Iron Maiden are a force to be reckoned with, and Number of the Beast viciously hammers home the point with it being an album widely acknowledged to be one of heavy metal's most iconic and definitive pieces of all time. And let's not forget the cult status it has achieved, being cited by a large number of bands as major influence. Critics often liken it to Paranoid, as one of the most influential albums of the genre.
The year was 1982 and with two powerful albums in their bag, Maiden needed to back up their rising fame and success, especially after firing ace frontman Paul Di'Anno. The expectations were high. And they rose magnificently to the occasion outdoing everyone's wildest dreams with this monster of an album.
Musically the album is hard to summarize. With riffs more aggressive than ever and fast tempos, the twin guitar interplay with Murray and Smith continuing with the guitar harmonies they expanded on in Killers, they made everything faster, louder and heavier. Though the album features no instrumentals unlike the previous two, the guitarists show they know what their doing and that they're are really good at doing it, just with the riffs and solos of the songs. Also, this is the first album with Bruce "The Air Raid Siren" Dickinson and he proves to us, with wide ranging vocals and immense versatility in range and style, song after fucking song that he's more than an adequate replacement.
And Harris, blessed with vocalist who delivers melody in a grandiose and operatic manner took his songwriting abilities up a notch with epic themes ranging from horror, sci-fi, history and even his own nightmares. Thematically, the album traverses a wide range of topics, drawing inspiration from novels and T.V. shows et al, though the title track led many to believe the band to be satanic (which though they aren't), and caused a couple of hiccups for them. Iron Maiden, with this album, sure as hell, just drives their brand of metal straight down the throat.
The Album begins with Invaders, among their fastest songs at the time. Dickinson's operatic styles works well for the song and allows Harris to write such songs. Harris's bass lines are prominent throughout the song and are superbly done. The powerful riffing is fast and the drumming aggressive. Murray's solo is unfortunately short and is followed up well by Smith's comparatively slower one. The transitions are smooth and song packs some energy. The lyrics are about Viking invasions and all that follows.
Next up is Children of the Damned, a slower and heavier number. Easily one of the best tracks of the album. The vocals are notably brilliant and the song mixes clean riffs and the heavier riffs which occur during the choruses very neatly. It has a very melodic solo which goes well with Harris' almost lead-like bass lines. The lyrics are dark and are something only Dickinson can pull off, which he does with apparent ease. All in all an excellent song!
Following Children.. is The Prisoner, a catchy version of a popular British T.V. series going by the same name. Starting with a dialogue from the show its extends forward with a lengthy instrumental with great solos. Harris' bass is overpowering, echoing his might as a bassist. A great track that lightens the dark mood set by the tracks before. Another solid Maiden classic.
22 Acacia Avenue is a follow up to the Charlotte the Harlot saga from the band's debut album. A very melodic track though which when compared to Charlotte has lyrics slightly less serious. Not as good as it gets on this album, but still a great track to listen to.
"Woe to you O 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"
Both Maiden's and one of heavy metal's most well known songs. The spoken intro to the song that is chanted unfailingly by every metalhead thronging any of their concerts time after time. The song has remained in every setlist so far and is by far the biggest crowd favourite. Yeah, it's Number of the Beast, a huge cult hit that truly deserves its revered status. Based on a nightmare Harris had after watching a horror flick (The Omen possibly) , it combines brilliant thought-provoking lyrics, very catchy riffs and Dickinson's banshee-like blood curling scream extremely well to produce this heavy metal masterpiece. The chorus, it seems was made just to excite the crowd and elevate their manic antics to a new plane and crowd chants it in unison with great fervor and energy making it look like something out of a frenzied pagan ritual, fittingly enough. The solo, Dave Murray's atmospheric solo, is extremely impressive and is indicative of his skill. This is one of those few songs that really takes you there, making you imagine and truly feel the mood and really live the song. Obviously one of the best pieces of the album.
What follows one fan favourite is another anthemic one, Run to the Hills. Featuring Harris' trademark galloping technique, which blends well with the overall theme of the song - the conflict between the native Americans and European settlers. The bass line has you imagining the Indian warriors riding on their steeds in to battle. The song is very well written and again its Dickinson's sheer skill that adds that certain something to the song. Excellent soloing and a harmonious riff contribute to why fans love it so amongst many other things. Another Maiden signature piece.
