VINYL

The fifth official re-release of the second full-length album by the legendary British Heavy Metal band.
The album was their first with guitarist Adrian Smith and their last with vocalist Paul Di'Anno, who was sacked after problems with his stage performance, arose due to his alcohol and cocaine use.
This sophomore Iron Maiden's effort is mostly composed of pre-existing material that had been left off the debut, with just a few new additions. It's certainly a better-sounding release than the debut, with new producer Martin Birch beefing up the band's studio presence and lending their instrumental attack a newfound clarity that throws their considerable skills into sharp relief. In fact, this helps mask the fact that the songwriting is not quite as strong overall as it was on the debut. But the teaming of new guitarist Adrian Smith with Dave Murray forms the most formidable twin-guitar attack in Heavy Metal, outside of Glenn Tipton and K.K. Downing. Plus, bassist Steve Harris' busy, driving lines are now consistently audible in the mix. The resulting instrumental fireworks are what truly make the album tick. That said, there is a much smaller percentage of catalog standards here than on the previous album.
"Wrathchild" is the standout, re-recorded here with Smith on guitar from an earlier version for the "Metal For Muthas" compilation. There is a fair bit of unity in the lyrical themes, with a parade of murderers, fugitives, and characters otherwise torn from their roots. "Murders in the Rue Morgue" is a first-person retelling of the Poe short story, and the title track is another highlight, with Paul Di'Anno turning in an especially menacing performance. The single "Purgatory" has a catchy singalong chorus and a tempo worthy of Motörhead, while "Twilight Zone" (not included on the U.K. issue, but added to subsequent releases) scraped the bottom of the British charts. The biggest departure here is the almost Supertramp-like Prog-Pop of "Prodigal Son," a melodic, uptempo offering with an arrangement based around acoustic guitars.
Despite some inconsistency in the material, "Killers" is clearly the work of a top-notch ensemble, and in order to take the next step forward, their musical ambitions were clearly going to require a vocalist as technically accomplished as the band. It's worth noting that some Maiden fans actually prefer the rawness of the Di'Anno years to the polish of the Bruce Dickinson era (though, it should also be noted, they're in the minority).
"Killers" is a monumental record, real Heavy Metal with powerful lyrics, real grit, a superb urban atmosphere, genuine heaviness and no pretentiousness! This is essential Metal classic!
Iron Maiden LLP/Parlophone Records Ltd., A Warner Music Group Company, 1981/2014 (2564625242). Made in EU.


Tracklist:

Side A
1. The Ides Of March 1:46
2. Wrathchild 2:54
3. Murders In The Rue Morgue 4:18
4. Another Life 3:23
5. Genghis Khan 3:08
6. Innocent Exile 3:52

Side B
7. Killers 5:01
8. Prodigal Son 6:12
9. Purgartory 3:20
10. Drifter 4:49

Total playing time: 38:43 min.

First re-release of the eighth full-length studio album by the legendary British Heavy Metal band.
"No Prayer For The Dying" is one of the best Metal albums of 1990. Although it received generally mixed to negative reviews, the album peaked at No. 2 in the UK Albums Chart and contains the band's only UK Singles Chart No. 1, "Bring Your Daughter... to the Slaughter".
The album departed from the keyboard- and synthesiser-saturated Progressive Rock direction of the band's two previous studio outings (1986's "Somewhere In Time" and 1988's "Seventh Son Of A Seventh Son") in favour of a more "stripped down", straight forward style, reminiscent of the band's earlier material, which ushered in a change of vocal style for Bruce Dickinson from the operatic sound of the 1980s to a raspier way of singing. The album also departed from literary and historical lyrical themes in favour of more political content, with songs focusing on religious exploitation and social concerns. It's the only Iron Maiden studio album to date without a song exceeding six minutes in length and the only one to contain profanity in the lyrics.
Album marks band's first line-up change since 1983; guitarist Adrian Smith left the band during the pre-production phase, unhappy with the musical direction it was taking, and only having contributed to one song, "Hooks in You". Smith was replaced by Janick Gers, who had previously worked with singer Bruce Dickinson on his first solo-album, "Tattooed Millionaire", and had also worked with Ian Gillan and White Spirit.
It was also the band's first release with Epic Records in the US, after the band left Capitol Records, but was sold through EMI for all territories outside the US.
Iron Maiden LLP/Parlophone Records Ltd., 1990/2017 (0190295852351). Made in Germany. 180 g vinyl. Remaster 2015.


Tracklist:

Side A
1. Tailgunner 4:13
2. Holy Smoke 3:47
3. No Prayer For The Dying 4:22
4. Public Enema Number One 4:03
5. Fates Warning 4:09

Side B
6. The Assassin 4:16
7. Run Silent Run Deep 4:34
8. Hooks In You 4:06
9. Bring Your Daughter To The Slaughter 4:42
10. Mother Russia 5:30

Total playing time: 43:42 min.

