SilentScream213 Under 3-minute tracks have been completely absent from Iron Maiden’s discography since the sophomore Killers, and never appeared again henceforth, but this album opens with one in “Futureal” and makes me think the band should have done a lot more like this. The song is full of energy, great guitarwork, and every second is filled with that classic Maiden sound, albeit on a bit of a speed rush. The following song, at almost 10 minutes, is the polar opposite; there aren’t enough good ideas there to fill 3 minutes, nevermind 10. The lack of speed and repetitive vocal lines only make this more noticeable. “Don’t you think I could save you” repeated about 96 times in a row really grates on you.

Virtual XI is a very interesting Iron Maiden album, in that it does some things perfectly and in other areas it falls completely flat. The album brought back keyboards and Iron Maiden’s signature epic sound, and by all means, sounds closer to their peak 80’s material than just about anything they’d done since. The problem is, there is something wrong with most of these compositions. Take a one-minute snapshot of any song here, and it sounds like classic Maiden, like it could be dropped into any of their 80’s material and fit right at home. But the songs as a whole, often suffer from being bloated, repetitive, or simply not going anywhere over their long runtime. Everything sounds a bit stale.

Now of course, some songs avoid this. Aforementioned opener is a fantastic track, and “Don’t Look to the Eyes of a Stranger” is an example of the band killing the more progressive, lengthy song format. The return of keys really adds a nice layer whenever they show up. The drumming is also pretty good across this album, but especially in the more energetic tracks.

Lastly, we’ve got to talk about the vocals. Blaze Bayley replaced Bruce on the prior album, and since that album was in quite a different style, the new vocals didn’t really stand out since everything else sounded a bit different too. Here, the songs all go back to the band’s older style… but missing Bruce. Blaze is a fine singer, but his range is far, far more limited than Bruce’s. These songs needed Bruce’s higher, more powerful range to achieve true hooks for the choruses and verses. Blaze unfortunately is passable and nothing more, with very few vocal parts here delivering anything too memorable or catchy.

With all of that being said, I find this album profoundly underrated. It has issues, sure, but it still sounds a lot like the band’s peak material, so if you love that, I really can’t grasp at how you couldn’t at least like this. I feel part of it is just the unfair comparisons. It’s basically just sub-par classic Iron Maiden, but even that should be enough to warrant pretty high marks from most people considering the quality of the band. Go into it with an open mind and I think you will be rewarded.

lukretion I approached Iron Maiden’s seventeenth full-length album Senjutsu in the same way as I approach all new releases from glorious bands of the past: with a mixture of hopeful excitement and reluctant dread that the new album won’t be anywhere near the glory days of years past. In this sense, Senjutsu turned out to be a pleasant surprise, showing that, even though they are no longer the reckoning force of 40 years ago, Iron Maiden are still a relevant voice in today’s metal landscape. This conclusion is even more surprising if one considers that I have not been impressed by any of the recent releases by the band, including the oft venerated Book of Souls.

So what’s Senjutsu’s secret? In two words: strong songwriting. Yes, it’s that simple. Forty-one years on after they have started their recording career, Iron Maiden can still write memorable heavy metal tunes that are both fun and arousing. The songwriting formula hasn’t changed much over the years: a powerful combination of galloping bass grooves, twin guitar leads and riffs, tight drumming, blazing guitar solos and Bruce Dickinson’s soaring dramatic vocals that often double the main guitar melody. Fast songs alternate to epic, brooding mid-tempos (giving off strong X Factor vibes) and ballads, creating a varied tracklist that keeps things fresh and entertaining. Structurally, the songs are not too complex, despite the lengthy duration of some of them. There are extended solos and instrumental sections, and the lengthier songs feature multiple parts, but it is all very accessible and memorable, only tiptoeing on the line that crosses into progressive metal.

So far nothing new under the sun as far as any standard Iron Maiden album is concerned. The difference compared to the band’s most recent records is that Senjutsu contains a handful of truly inspired songs, with memorable instrumental sections and great vocal melodies. Most of these tracks can be found on Disc 2 of this 81+ minute long double album. “Darkest Hour” is a sublime ballad infused with pathos and drama thanks to Dickinson’s fantastic vocal performance. The emotional solo in the second half of the song is another unmissable moment of the track, and a true highlight of the whole record as well. “The Parchment” is probably the best song off Senjutsu It is a strongly progressive piece, with some daring tempo changes, a spectacular instrumental section, and a fabulous doomsday verse that sends chills down my spine every single time (strong Seventh Son of a Seventh Son vibes here!), showing that Maiden can still bite when they want to. Album closer “Hell on Earth” is another strong contender for best track of the album, twisting between delicate acoustic arpeggios and epic galloping guitar riffs. Disc 1 is slightly more average, but there are some glorious moments there too, like the title-track, a very catchy and easy-listening track that shows how consummate Maiden are as songwriters.

