Powerslave (1984)

You see the album cover. And what a cover it is.

Eddie in a mind-blowing Egyptian, Ramses-like avatar.

And then you read the name. 

POWERSLAVE. 

And with just that you know this is going to be one epic fucking album. 

    

    And Iron Maiden's magnum opus does not fail to impress by any account. Scaling greater heights after metal classics like Number of the Beast and Piece of Mind is obviously not an easy task. With this massive monolith of an album, which spawned what could possibly be one of heavy metal's biggest tours, (the World Slavery Tour) Maiden took the world by storm. 

    Musically, the album resonates with the band's greatness in skill and innovation. It captures the bands signature sound and trademark elements that embodied the band at the peak of their career. This is probably Iron Maiden's first album to contain progressive elements with the likes of Powerslave and Rime of the Ancient Mariner. The drumming and bass at times being played at faster tempos than the guitars; and the bass guitar being a central instrument in shaping the sound of the album, fast paced riffing combined with slower, more heavier riffs and the use of harmonic, melodic solos are all hallmarks of Iron Maiden's sound. Smith and Murray stun yet again with their technical prowess, be it with their domineering riffs or their shattering solos. The guitar riffs are among Maiden's best ever; well-composed and yet aggressive without exaggeration of any sort. Harris' bass lines are mind-blowing and encompass a surprising amount of melody through the entire length of the album. Dickinson goes all out on the vocal attack and Nicko like with the previous album does a great job on the drums having finally found his footing in the band. 

 Song-themes vary as widely as ever, from power hungry emperors to the cold war to sin and subsequent salvation. The guitar and drum patterns vary vastly from track to track giving the album a very edgy sound. Its their last album to date to contain an instrumental. Powerslave also, is their first album to feature the same line up as the previous one. 

    The imagery the lyrics conjure are incredible. Right from Aces High which has you following a World War II bomber to 2 Minutes to Midnight which is about the cold war to tracks about fencing (one of Dickinson's many hobbies), warriors and a famous T.V. show (The Prisoner) to the Egyptian themed title track about a power hungry pharaoh and finally to Samuel Taylor Coleridges's epic poem. Not really what most of the metal acts of time wrote about.

    The albums starts off with Aces High at the helm and Maiden show you how to open an album with a bang! A fast, thoroughly relentlessly paced track about British bombers during WWII that never loses steam and keeps you right at the edge of your seat. The simple riff is enhanced greatly by Harris' throttling bass line and somehow gives a fighter plane feel to the mood of the song. Catchy riffing, a terrific solo a piece from both Murray and Smith and sing-along choruses make this a brilliant album opener. 

Next off is 2 Minutes to Midnight, the second single of the album. The track is about the cold war and the Doomsday Clock and lyrically it has an apocalyptic feel about letting loose the dogs of war and the impending doom that will follow. With lines like "blood is freedom's stain" and "napalm screams of human flames" and " madmen play on words and make us all dance to their song to the tune of starving millions" it catches you completely off guard and tries to take a stand against what is wrong with the world. Delicately laced with sarcasm, it targets the political establishment, the high and mighty, their greed and their wicked machinations with great gusto. Another catchy riff with exceptional leads act as a teaser for what is yet to come. The song has a killer chorus that you absolutely cannot resist singing along to. Dickinson's high pitched vocals work well for the song and he ends it a very fittingly chilling sung line- "Midnight, is all night". All in all a great song.

Up next is the instrumental Losfer Words (Big Orra), Maiden's last instrumental to date. A very intriguing and unique track that starts off the prog metal feel of the album. The interplay between Harris and Smith and Murray shows how talented these guys really are. Though listening to the track gives one the idea that song was meant to have lyrics and Harris ran into a bit of writers block, a loss for words indeed. The solo in the middle and bass line adds another dimension to the song. On the whole, though it isn't one of Maiden's best instrumentals, it is a good track.

Flash of the Blade starts off with an unusual energetic solo-like riff that keeps you wanting for more. The lyrics aren't very memorable and seems to be a poor effort on that front. The synchronized solo is the highlight of the song. With a lightning fast riff and very catchy melody sections it becomes another awesome track in this monster of an album. 

Following Flash of the Blade is The Duelists, a typical Maiden song, only this one being about one of Bruce's hobbies. With an intermittent mix of light and heavy riffs, an amazing solo, Harris backs everything with grand melody that enhances the overall feel of the song. It makes for yet another great track, though in comparison with the rest of the songs it sound a little repetitive and could possibly be the weakest link in the album. Still, a solid track that deserves its position in the album.