Second re-release of the seventh full-length studio album by the legendary British Heavy Metal band.
"Seventh Son Of A Seventh Son" is the last great Iron Maiden album, reconnecting with the band's Prog Rock roots and reversing the signs of decline that had been evident on their previous record. By this point, Maiden had earned the respect of Metalheads the world over with their steadfast adherence to unadulterated Metal and their grandiose aesthetic. They'd made concessions neither to Pop-Metal nor to Thrash, and their passionate fan base would never have tolerated a radical reinvention. But what do you do when your epic ambition itself has become a formula? You go even bigger and make a concept album, of course, and that's what Maiden does here, breaking out of the creative rut they'd fallen into on "Somewhere In Time". The concept is based on the European folklore which held that the "Seventh Son Of A Seventh Son" would be born with special powers that could be used for good or evil (and probably also in part by fantasy author Orson Scott Card, who'd touched on this idea in his own work). As such, the lyrics are Maiden at their most gothic, obsessed with supernatural mysticism of all stripes; the story line concerns the title character, born with a gift for prophecy but mistrusted by his village, which ignores his warnings of apocalyptic doom and makes him a tormented Cassandra figure.
Musically, this is Maiden at their Proggiest, with abrupt, stop-on-a-dime transitions between riffs, tempos, time signatures, and song sections. Yet nearly every song has a memorable chorus, with only "The Prophecy" falling short in that department. They've also switched from the guitar synths of "Somewhere In Time" to full-fledged keyboards, which are used here more to add atmosphere rather than taking center stage; this restores the crunch that was sometimes lacking in the shinier production of the previous album. No less than four of this album's eight songs reached the British Top Ten in some version (concert standard "Can I Play with Madness", "The Evil That Men Do", "The Clairvoyant" and "Infinite Dreams"), while the album became the band's first U.K. chart-topper since "The Number Of The Beast". The title track is this album's extended epic (though the songs are longer in general), and it's moved out of the closing spot in yet another subtle statement about shaking things up. If "Seventh Son" doesn't epitomize their sound or define an era the way the first three Dickinson albums did, it nonetheless ranks among their best work! Adrian Smith left the band after this record, closing the book on Maiden's classic period and heralding a dire - and distressingly immediate - creative decline.
It is the second Iron Maiden release to feature keyboards (played by Michael Kenney) and, along with “The Number of the Beast” and, later, “Fear of the Dark” and “The Final Frontier”, debuted at no.1 in the UK charts.
Iron Maiden LLP/Parlophone Records Ltd., A Warner Music Group Company, 1988/2014 (2564624849). Made in Germany. 180 g vinyl. Remastered. Limited Edition to 2000 copies.


Tracklist:

Side A
1. Moonchild 5:39
2. Infinite Dreams 6:09
3. Can I Play With Madness 3:31
4. The Evil That Men Do 4:34

Side B
5. Seventh Son Of A Seventh Son 9:53
6. The Prophecy 5:05
7. The Clairvoyant 4:27
8. Only The Good Die Young 4:41

Total playing time: 43:59 min.

First re-release of the tenth single by the legendary British Heavy Metal band.
It's the first single from the band's fifth full-length studio album, "Powerslave" (1984).
“2 Minute to Midnight” begins with the main riff playing quietly with louder drum intervals by Nicko. It gets going quickly, and you’ll hear some excellent singing from Bruce for a while. He sings most of the verses in a very catchy way, with a touch of evil at times. This song has one of the catchiest (if not the catchiest) Maiden chorus ever. The solo is typical Maiden style, being fast and powerful, except done even better than usual. The song retains a constant beat, with the exception of a slower section following the solo. Despite how fun this is, the atmosphere is pretty dark. The lyrics also aid this darkness, as some of them sound pretty evil. The atmosphere, the catchy chorus, and the great solo make this one of Maiden’s best.
The B-side is a cover of British Progressive Rock band Beckett, "Rainbow's Gold", which was featured on their self-titled album released in 1974. The song was written by Terry Slesser and Kenny Mountain, respectively the band's vocalist and guitarist. On the original release, it is titled "A Rainbow's Gold". Both the vocals and the guitars lack variety, and end up repeating themselves for most of the song. The lyrics are pretty interesting, despite the repetitive way they’re sung, so that’s a plus. The solo was short, but quite good, and the song is fun, despite its lack of creativity. Iron Maiden covers are always interesting of course, making for another plus.
This is a very good single for the Maiden collectors, containing a classic song, interesting B-side and great artwork. The band has shown that they really knew what they were doing when they decided to release this. Back in the day, this probably led many people to buying “Powerslave” and becoming fans themselves. If you want a notable and good Iron Maiden single, this is exactly what you’re looking for!!
Single pick number 11 in the UK Singles Chart and number 25 on Billboard Top Album Tracks.
Recorded from the original analogue master tapes.
Parlophone Records Ltd., A Warner Music Group Company, 1984/2014 (2564624868). Made in UK.