Senjutsu also introduces a couple of unexpected sonic twists, like the surprising bluesy guitars of “The Writing on the Wall” or the vaguely 1970s, Floydian intro of “Lost in a Lost World”. There is nothing that truly innovates or changes the musical direction the band have been following over the past 40 years, but it is nevertheless refreshing to see that Maiden have not lost the appetite for subtle sonic experiments, seventeen albums into their discography.

The rest of the material is slightly less impressive, with tracks like “Days of Future Past”, “”The Time Machine” and even the slow winding “Death of the Celts” coming across a somewhat too derivative and flat. This is probably the main gripe I have with the album: if instead of releasing a double disc of over 81 minutes, Maiden had applied a little more quality control and reduced the material to five or six songs for half the length of the LP, this could have been one of the strongest albums the band has released since the 1990s. Nevertheless, Senjutsu stands tall in the band’s recent discography and represents a true return to form for Iron Maiden.

UMUR "Senjutsu" is the 17th full-length studio album by UK heavy metal act Iron Maiden. The album was released through Parlophone BMG in September 2021. The material featured on the album was actually already recorded in early 2019 in Paris, France with producer Kevin Shirley (same studio and producer as used on "The Book of Souls" from 2015), but as a consequence of a heavy touring schedule and the 2020 COVID-19 outbreak meant the band sat on the album and kept quiet about having recorded it for over two years.

"Senjutsu" is a double album release, featuring 10 tracks and a total playing time of 81:53 minutes. Disc 1 features 6 tracks and disc 2 features 4 tracks. The album features quite a few lenghty tracks, and disc 2 features no less than 3 tracks exceeding 10 minutes in length. It´s almost needless to say that "Senjutsu" sees Iron Maiden continuing to pursue the more progressive, atmospheric, and slow building songwriting approach of most of their post-2000 releases. The pace is predominently mid-paced and even slow at times, and you won´t find many uptempo moments on "Senjutsu". With three guitarists in the lineup the tracks are often layered and intriguing in terms of the guitarist trio complimenting each other, and as the tracks also often feature keyboards, the album is loaded with epic atmospheric moments. Lead vocalist Bruce Dickinson has molded the melody lines to suit him singing in a lower register, which is probably wise considering his age. Although he is still a force to be reckoned with, reaching those really high notes is not something he does that often on "Senjutsu" (although he can still sing in pretty high registers when needed). While the always busy rhythm section of drummer Nicko McBrain and bassist Steve Harris deliver a tight and organic attack, the generally low pace of the songs do have a power sucking effect on their contributions.

Disc 1 opens with two rather uninspired mid-paced tracks in the title track and "Stratego". The former is a slow and repetitive track and the latter isn´t particularly memorable either. Thankfully "The Writing on the Wall" is a pretty great track, showing that Iron Maiden can still develop their sound and try new things which still make sense within the boundaries of their musical style. The almost 10 minutes long "Lost in a Lost World" follows and again it´s a slow building epic track, which features some great moments, but is ultimately a little too long and honestly a bit dull. "Days of Future Past" and "Time Machine" don´t really rock the boat either (the latter features a nice main lead theme, which is repeated quite a lot through the song, but that´s about it for the positives), and upon conclusion it´s only "The Writing on the Wall", which stands out on disc 1 as something a little out of the ordinary for Iron Maiden.

Disc 2 opens with "Darkest Hour", which is another relatively unremarkable track, and the same can be said about the 10:20 minutes long "Death of the Celts", which follows. Massive epic tracks featuring many layers of guitars, keyboards, drums, bass, and vocals, but they aren´t the most accessible nor the most memorable tracks. The album concludes with two more lengthy tracks in the 12:39 minutes long "The Parchment" and the 11:19 minutes long "Hell on Earth". Both are slow building and progressive structured songs, which are solid, but nothing out of the ordinary for post-2000 Iron Maiden. It´s the type of material the band could write in their sleep, and being Iron Maiden the end result is of course of a high quality, but there is a long way from delivering something solid to delivering something excellent.