Gangland at number 7 is not amongst Maiden's most popular songs and rightly so seeing as it doesn't have too much to offer. The song is probably the most energetic of the album and relentless fast riffing is what the song is all about. The lyrics are fairly likable and the best part of the song is the instrumental passage. As usual the vocals are strong and hold up the song, though compared to any other on the track, this one is beaten hollow.
Track 8. Rated in list after list as one of best songs of all time. Maiden's most celebrated ballad, the epic Hallowed be Thy Name is possibly the best song of the album. Bruce Dickinson stuns with a powerful and impassioned performance that few can think of rivaling. The vocals are delivered well and very melodically and on the whole compliments the guitar harmonies. The familiar ringing of the bells at the beginning of the song is every bit as iconic as the title track's chorus and gets the crowd into a frenzy, also, like the chorus. The doom-like gloomy beginning sets the feeling and mood for the rest of the song. Harris outdoes himself on lyrics which are easily amongst his best. The lyrics are very philosophical and takes you through the turbulent mix of emotions the character in the song goes through when faced with his imminent execution. The thoughts, reflections and finally revelations that occur to the man about to be sent to the gallows is brought out very well and is every bit grandiose as can be expected. The dark nature of the song suits and gels well that of the rest of the album. The tempo of the song changes fairly often and these transitions are carried out masterfully. The guitar work is exceptionally good and showcases Smith's and Murray's skill yet again. Every part of the song is intense and musically, very melodic. Though the song opens slowly it inevitably builds up pace to make for a frenzied finale. Very Essential Maiden.
Though left out of the album initially, surprisingly enough to make way for Gangland, Total Eclipse is yet another great song. Excellent riffing and outstanding lyrics make it stand out. Great solos and good vocals make for a very likable track. The theme goes over the topic of natural disasters, sort of like the end of the world thing.
Overview : Overall, a breakthrough album that cemented Maiden's legendary status in heavy metal and rightly so. A milestone in the band's career and a cornerstone of the genre. Evanescent magic like never before, never to be seen again. A heady combination of incredible melody and brute metallic force which is impressive and extraordinarily intense. An album whose style many have inimitably tried to copy throughout the decade .This is the album that left the bands of eighties wanting to be like Maiden in every which way. A must have in any metal heads collection. Truly, a thing of beauty.
Genre : Heavy Metal
Track Listing :
| Title | Writer(s) | Length |
| 1."Invaders" | Steve Harris | 3:24 |
| 2."Children of the Damned" | Steve Harris | 4:35 |
| 3."The Prisoner" | Steve Harris, Adrian Smith | 6:03 |
| 4."22 Acacia Avenue" | Steve Harris, Adrian Smith | 6:36 |
| 5."The Number of the Beast" | Steve Harris | 4:50 |
| 6."Run to the Hills" | Steve Harris | 3:54 |
| 7."Gangland" | Adrian Smith, Clive Burr | 3:49 |
| 8."Hallowed Be Thy Name" | Steve Harris | 7:11 |
Total Album Time : 44:46
Personnel/Contributors :
- Bruce Dickinson – Lead Vocals
- Dave Murray – Guitar
- Adrian Smith – Guitar, Backing vocals
- Steve Harris – Bass, Backing Vocals
- Clive Burr – Drums, Percussion
- Martin Birch – Producer, Engineer
- Rod Smallwood – Manager
- Derek Riggs – Illustration
Recorded : at Battery Studios, From 1981 to January 1982
Supporting Tour : Beast on the Road
Live Albums : Beast over Hammersmith
Of all the songs in the album, Number of the Beast, Run to the Hills and Hallowed Be Thy Name remain on the set lists of nearly all of the band's concert tours.
During the making of the album, record producer Martin Birch had been in an accident and crashed his car into one driven by a "religious nutter" on a rainy Sunday evening. When he got his car back from the mechanic the bill came back in the exact amount of £666.66. Birch, "terrified", demanded the bill be rounded up to £667. Also, the title track reached number 18 in the UK charts - the sum of three sixes.
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