Tracklist:

Side A:
1. 2 Minutes To Midnight 6:03

Side B:
2. Rainbow's Gold 4:55

Total playing time: 10:58


Samples: http://www.last.fm

First time on black vinyl remastered re-release of the fourteenth full-length studio album by the legendary British Heavy Metal band.
It was released on 25 August 2006 in Italy and Finland, and 28 August worldwide, excluding the United States, Canada and Japan on 5 September 2006. 
“A Matter Of Life And Death” puts emphasis on creating atmospheres befitting the darker lyrical themes and long sprawling epics with changes in tempo and dynamics, in contrast to the riff-driven music of the band's early days. This darker direction of the lyrical viewpoint can even be seen in the shorter songs "Different World" and "The Pilgrim".
In order to provide a more "live" sound, the album was not mastered. No added EQ, compression, analog widening, etc.
At 72 minutes, “A Matter Of Life And Death” is the band's second longest album, exceeding 1995's “The X Factor” by approximately one minute, and exceeded by 2010's “The Final Frontier” by approximately four minutes.
It is the first album in Iron Maiden's career to enter the U.S. Billboard charts in the top 10, achieving significant chart success in many other countries as well. 
Metal Hammer 10/10; Kerrang! 5/5.
First time on black vinyl, 2015 remastered, this double 180 g vinyl release includes hardcover inner sleeves with band photos.
Iron Maiden LLP/Parlophone Records Ltd., 2006/2017 (0190295851958). Made in Germany. First press on black vinyl.


Tracklist:

Side One
1. Different World 4:17
2. These Colours Don't Run 6:52
3. Brighter Than A Thousand Suns 8:44

Side Two
1. The Pilgrim 5:07
2. The Longest Day 7:48
3. Out Of The Shadows 5:36

Side Three
1. The Reincarnation Of Benjamin Breeg 7:21
2. For The Greater Good Of God 9:24

Side Four
1. Lord Of Light 7:23
2. The Legacy 9:20

Total playing time: 71:52 min.

First re-release of the sixteenth single by the legendary British Heavy Metal band.
It's the first single for the band's seventh full-length studio album, "Seventh Son Of A Seventh Son" (1988).
According to Adrian Smith, the song "Can I Play with Madness" "actually started life as a ballad I had been working on called "On the Wings of Eagles". Then Bruce had a verse for it but wanted to change the title to "Can I Play with Madness". I must admit, it did sound better that way. So we took that one and Steve liked it, too. It was Steve who came up with the time change in the middle and the instrumental passage, which again gave it that lift it needed". According to Dickinson, however, Harris' addition resulted in "a big row ... Adrian absolutely hated it". The song is about a young man who wants to learn the future from an old prophet with a crystal ball. The young man thinks he is going mad and seeks the old prophet to help him cope with his visions/nightmares. The prophet's advice is ignored by the young man and they become angry with each other.
But the real reasons to acquire this single come in the form of the "Black Bart Blues", which is like near 7 minute jam section which is actually comprised of great riffing. There is also a Nicko McBrain 'answering machine' in the song, and a bunch of his tomfoolery near the end. In other words, for the first 3-4 minutes, you get a decent Iron Maiden jam loaded with NWOBHM goodness!
The single hit number 3 in the UK charts.
Recorded from the original analogue master tapes.
Parlophone Records Ltd., A Warner Music Group Company, 1986/2014 (2564624847). Made in UK.


Tracklist:

Side A:
1. Can I Play With Madness 3:34

Side B:
2. Black Bart Blues 6:40

Total playing time: 10:14

Samples: http://www.last.fm

The first re-release of the ninth full-length studio album by the legendary British Heavy Metal band.
It’s the third band's studio release to top the UK albums chart and last to feature Bruce Dickinson as lead vocalist until his return in 1999.
While 1992's "Fear Of The Dark" was definitely more of a return to form for Iron Maiden, it still wasn't quite on par with their exceptional work from the '80s. Easily an improvement over 1990's lackluster "No Prayer For The Dying", the album debuted on the U.K. charts at number one.
The opening "Be Quick or Be Dead" proved Maiden could easily hold their own with younger Thrash Metal bands, "From Here to Eternity" contained lyrics that seem better fitted for Mötley Crüe, while the expected epic album-closing title track would become a concert staple (all three tracks were released as U.K. singles). The serene "Wasting Love" proves to be one of Maiden's better ballads of the '90s, while the rockers "Fear Is the Key" and "Afraid to Shoot Strangers" are also standouts.
It was the first album to be produced by bassist and band founder Steve Harris, and last to feature the work of producer Martin Birch (who retired after its release).
The cover of album was the band's first not to be designed by artist Derek Riggs, whose contributions were rejected in favour of Melvyn Grant's. According to Iron Maiden's manager, Rod Smallwood, the band began accepting contributions from other artists as "We wanted to upgrade Eddie for the 90s. We wanted to take him from the sort of comic-book horror creature and turn him into something a bit more straightforward so that he became even more threatening". Melvyn Grant has since drawn several more covers for Iron Maiden, making him the band's second most-frequent artist after Riggs.
"Fear Of The Dark" ended up being the last album in eight years to feature Bruce Dickinson. This is a good thing, as Bruce admitted that he was not totally into singing for Maiden, and wanted to focus more on his solo career. This album is certainly different. They display what we all love about Iron Maiden. Maybe it's not the best horse in the Iron Maiden stable, but still a Rock-hard classic for most HM-fans! From other side this is a very good record, if not a great record like the Iron Maiden offerings before it!!
Iron Maiden LLP/Parlophone Records Limited, A Warner Music Group Company, 1992/2017 (0190295852344). Made in Germany. 180 g vinyl. Remaster 2015.


Tracklist:

LP 1

Side A
1. Be Quick Or Be Dead 3:24 
2. From Here To Eternity 3:39 
3. Afraid To Shoot Strangers 6:56

Side B
4. Fear Is The Key 5:35 
5. Childhood's End 4:41 
6. Wasting Love 5:51

LP 2

Side A
1. The Fugitive 4:54 
2. Chains Of Misery 3:37 
3. The Apparition 3:55

Side B
4. Judas Be My Guide 3:09 
5. Weekend Warrior 5:39 
6. Fear Of The Dark 7:17

Total playing time: 58:37 min.

First re-release of the eighth single by the legendary British Heavy Metal band.
It's the first single from the band's fourth full-length studio album, "Piece of Mind" (1983) and the band's first release to feature Nicko McBrain, who replaced Clive Burr on drums in 1982.
"Flight of Icarus" is one of the better written songs by Iron Maiden. It was composed by Dickinson & Smith who had finally discovered how much fun it was for them to compose together. Unlike most of the other songs from the "Piece Of Mind", this one consists of simple riffs, vocal lines and had an easy accessible Pop song structure. A bad thing? Of course not! With musicians like these in their prime pretty much any song sounded great. And even in the hands of others ‘"Flight of Icarus" would still be a great song because of the catchy main riff and the strong chorus.
"Flight of Icarus" loosely based on the ancient Greek myth of Icarus who was imprisoned with his father Daedalus in the palace of Knossos on Crete. In an attempt to escape, the pair fabricated wings from feathers and wax so they could fly away. Unfortunately Icarus, not heeding the advice of his father, flew too close to the Sun, melting the wax that held the feathers and thus fell to his death in the sea. Vocalist Bruce Dickinson modified the original tale to make it an allegory of teenage rebellion against adult authority, which caused the death of Icarus in this case. There is a well performed solo towards the end, as well as some inviting lead melodies to listen to before the track is out. Dickinson's vocal performance sounds a bit like the late Ronnie James Dio in this one.
“Flight of Icarus” is one of the more memorable tracks off of Maiden’s classic "Piece Of Mind" album, a release relatively full of memorable tracks. Sort of a loose adaptation of the Icarus story, it’s nonetheless a strong romp through Maiden’s legendary songwriting and shows the band at a very solid point in their career. Awesome!
The B-side of the Single is a new studio rendition of the Montrose song "I Got the Fire" from the "Paper Money" album 1974. Iron Maiden originally released a live cover of this song during the Paul Di'Anno era, on 1980 single, "Sanctuary", however the "Flight Of Icarus" version features Bruce Dickinson on vocals and is a studio production rather than a live performance. The song ends up sounding like generic 70's Rock juiced up with some typical NWOBHM speed.
The single cover, in something of a parody of the original myth, portrays a winged Eddie killing Icarus with a flamethrower. Icarus resembles the figure in Evening: Fall of Day, by William Rimmer, which was used as a label logo by Led Zeppelin. According to the artist, Derek Riggs, this is a reference to Led Zeppelin's break-up a few years before.
It was the band's first single to be released in the United States, becoming one of their few songs to gain substantial airplay, peaking at No. 8 on the Billboard Top Album Tracks chart - the highest position of any Iron Maiden single in the US. It was also a success in the UK, peaking at No. 11 on the UK Singles Chart.
Recorded from the original analogue master tapes.
Parlophone Records Ltd., A Warner Music Group Company, 1983/2014 (2564624879). Made in UK.