"Senjutsu" features a dark and a little murky sounding production, and I have to say that I don´t think Shirley did a particularly great job producing the album. The sound doesn´t suit the material that well and it´s like the songs don´t open up to the listener but instead remain in an inaccessible format. As if it isn´t enough that the generally slow-to mid-paced tracks often suck the energy out of the performances, the sound production further enhances the feeling that the songwriting and the playing are relatively uninspired. It´s not that it isn´t a professional sound production job, but Iron Maiden´s music would by now prosper from a different production approach.

So upon conclusion "Senjutsu" is not really the triumphant return that fans have been waiting for the last 6 years. It´s a solid heavy metal album with progressive songwriting structures and ideas, performed by a seasoned crew, but the album does not feature the most inspired compositions, and the lack of pace tends to suck the energy from the tracks and the performances, and when the sound production doesn´t manage to help the material shine either, we´re left with a solid but not great effort, and a 3.5 star (70%) rating is probably me being a little too nice.

siLLy puPPy Very few bands succeed in getting me excited about releasing a new album since there is so much music to discover that was released over the decades prior and i have no need to be current or contemporarily “correct,” however there are a few bands that just seem to have won me over and remain relevant despite having been on the scene for decades. IRON MAIDEN is certainly a band that has cast its spell on me and continues to enchant me with its musical style that has been a fascinating mishmash of metal, punk, prog and other elements since its self-titled debut emerged in 1980. While there are many classic bands like Deep Purple, Yes and Metallica that were once all time favorite bands, their new products are so pathetically weak that i cringe when i hear that they are actually contemplating a relevancy in the modern era! Well, that’s not the case with IRON MAIDEN.

This band has always been a cut above the competition and over time has virtually established itself as the pinnacle of heavy metal longevity having churned out one excellent album after another and although it’s true that these guys may not be up to the level as their classic seven album run, they still manage to unleash an unexpected surprise that while not their peak always seems to satisfy. Such is the case with the band’s 17th studio album SENJUTSU which in Japanese ( 戦術 ) loosely translates as “tactics and strategy” and the first time the mighty MAIDEN has used a Japanese theme since its lesser known live EP “Maiden Japan” was released all the way back in 1981. However this time around, MAIDEN implements Japanese music sounds (such as the taiko drumming on the title track) and subject matter.

So… what about this new album? How does it stack up against the classics of the past? How is it relevant for the modern world of metal? Does it even matter? Well, after a few spins of actually buying this double CD set i have to say, awesome! OK, let’s just get this out of the way right now. IRON MAIDEN clearly peaked in the 1980s with its masterpiece “Seventh Son Of A Seventh Son” and has never topped that crowning achievement and all the six albums that preceded for that matter which are unabashed classics of metal as well that have likewise never been topped but that does not mean for a minute that IRON MAIDEN are not relevant or enjoyable even in the third decade of the 21st century where metal has branched off into myriad mind-numbing directions. MAIDEN clearly established its core sound in the 1980s and has been simply refining and recycling those ideas ever since. But for me it totally works!

When it comes to aging bands that are clearly using past ideas to perpetuate a longevity in the metal universe there are a few trends i’ve noticed. Firstly, aging bands try to be relevant in the brave new world and try to tackle trends that they have no business doing so. Think, Queensryche of the 90s, well hell many 80s bands trying to become more “alternative” in the 90s! Then there are bands like Judas Priest that decided to go full on prog. Well, “Nostradamus” was a complete shit show and ultimately they reverted back to their classic 80s sound. And then there are those bands that just never change. You know the ones. They had their heyday in the 1990s and have had umpteen renditions of the classic album that everyone revers so deeply. But then there’s IRON MAIDEN which somehow manages to be classic and new at the same time. Playing it somewhat safe yet taking a few risks.

SENJUTSU is the perfect modern representation of IRON MAIDEN really and an excellent followup to “The Book Of Souls” which for the most part simply cannibalized its past glory in the form of riffs, melodies and subject matter and crafted an unthinkable double album that followed another double album! That little tidbit which is both the boon and bane of this band who having achieved unthinkable success really has no fucks left to give and sallies forth like nobody’s business. This leads us to the fact that musicians who have the financial success to do what they want may not always coincide with what the fans want. Granted that IRON MAIDEN has been very generous in not getting too “out there” for their fans and keeping a consistent sound for all these decades but still many will deem this band as one that has become irrelevant as they approach retirement age. I beg to differ. Unlike many a band of the modern era who has traversed a multi-decade career, i find IRON MAIDEN to be extraordinarily adept at walking the razors edge as they run to the hills.

