with the make-shift wings: his father was flying beside him
and warning him about the dangers of flying too close to the sun (which is nowadays known to be
complete nonsense, as we all know that the temperature decreases with altitude – but let us not
forget that this is ancient myth and some sort of parable).
It's a really good song but we much prefer it live. We tend to play it a little bit faster live.
Looking back on it now we feel we could have played it at the faster speed on the album. This little
extra touch gives it a bit more fire. If you're counting solos, this is
One last question I would like to raise is this one: in the verse "Now he knows
his father betrayed", is it the father that betrays his son or has he been betrayed himself?
This seems open to interpretation, as both possibilities are equally plausible. In the case of the father
being betrayed, that could mean that the wings he designed for his son have been made with
some external help, and that the helper(s) betrayed him, thus causing his son's death. The other
interpretation could imply that the son believes that the old man has betrayed him (although
what kind of a father would betray his son?) as the wings melt and he falls to his death.
Many young people do not heed their elders' advice, but still manage to blame them if things
go wrong. This is not unusual. I just thought I would mention this apparent ambiguity and
let the reader think about it.
Bruce admitted himself that he had slightly twisted the original tale to make it an allegory of teenage
rebellion against adult authority – a rebellion that lead to disaster in the case of Icarus!
This is then the opportunity to re-read the original story and discover what it is all about,
whereas we can enjoy this song in itself and grant the somehow strange lyrics to artistic license.
Its catchy tune and chorus gives this song its place as a Maiden classic, although it could have had
a much longer instrumental section rather than just the short guitar solos.
Die With Your Boots On (Smith, Dickinson, Harris)
Adrian and Bruce came up with the main riff. Bruce came up with the lyrics. I came up
with the chord sequence behind the verse and the cross section that goes into the main chorus.
This is another personal favourite of mine. It has more chords than riffs, which I suppose might
make it strange as to why I really like it so much. It's a very powerful number live. I get off on the
aggression of it.
Not much has been written about this song, which focuses on facing an apocalyptic future,
and might also be implying something about the self-fulfilment of prophecy.
The song was written at the time of the Cold War and many thought that a
nuclear holocaust was on the verge to happen. Although the world's political
situation has changed since and that the threat of a global conflict between
the USA and the USSR (and their respective allied nations) has gone away,
many governments still play the card of fear to get their ways, "international
terrorism" being the new enemy (this reminds me of George Orwell's
1984 where the enemy is never the same, but there is always one to
fuel the people's fears).
Nothing has changed, and the advice given in the song to "die with your boots on"
is also still valid. It is not advocating an armed struggle, but more probably the resistance to this fear that
the leaders of the planet are using so well to control the masses. After all, people in
fear cannot think straight and see what their governments are really like!
The Frenchman mentioned in the second verse is most likely Michel de Notre-Dame
(1503–1566), otherwise known as
Nostradamus. His prophecies are always referred to whenever a major sinister event occurs,
and the wackiest interpretations appear, doubling the fear of the actual or potential danger to
that of esoterism and the occult.
Anyway, "Die With Your Boots On" may not be the best song on the album, but it isn't bad either.
Like many Maiden songs, it is more enjoyable when played live than on the studio album.
The Trooper (Harris)
'The Trooper' is perhaps the most famous and recognisable of Maiden's songs, along with
It describes a British cavalry charge against the Russian army during the
Crimean War (1853–1856) at
Balaclava on 25th October 1854. This action was a major blunder of the Crimean War,
useless bloodsheds being a theme that Iron Maiden approached again with the song
on the 2003 Dance
Of Death album. Thin Lizzy's 1976 song
that was covered by Maiden on their 1988 single
Can I Play With Madness, was also inspired by this battle.
The Charge of the Light Brigade was led by Lord Cardigan and his light cavalry. The Russians
had taken outposts and redoubts – heavily-armed, well-defended, strategic positions –
and had began to make off with the naval guns and ammunition which had been used in these redoubts
previously occupied by the Turks (then allied of the British). The loss of guns was a clear sign of defeat
which Lord Raglan, then in charge of the sector, could not allow. When he saw what the Russians
were doing, he ordered that the guns should be retaken. However, the order was very vague and
hastily scribbled, not mentioning which guns, or where they were. Although Raglan
– on the heights and having an overview of the area – thought it was obvious,
the cavalry in the valley could not see the Russians with the British naval guns because
they were over the top of the ridge. Consequently the cavalry was baffled: the only guns
they could see were those before Sebastopol, two miles away, where there were gun
emplacements down both sides of the valley and across the end.
Based on the Crimean war with the British against the Russians. The opening is meant
to try and recreate the galloping horses in the charge of the light brigade. It's an atmospheric
Cardigan assumed that his brigade was to take the guns at the end of the valley.
No commander should ever order cavalry to attack heavy artillery. Still, orders were
to be obeyed. The Light Brigade, comprising 670 men, set off down the valley at a canter
with Cardigan fifty yards in front of them. When the messenger who had brought the order
realised that Cardigan was going in the wrong direction and tried to stop him,
Cardigan simply refused to listen.
The soldiers in the first Russian batteries did not believe their eyes so they did not fire right away.
But then the massacre began. When the charge was over, 195 men were left. Cardigan was
the first in and first out, and he was unscathed; he left his men to find their own way back.
The charge was a massive blunder and caused irrecoverable loss –
most of the light cavalry was gone.