Tracklist:

Side A:
1. Flight of Icarus 3:51

Side B:
2. I’ve Got the Fire 2:37

Total playing time: 6:28 

Samples: https://www.last.fm

First re-release of the nineteenth single by the legendary British Heavy Metal band.
It is the only single to be released in sync with a home video (VHS), 1989's "Maiden England".
The performance was recorded in Birmingham, England in 1988, towards the end of the massive world tour to support the album "Seventh Son Of A Seventh Son" where the song originally appeared.
The song is about how the character of the song sees disturbing visions about afterlife and other mystic things in his dreams, but is scared about if he will ever be able to wake up again. It starts with a soft guitar solo, which is then joined by Bruce Dickinson's singing as well as the rest of the band. The song starts out quite peaceful, but gets Progressively heavier towards the song's climax and the following final verse.
B-side “Killers” is the live version of the title track from the second full-length album.
It is the final single to feature Adrian Smith for an entire decade.
Recorded from the original analogue master tapes.
Parlophone Records Ltd., A Warner Music Group Company, 1989/2014 (2564624838). Made in UK.


Tracklist:

Side A:
1. Infinite Dreams (live) 6:03

Side B:
2. Killers (live) 5:01

Total playing time: 11:04

Samples: http://www.last.fm

The sixth official re-release of the debut full-length album by the legendary British Heavy Metal band.
Album was released by EMI in the UK on Harvest/Capitol Records, and a few months later in the US on Sanctuary Records/Columbia Records. The US release also included the song "Sanctuary", only released in the UK as a single. In 1998, along with the rest of the band's pre-"X Factor" releases, Iron Maiden was remastered with "Sanctuary" added in all territories.
There may be no better place to hear how both Punk and Prog Rock informed the New Wave Of British Heavy Metal than Iron Maiden's self-titled debut. Often overlooked and overshadowed by the glorious Bruce Dickinson years, it's easy to forget that Iron Maiden was itself a game-changer when it appeared on the scene in 1980. That year also saw important albums from Motörhead, Saxon and Angel Witch, but Iron Maiden vaulted its creators to the head of the NWOBHM pack, reaching the U.K. Top Five and establishing them as an outfit with the talent to build on Judas Priest's late-'70s innovations. On the one hand, Iron Maiden was clearly drawing from elements of Punk Rock - the raw D.I.Y. production, the revved-up velocities and the vocals of rough-and-ready growler Paul Di'Anno, who looked and sounded not like a Metal god, but rather a short-haired street tough. On the other hand, Maiden had all the creative ambition of a Prog Rock band.
Compositionally, even their shortest and most straightforward songs featured abrupt changes in tempo and feel. Their musicianship was already light years beyond Punk, with complicated instrumental passages between guitarists Dave Murray and Dennis Stratton and bassist Steve Harris. When Murray and Stratton harmonize their leads, they outdo even Priest's legendary tandem in terms of pure speed. The lyrics have similarly high-flying aspirations, spinning first-person stories and character sketches with a flair for the seedy and the grotesque. Add it all up, and Iron Maiden performs the neat trick of reconciling two genres seemingly antithetical to one another, using post-Judas Priest Heavy Metal as the meeting ground.
Although Iron Maiden have since criticized the quality of the album's production, the release was met with critical and commercial acclaim, debuting at No. 4 in the UK Albums Chart as well as achieving prominence for the band in mainland Europe. "Iron Maiden" is one of two Iron Maiden albums listed in "1001 Albums You Must Hear Before You Die" ("The Number Of The Beast" is the other).
Iron Maiden LLP/Parlophone Records Ltd., a Warner Music Group company, 1980/2014 (2564625244). Made in EU.