OK, get to the friggin album already! In short it won’t win over any haters but will surely please fans who have incorporated this band’s overall sound into their musical lexicon. SENJUTSU is a very atmospheric album and sounds like an extended version of the atmospheric parts of “Seventh Son Of A Seventh Son.” One of the complaints is that this album doesn’t have enough metal in it. It is true that it’s lacking the sizzling solos and riffing frenzies of the past but still retains the classic MAIDEN compositional fortitude. Side one is pretty strong with all those classic ear worms that MAIDEN has always had a penchant towards and continues even in the modern era. Bruce Dickinson’s vocals seem as strong as ever although a bit less energetic than in the past. That could be said for the entire band. They have slowed down a bit but without the aggro-metal angst of the past, however it makes the compositions sounds even stronger and reveals MAIDEN as masters of compositional fortitude with the metal virtuosity simply icing on the cake.

Side two is by far the less exciting of the two sides. Padded with 10-minute plus tracks minus the opening “Darkest Hour,” side two is more of a jamming session whereas side one is more about extended variations. Thinks of this like George Harrison’s “All Things Will Pass” metal style and you’ll get over it. Even the extended metal jams are IRON MAIDEN style and given the interesting musical scales and band interplay, i still find these jams satisfying musical experiences. Yeah, IRON MAIDEN is past its prime. So friggin’ what! I’m more impressed that these guys are still making music that i find enjoyable well into their sixties! These days metal is more than just playing fast and loud and IRON MAIDEN is holding a space for 80s metal while other bands are expanding into unthinkable creative metal madness. While many bands of this stature simply release albums as an excuse for a tour, i have to say that i find each and every album released by IRON MAIDEN to be quite enjoyable even if not on the same level. True i’m like others and don’t love the Blaze Bailey years but i can’t say that any Dickinson album isn’t enjoyable on some level and this one is no exception. In fact this one has delivered an unthinkable return value! Long live MAIDEN!

adg211288 Senjutsu (2021) is the seventeenth full-length studio album by UK NWoBHM legends Iron Maiden. The album marks a close to what has been their longest gap between studio albums to date, the last being The Book of Souls (2015). The same line-up that has been present since Brave New World (2000) still remains: Bruce Dickinson (vocals), Steve Harris (bass), Dave Murray, Adrian Smith and Janick Gers (guitars) and Nicko McBrain (drums). Like The Book of Souls before it, Senjutsu is a double album. Similar design in cover artwork would also suggest an intentional relationship between the two, with mascot Eddie evolving from a tribal incarnation to one inspired by Japanese Samurai.

The music on Senjutsu is unmistakeably that of Iron Maiden in their modern day incarnation. Perhaps a little less overtly influenced by progressive rock/metal even in the album's longer songs like the trio of ten plus minute closers, Death of the Celts, The Parchment and Hell on Earth, but the progressive subtleties are there for those prepared to listen for them. Subtle is a good word to describe the entire album. It's not in your face. It's more of a slow burn than the band's most well known back catalogue, even when you compare the lead single The Writing on the Wall to its counterpart from The Book of Souls, Speed of Light. Iron Maiden have opted to avoid their more faster paced material on the album as well.

While in all Senjutsu actually sounds like a rather unique entry in the Iron Maiden discography, there are certainly hints present in the release that conjure up recollections of past Iron Maiden albums. Personally I hear moments that could easily have been part of A Matter of Life and Death (2006), The Final Frontier (2010) and even Virtual XI (1998), the latter most obvious in the aforementioned Death of the Celts, which could easily be a companion song to The Clansman.

One thing that Senjutsu does extremely well is how well the material flows together. Iron Maiden are not typically one of those bands that can be called 'album artists', as no matter how good the albums taken as a whole are, there are always songs that stand out individually, be they the singles chosen to promote it, or otherwise. I feel like it would be saying something negative about Senjutsu to suggest that it is otherwise here, but this definitely comes across as more of a work that functions best when considered as a whole. Greater than the sum of its parts, if you like.

The band's instrumental performance is on point and Dickinson is also on fine form. As always, the production values of Kevin Shirley may leave something to be desired compared to those of the late Martin Birch, but the production of the album is consistent with that of other post-Birch Iron Maiden, to the point that I would not even think to mention the production in this review if I didn't keep seeing grumblings about it since Senjutsu was released. I don't get that. Senjutsu sounds exactly like I'd expect an Iron Maiden album to sound like in 2021.