Back in the Village is up next with a very weird, yet very likeable riff. Pure energy and speed is what this track thrives on, be it the solos, riffs or the strong pounding bass line. Based on a popular T.V. show, The Prisoner, its a sort of continuation of the The Prisoner track from Number of the Beast.

The monumental Egyptian-themed title track follows. Starting off with a wolf's howl and an menacing laugh, Powerslave will take you for one hell of a ride that you never could've anticipated. Right from the vicious, savage, galloping riff to snarling vocals that in an operatic, yet poetic manner tells the tale of a power hungry Pharaoh to finally what can be only described as the best solo the band has produced, this song is unlike anything anyone could have imagined in their wildest dreams. The riff is captivating and has you screaming for more, and when it finally mellows away, it makes way for two immensely melodic, densely layered and extremely beautiful solos that will leave you completely awestruck. The songs talks of a Pharaoh who becomes a prisoner to his power and how in the end like everyone else has to bow down to the power of death. Brilliant riffing, great lyrics and spitfire vocals with a hypnotizing chorus, and among the very best heavy metal solos ever made. Truly, heavy metal played to perfection.     

The album ends with Rime of the Ancient Mariner, one among Maiden's crowing glories. Clocking in at more than 13 minutes this is the band's longest song to date. A brilliant adaptation of Samuel Taylor Coleridge's poem of the same name, the song narrates the story of the Mariner's fateful journey and on occasion uses pieces of the poem in the lyrics. Brilliant riffage with great detail and texture from start to stop makes this one of their most progressive songs. Harris does a great job throughout the song especially considering the riffs, the rhythm and great instrumental passage he has to keep up with. Dickinson screams his lungs out and yet, when required delivers subtlety and passion. One of their best epics to date that lacks neither in lyrical content or musical composition that is pulled off with great flair. Kudos to the band for coming up with something as edgy, epic and infectious as this. Another song to remind us why Iron Maiden are among the greatest heavy metal bands ever.

Overview :

To cap it off, you have to respect Iron Maiden for what they accomplished with Powerslave. Iron Maiden has made a career out of defying the norm, and this album exemplifies exactly that. One of the best heavy metal albums you'll ever listen to that launched one of the biggest tours that to this day cannot be replicated. This album had the band in their creative prime when they seemed to be an unstoppable force. Classic Iron Maiden album. Classic Heavy Metal album. Sheer ecstasy to listen to. Impeccable in every which way. The album is proof of why Iron Maiden are so highly regarded and makes you wonder whether another album like this, by any band, will come this close to greatness again. Up the Fuckin' Irons!


Genre : Heavy Metal


Track Listing :

Title	Writer(s)	Length
1."Aces High"	Harris	4:32
2."2 Minutes to Midnight"	Dickinson, Smith	6:04
3."Losfer Words (Big 'Orra)"	Harris	4:15
4."Flash of the Blade"	Dickinson	4:06
5."The Duellists"	Harris	6:07
6."Back to the Village"	Dickinson, Smith	5:03
7."Powerslave"	Dickinson	7:12
8."Rime of the Ancient Marnier"	Harris	13:37

Total Album Time : 50:57

Personnel/Contributors :

• Bruce Dickinson – Lead Vocals
• Dave Murray – Guitar
• Adrian Smith – Guitar, Backing Vocals
• Steve Harris – Bass, Backing Vocals
• Nicko McBrain – Drums, Percussion
• Martin Birch – Producer, Engineer
• Rod Smallwood – Manager
• Derek Riggs – Illustration

Release Date : 2 September 1984

Recorded : at Compass Point Studios, Nassau, Bahamas, From 1983 to July 1984

Supporting Tour : World Slavery Tour

Live Album : Live After Death

Trivia : 

   On the bottom left corner of the album cover, just behind the first lion are the words "Indiana Jones was here 1941"

Next to that is a drawing of Mickey Mouse

Above that (past the statues' heads) are the words "WOT A LOAD OF CRAP"

On the bottom right of the cover, just below the right foot of the large seated lion, we see a drawing of Chad peering over the wall, with the words "WOT? NO GUINESS"

Also on the right side, above the statues' heads, the word "BOLLOCKS" appears.

At the pyramid's entrance, Derek Riggs' insignia appears right where Eddie's crotch should be.

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