Tracklist:

Side A:
1. Prowler 3:55
2. Remember Tomorrow 5:27
3. Running Free 3:17
4. Phantom Of The Opera 7:20

Side B:
5. Transylvania 4:05
6. Strange World 5:45
7. Charlotte The Harlot 4:12
8. Iron Maiden 3:34

Total playing time: 37:35

Limited Edition Deluxe Heavyweight Gatefold (with OBI strip) Picture Vinyl second re-release of the first official live album by the legendary British Heavy Metal band.
Iron Maiden's World Slavery Tour was one of the longest and most extensive tours ever undertaken by a Rock band. Lasting from August 9, 1984, to July 5, 1985, and visiting such countries as Poland, Austria, Hungry, Yugoslavia, Italy, France, Spain, Portugal, Scotland, England, Germany, Sweden, Canada, Japan and the U.S., the show included a mammoth setup that replicated the intricate ancient Egyptian scenery of the "Powerslave" album cover.
As a "thank you" to the hundreds of thousands of fans who packed arenas the world over, the double-disc live set "Live After Death" was issued in 1985. Disc one is comprised of selections from a four-night stand at L.A.'s Long Beach Arena, with disc two comprised of performances from London's Hammersmith Odeon.
The album is essentially a best-of of sorts, since most of their singles released up to this point are featured in all of their high-decibel glory, making it a near-complete overview.
"Live After Death" is easily one of Heavy Metal's best live albums!!
Limited Edition 180 gram Deluxe Gatefold Picture Vinyl. Cut from original vinyl production masters..
EMI/Iron Maiden Holdings Ltd., 1985/2013 (509999 729521 1). Made in EU.


Tracklist:

LP 1

Side 1:
1. Intro: Churchill's Speech 1:09
2. Aces High 4:07
3. 2 Minutes To Midnight 5:52
4. The Trooper 3:59
5. Revelations 5:59
6. Flight Of Icarus 3:21

Side 2:
7. Rime Of The Ancient Mariner 13:03
8. Powerslave 7:06
9. The Number Of The Beast 4:48

LP 2

Side 3:
1. Hallowed Be Thy Name 7:17
2. Iron Maiden 4:11
3. Run To The Hills 3:52
4. Running Free 8:16

Side 4:
5. Wrathchild 2:54
6. 22 Acacia Avenue 6:04
7. Children Of The Damned 4:19
8. Die With Your Boots On 4:51
9. Phantom Of The Opera 7:01

Total playing time: 98:09

Remastered re-release on vinyl of the sixth live album, “Maiden England”, by the legendary British Heavy Metal band.
Originally it was released as a live video, filmed during “Seventh Son Of A Seventh Son” world tour which was dubbed Seventh Tour of a Seventh Tour. It was recorded at the NEC in Birmingham, England on 27 and 28 November 1988, released on VHS in November 1989, followed by a limited VHS/CD edition in 1994. In 2013, the full concert footage, including encores which were not featured in the original VHS, was reissued on DVD, CD and LP under the new title, "Maiden England '88".
"Maiden England '88" expands on the epic set of the original with a two-disc set. While this version only has three more tracks than its predecessor, it shows that a little change can go a long way, adding classics like "Run to the Hills", "Running Free" and "Sanctuary". Though it doesn't seem like much, these single cuts help to turn the live set into a more well-rounded listening experience, as the band forgoes the more far out tracks from "Seventh Son Of A Seventh Son" and "Somewhere In Time" in favor of some of their earlier, more direct work.
Whichever way you slice it, though, "Maiden England '88" is a solid concert that shows one of the most influential bands in Heavy Metal getting down to business and bringing some Epic Metal to an enthralled crowd, making it an easy recommendation for any Iron Maiden fans out there who haven't already checked this one out.
Re-titled remastered re-edition includes new artwork and three unreleased before encores!
Parlophone Records Ltd., A Warner Music Group Company, 1997/2013 (50999 973611 1 4). Made in EU.


Tracklist:

LP 1

Side 01:
1. Moonchild 6:23
2. The Evil That Men Do 4:18
3. The Prisoner 6:00
4. Still Life 4:32
5. Die With Your Boots On 5:19

Side 02:
6. Infinite Dreams 5:53
7. Killers 4:57
8. Can I Play With Madness 3:25
9. Heaven Can Wait 7:43
10. Wasted Years 5:06

LP 2

Side 03:
1. The Clairvoyant 4:30
2. Seventh Son Of A Seventh Son 10:08
3. The Number Of The Beast 4:47
4. Hallowed Be Thy Name 7:21

Side 04:
5. Iron Maiden 5:11
6. Run To The Hills 4:01
7. Running Free 5:33
8. Sanctuary 5:24

Total Playing Time: 100:31 min.

The twelfth official live album by the legendary British Heavy Metal band.
This live album from the perennial British Heavy Metal heroes was recorded during the band's three sold out arena shows on their Legacy Of The Beast World Tour, which began in 2018 and finished in Europe in 2022.
It was recorded at the Palacio de los Deportes in Mexico City on 27, 29 and 30 September 2019, featuring renditions of many older and rarely played songs from their back catalog. This set from Mexico City sees them playing to an ecstatic, sold-out, 70,000-strong crowd.
Over 100 minutes of classic Maiden music on triple 180g vinyl in trifold gatefold sleeve!
Iron Maiden LLP/Parlophone Records Ltd., a Warner Music Group Company, 2020 (0190295204709). Made in EU. First press.