This charge, symbol of the bravery of men and of the mindlessness of some officers,
was immortalised by Lord Tennyson's (1809–1892) poem
The Charge Of The Light Brigade
(first published on 9th December, 1854 and reprinted in 1855). This poem was one of the most popular
of the Victorian period and one critic of the time said: "The poem has become almost too
popular for discussion; it is the one stirring, galloping piece of energy which all shades of mind and
sympathy seem to admire alike." The same comment is also valid for the Iron Maiden song,
which is a perfect example of Harris' riff-based style of music. The power and emotion of this song
make it an all-time classic, and one of the best Maiden songs ever.
Still Life (Murray, Harris)
This is one of the best songs on the album, and indeed one of Maiden's best songs
of all time. It is about someone who is obsessed with the spirits in a pool of water,
and eventually joins them, taking his partner with him. It has been suggested that
'Still Life' is based on a short story called "The Inhabitant Of The Lake",
featured in a collection of novellas,
Cold Print (1969), by
However, the album credits do not mention him and it's hard to be sure. Although Steve Harris said that the
song was about the fear of drowning, it has always reminded me of the Dead Marshes in J.R.R. Tolkien's
Lord Of The Rings:
'I don't know,' said Frodo in a dreamlike voice. 'But I have seen them too. In the pools when the
candles were lit. They lie in all the pools, pale faces, deep deep under the dark water. I saw them:
grim faces and evil, and noble faces and sad. Many faces proud and fair, and weeds in their silver hair.
But all foul, all rotting, all dead. A fell light is in them.'
Quoted from The Two Towers by J.R.R. Tolkien
Regardless of the source, this is an extremely powerful and compelling song, and it undoubtedly
represents the climax of the Piece Of Mind album. If you're interested in the backward message
that appears at the beginning of 'Still Life', including RealAudio samples, go
At the end of the song, you can also hear Nicko say: "Yeah, that was fucking great!"
It's basically a story of a guy who is drawn like a magnet to a pool of water. He sees faces
in the lake. He has nightmares about it and in the end he jumps in and takes his lady with him.
It's a very enjoyable number to play because there's a lot going on. Again we're creating a mood
and coming in with a very heavy guitar sound. Adrian takes the first solo. After the solo there is
a really tight bass and drums staccato part which goes right across the top of the riff. I like that
part a lot.
Quest For Fire (Harris)
Inspired by French-Canadian director Jean-Jacques Annaud's 1981 movie
Quest For Fire (a cinematographic adaptation of the
novel of the same name by
J.-H. Rosny aîné [1856–1940] published in 1909),
this song tells of the struggle of a prehistoric tribe to regain the fire that had been lost.
The story of the book – and of the film – depicts the loss of the precious
fire by a tribe of early hominids after a fight. They become once again lost in the middle of the
land where great predators roam. One of them volunteers to go and find another fire:
Quest For Fire relates his adventures.
The dawn of Mankind was no bed of roses for this poor creature that didn't have the strength,
the claws or the swiftness of movement that the other animals had. The mastery of fire was
his only asset and its loss was a catastrophe. The story highlights that Man's intelligence
and craft allowed him to face the most difficult situations successfully. The "hero"
defeats various enemies, learning each time a bit more. A nice example of Mankind's
progress. In the book, the theme of decadence also appears with the mammoths, then
at the heights of their power, being slower to progress than the young human species.
Many people consider this song to be the worst on the album, and they might be right,
but being the worst track on an album of this calibre doesn't say much. It is rather acceptable,
although it's hard to understand why dinosaurs are mentioned. There are none in the book
or in the film, and according to current evolutionary understanding, humans and dinosaurs
never co-existed. Perhaps we can attribute it to poetic license, since it isn't a very serious song
to begin with.
Sun And Steel (Dickinson, Smith)
This song is about the legendary Japanese samurai
Miyamoto Musashi (1584?–1645), considered by some to have been the greatest
samurai who ever lived. He is said to have won his first duel at the age of 13, devoting subsequently
the rest of his life to perfecting his swordsmanship. Spending most of his time travelling and
pondering, he was also a painter who specialised in self-portraits and landscapes.
In his later years he authored the
Book Of Five Rings
which details the art of sword combat, and is alluded to in the song. This is another song that
is disliked by many Maiden fans and, along with
For Fire', it has never been played live in concert.
Bruce wrote the lyrics to that. It's basically about a Japanese guy who builds himself up
to a peak of fitness and wants to kill himself hara-kiri style. I think it would be a good live song
but we have never played it on stage as of
The reason why the song was not called 'Dune', as anyone would have expected, was explained
during the subsequent tour in support of the album. Bruce gave his view on the matter at a
concert during the
World Piece Tour:
Next song is all about a gentleman who wrote a science-fiction book called Dune,
this one (...). He's an American called Mr. Frank Herbert, this particular gentleman, alright?
And Mr. Herbert, as it turns out, is a bit of a cunt actually, because he... among other things
he said that if we called this track that we wrote on the album 'Dune', that he'd sue us and
stop the album coming out, and all kinds of very unpleasant things... So we had to re-title
the track which is on the new album, and we had to call it
'To Tame A Land'.
Bruce Dickinson – Stockholm, Sweden, 5th June 1983
Musically however, it is a brilliant masterpiece that begins slowly, breaks into a powerful driving rhythm,
and ends with a long and interesting instrumental section inspired by the famous classical piece
by Spanish composer
Isaak Albeniz (1860–1909),
and which slowly retreats back to the original opening softness. A perfect ending to a near perfect album.
This is the best song I've ever written. I was really pleased with 'Phantom', but now
I have to say that this is