While it is perhaps clear that Senjutsu won't become the favourite Iron Maiden album of either myself or many others, at this point in their career, seventeen albums in and over forty years since the release of their debut Iron Maiden (1980), I don't need it to be. I need it to be another great album that proves that the lads have still got it. And guess what?

They have.

siLLy puPPy Universally cited as one of the absolute best live albums of all time, LIVE AFTER DEATH is the first live album / video release of IRON MAIDEN’s classic early Bruce Dickinson years and was recorded during their “World Slavery Tour.” Despite lasting a whopping 331 days, this double LP album only took two venues as their source for representing their electric live performances. The first 13 tracks were recorded at the Long Beach Arena in California, USA and the remaining five tracks were taken from a night at Hammersmith Odeon in London. While LIVE AFTER DEATH was released both as audio LP and video VHS in 1985, the two aren’t exactly identical in content. The audio LP originally contained 18 tracks (one of which is “Intro: Churchill’s Speech”) but the VHS visual experience only had 14 tracks. Unfortunately when LIVE AFTER DEATH was originally released on CD it was too long for a single disc and instead of simply issuing a double disc, EMI unwisely decided to cut the last five tracks which included the Odeon performance, therefore it is highly advisable to obtain the Sanctuary remastered version which was released as a double disc and retains the entire run of one classic song after another.

LIVE AFTER DEATH is the absolute perfect live album. I very rarely put live albums high on my list of favorites because more often than not something or many things prevent them from capturing my attention and worthiness as essential. If it’s not the weak production values then it is the inability of the band to capture the magic that is manufactured in the studio. That is not the case here. IRON MAIDEN was at the pinnacle of their creative prowess at this point and after several outstanding and classic albums to mine for material, they perfectly execute these live performances and offer every little ounce of excitement heard on the studio releases. Bruce Dickinson nails the vocals and the thundering trio of Steve Harris’ bass and the guitar synergy of Dave Murray and Adrian Smith accompanied by Nikko McBrain’s stellar drumming style doesn’t get any better. While most of the tracks are performed rather faithfully to their studio versions, there is plenty of live improvisation taking places as well. Standout moments include Bruce’s attempt to get audience participation on “Running Free” and another great difference can be heard on “Revelations” where the tempo is upped and Bruce changes the vocal phrasing to make the track sound different and refreshed.

The video release offers all the theatrical visuals of the tour. The “Powerslave” album was based on ancient Egypt and likewise the stage was Egyptified to the max with sarcophagi, hieroglyphs and a mummified Eddie embellished with ridiculous amounts of pyrotechnics. The tour was a smashing success and this release whether it be audio or video is the perfect testimony to the genius that went into every single detail. The sound and mixing is perfect as well as Martin Birch found the perfect balance of every cast member and delivered one of the most satisfying production jobs for a live release that i have ever heard. In the visual department Jim Yukich perfectly captured two nights in Long Beach showing a great band doing great things at the peak of their game. Another piece of perfection with this one is the brilliant cover art of Derek Riggs surpassing previous album themes of Eddie as the mascot by incorporating those themes of previous albums covers and then putting it all on steroids. The spread of the album is breathtaking in content and color with the boldness of the yellows and blues. Every aspect of talent on board with this release guarantees to wake the dead. I cannot find one negative thing to say about it. It is true that Bruce doesn’t hit every note exactly as on the studio version every single time but when he doesn’t he offers interesting new ways of interpreting the classics. This is simply one of the most perfect live releases i have ever encountered and even MAIDEN themselves haven’t even come close to achieving similar results. Masterpiece.

AtomicCrimsonRush I enjoyed this rockumentary on the Irons thoroughly because it did not try to emulate the plethora of other rockumentaries we have all seen that focus on the infighting of stage crews and band members encountering one disaster after another (Metallica, Anvil) and then at the end they all make up and play their last song together. The Spinal Tappiness of such docos is worn out now. This doco on Maiden does the opposite, very little goes wrong and the band are always in high spirits, having fun and getting on. Now they have grown up, even their families go on the road with them. They commend each other in interviews as essential to the band and all have positive things to say as to the role of each member. They like to tease the air hostesses with annoying songs to the tune of Go West, and they play tricks on each other. They reference Monty Python and other British icons. They always have time for the fans, rabid for an autograph. The music is as good as ever and they are one of the bands who actually bother to visit cities or towns that are rarely visited by other massive groups. The fans are so grateful we see them pour out adoration and even tears for their beloved Irons. One cries his soul out when getting a drumstick during a show. It is a very moving scene, he has obviously been touched by the experience.