Tracklist:


Disc 01: War

Side 01
01. Churchill's Speech 0:38
02. Aces High 4:45
03. Where Eagles Dare 5:40
04. 2 Minutes To Midnight 5:53

Side 02
01. The Clansman 9:15
02. The Trooper 4:02
03. Revelations 6:37


Disc 02: Religion

Side 03
01. For The Greater Good Of God 9:28
02. The Wicker Man 4:41

Side 04
01. Sign Of The Cross 10:54
02. Flight Of Icarus 3:50


Disc 03: Hell

Side 05
01. Fear Of The Dark 7:44
02. The Number Of The Beast 5:06
03. Iron Maiden 5:30

Side 06
01. The Evil That Men Do 4:24
02. Hallowed Be Thy Name 7:44
03. Run To The Hills 5:06

The twelfth official live album by the legendary British Heavy Metal band.
This live album from the perennial British Heavy Metal heroes was recorded during the band's three sold out arena shows on their Legacy Of The Beast World Tour, which began in 2018 and finished in Europe in 2022.
It was recorded at the Palacio de los Deportes in Mexico City on 27, 29 and 30 September 2019, featuring renditions of many older and rarely played songs from their back catalog. This set from Mexico City sees them playing to an ecstatic, sold-out, 70,000-strong crowd.
Over 100 minutes of classic Maiden music on triple 180g Green, White and Red vinyls in trifold gatefold sleeve!
Iron Maiden LLP/Parlophone Records Ltd., a Warner Music Group Company, 2020 (0190295204709). Made in EU. First press.


Tracklist:


Disc 01: War

Side 01
01. Churchill's Speech 0:38
02. Aces High 4:45
03. Where Eagles Dare 5:40
04. 2 Minutes To Midnight 5:53

Side 02
01. The Clansman 9:15
02. The Trooper 4:02
03. Revelations 6:37


Disc 02: Religion

Side 03
01. For The Greater Good Of God 9:28
02. The Wicker Man 4:41

Side 04
01. Sign Of The Cross 10:54
02. Flight Of Icarus 3:50


Disc 03: Hell

Side 05
01. Fear Of The Dark 7:44
02. The Number Of The Beast 5:06
03. Iron Maiden 5:30

Side 06
01. The Evil That Men Do 4:24
02. Hallowed Be Thy Name 7:44
03. Run To The Hills 5:06

Third re-release of the fourth full-length album by the legendary British Heavy Metal band.
The second of three straight iconic Iron Maiden albums, "Piece Of Mind" marks the debut of what many regard as the definitive Maiden lineup, with the arrival of Nicko McBrain, who had recently left the Paris-based band Trust and has been Iron Maiden's drummer ever since.
Album was originally released on EMI Records in Europe and on Capitol Records in the U.S.; it was reissued later on Sanctuary/Columbia Records.
McBrain's ability to duplicate the complex patterns of the guitar and bass riffs gives the band a seamless ensemble unity. Even Steve Harris, whose busy basslines were never exactly groove-oriented, has never felt more integrated into the overall sound. Perhaps part of that feeling comes from the less frantic pace; the average tempo has slowed somewhat from the preceding album, and the hold-over Punk influences still present there have been completely eradicated. Instead, we get a few moodier, heavier pieces (especially "Revelations") that make the album darker-sounding overall. We also get greater involvement in the songwriting from Bruce Dickinson and Adrian Smith, whose themes are perfectly in tune with Steve Harris' epic storytelling. Nearly every song here was inspired by movies or literature, whether it's history, mythology, sci-fi, or fantasy; this approach got them tagged as a thinking-man's Metal band, and certainly provided a lyrical blueprint for Anthrax. No less than four songs are about battles and warriors, and a couple is about flying, underscoring the heights of the drama that the band is aiming for. The centerpiece of the album is, of course, "The Trooper", an all-time genre classic that boasts Murray and Smith's most memorable harmonized lead riff, plus that trademark galloping rhythm. A retelling of the Greek myth "Flight of Icarus" was the other British hit single, boasting an appropriately soaring chorus. Album opener "Where Eagles Dare" is the other flight song, recounting a WWII spy thriller and featuring one of McBrain's signature performances with the band.
If much of "Piece Of Mind" ranks as state-of-the-art Heavy Metal, it is true that the second half dips a bit from the first. "Quest for Fire" is many a die-hard fan's least favorite track from the glory years; the melody is rather stiff and simple, and the lyrics are about cavemen, rendering Dickinson's operatic a bit ridiculous. Among the serious-minded Maiden faithful, there's no less forgivable sin than silliness. Fans also bemoan the relative simplicity of the samurai tale "Sun and Steel". However, the album closes on a big, Progressive note with "To Tame a Land", an epic retelling of Frank Herbert's Dune that evokes the desert planet via Middle Eastern guitar melodies. In the end, even if "Piece Of Mind" is the most obviously inconsistent of the classic Maiden trilogy, its many high points are no less awe-inspiring, and it's no less essential for anyone with even the most basic interest in Heavy Metal!
“Piece of Mind” was a critical and commercial success, reaching No. 3 in the UK Albums Chart and achieving Platinum certification in the UK and North America.
Limited Edition 180 gram vinyl. Recorded from the original analogue master tapes. Issued in a gatefold sleeve with lyrics printed on the inside.
Parlophone Records Ltd., A Warner Music Group Company, 1983/2014 (2564624882). Made in EU.