The doco is a powerful look at how to stay together as a band, they do not drink and do drugs liberally, instead take their music seriously and give everything to the fans and into the albums. They always seem upbeat in their approach to life, and I was quite taken aback by the optimism of all concerned and it was refreshing. Being in a band and making millions should be an experience to savour, not be burdened with. The crew seem to love their work and do not take it for granted. There are none of the obligatory shots of semi naked girls or demonised shots of angry band members. Instead the band are more role models, though they know how to swear as much as the fans do. The performances are snippets of their greatest tunes, played in various venues, such as my beloved all time favourite Rime Of The Ancient Mariner. To see Dickinson piloting the Ed Force One plane is surreal and it follows a map and we are on the journey. We are also treated to a lot of info about piloting, and it is quite astonishing to see how accomplished a pilot Dicko has become. Because of his skills, the band are able to fly quickly to their destinations with all their equipment on the same plane, and this is groundbreaking.

This is the best doco I have seen on Iron Maiden. The bonus disc consists of full versions of all the songs featured in the film. A must for fans of the monsters of metal.

friso Iron Maiden - The Early Days (2004), subject (1976-1983)

Such an amazing band!

I'm in love with Iron Maiden now for 10 years, it al started when I was eleven years old. I saw the band live once, during the tour to promote this dvd. This was the best show I've ever seen and might see in my live.

On this super-complete dvd we've got lot's of interesting Iron Maiden material, covering the first four albums and some footage of the band before the first album.

The Early Days documentary. This 90 minutes of documentary that shows the prehistoric times of Iron Maiden. All former band members are discussed, the reason line-up changed, the circumstances they were in, who the material came to be, etc. This way we learn that there was an Iron Maiden that only had Steve Harris playing in it of all the current members. Interviews with the now unknown former members (1976-1979) are done in nice settings and it's nice to hear their stories. Steve Harris reflects on a lot of subjects and early member Dave Murray is also to be seen in some interviews. The old footage and photo's are nice for Iron Maiden fans. This documentary also shows a short making of of the first four albums and the line-up changes that occurred during that period. This dvd is a real threat for fans and it's fun to watch for people who are new to the band. The process of the creation of such an important band is interesting and fun to watch.

LIVE AT THE RAINBOW, Filmed at The Rainbow, London, December 1980 This is pure gold! This set shows Iron Maiden playing seven songs from their first two albums, though Killers wasn't record yet. This particular part of dvd is mega-essential because of the wild performance of lead singer Paul di'Anno. There isn't any better footage of the band in this phase of the band! Iron Maiden plays very motivated, the songs are great and the people enthusiastic. They were so good in their early days! As I said, essential for both fans and people who like the metal/hard rock genre.

BEAST OVER HAMMERSMITH, Filmed at Hammersmith Odeon, London, March 1982 One of the early shows Iron Maiden performed during the time Bruce Dickinson had joined the band and The Number of the Beast came to be. Iron Maiden plays unbelievably motivated and this can be seen as the one of the highlights of Iron Maiden's and vocalist Bruce Dickinson's career! Most tracks are from The Number of the Beast and the material is fresh! It's also nice the band included the important b-side Total Eclipse in their set. Essential metal footage.

LIVE AT DORTMUND, Filmed at Rock and Pop Festival, Dortmunde, Westenfalle, Germany, 1983 This concert was recorded during the Piece of Mind tour. Most songs originate from this album. Though the footage is almost as good as the Beast over Hammersmith from 1982, it's lacks some of it's bombastic enthusiastic power of Hammersmith. Still this is a very interesting show and fans will appreciate this very much!

EXTRA'S The first five clips of Iron Maiden and some top of the pops performances are nice, but they are less hard to find then the gigs on dvd one. Still a great bonus to complete the release.

LIVE AT THE RUSKIN, Home Video filmed at The Ruskin Arms, 1980 This is home video footage of the band in an early stage. This might only appeal to hard-core Iron Maiden fans for it's historical value.

Conclusion. This is the meaning of completeness! This is everything I could ever ask for, concerning the theme of this dvd. Five stars without doubt. Every fan should own this and others might be surprised on how energetic and complete this release is.