Tracklist:

Side 1:
1. Where Eagles Dare 6:08
2. Revelations 6:51
3. Flight Of Icarus 3:49
4. Die With Your Boots On 5:22

Side 2:
5. The Trooper 4:10
6. Still Life 4:37
7. Quest For Fire 3:40
8. Sun And Steel 3:25
9. To Tame A Land 7:26

Total playing time: 45:28

Second re-release of the fifth full-length album by the legendary British Heavy Metal band.
"Powerslave" was released on 3 September 1984 on EMI in Europe and its sister label Capitol Records in the US.
The third in a trilogy of legendary Iron Maiden albums, "Powerslave" is frequently ranked as the fan favorite of the bunch, capping off a stellar run that sealed the band's genre-defining status. If "The Number Of The Beast" was the all-time Metal landmark, "Powerslave" is perhaps the quintessential Maiden album, capturing all the signature elements of the band's definitive era in one place.
The album opens with Maiden at their catchiest, turning in a pair of Metal classics right off the bat with the British hit singles "Aces High" (a high-speed ode to a WWII air battle) and the apocalyptic "2 Minutes to Midnight." Next we get an instrumental, "Losfer Words (Big 'Orra)", of the sort that Maiden periodically deployed to keep fans in awe of their technical chops. A pair of their best and most overlooked album tracks follows; "Flash of the Blade" and "The Duellists" exemplify the glory-minded battle hymns that made up such an important part of their lyrical obsessions, even if both are about sword fighting rather than modern military history. By the end of the album, we're seeing Maiden at their most progressive and ambitious. The seven-minute title track builds on the previous album's "To Tame a Land" with its use of Middle Eastern melodies, delving into Egyptian mythology for a rumination on power and mortality. This leads into the biggest, most grandiose epic in the Maiden catalog - "Rime of the Ancient Mariner", a multi-sectioned, thirteen-and-a-minute Prog-fest adapted from the Samuel Taylor Coleridge poem. Though it isn't exactly what you'd call hooky, its shifting moods and lofty intellectual aspirations made it a live favorite. This latter material helped ensure that "Powerslave" was the Maiden album with the biggest impact on the emerging Progressive Metal genre (which, in its earliest form, essentially fused Rush with this sort of Maiden material). In this context, "Back in the Village" gets somewhat lost in the shuffle; it's a thematic sequel to "The Prisoner", though not quite as memorable.
So even though we don't hear the Punk influences of old, "Powerslave" catalogs every major facet of the band's personality during the Dickinson years, and does so while firing on all cylinders. Perhaps that's in part because "Powerslave" is the first Maiden album to feature the same line-up as its predecessor, creating a definite continuity and comfort level. Or perhaps it's simply that we're witnessing a great band in its creative prime. Whatever the case, it's entirely arguable that "Powerslave" summarizes why Iron Maiden was so important and influential even more effectively than "The Number Of The Beast", at least on a purely musical level. It may not be quite as accessible, but it's every bit as classic and essential.
Album is notable for its Ancient Egyptian theme displayed in the cover artwork, lifted from the title track, which was carried over to the album's supporting tour. The World Slavery Tour began in Warsaw, Poland on 9 August 1984, and is widely regarded as being the band's longest and most arduous to date, as well as leading to the live album "Live After Death".
The album contains a musical re-telling of Samuel Taylor Coleridge's "The Rime of the Ancient Mariner", which uses pieces of the original poem as lyrics and is, furthermore, Iron Maiden's longest song to date (at thirteen minutes and 42 seconds in length).
Album debuted at number two in the UK charts, as a result of their record company's (EMI) third "Now That's What I Call Music!" pop compilation.
Iron Maiden LLP/Parlophone Records Ltd., A Warner Music Group Company, 1984/2014 (2564624869). Made in EU. Limited Edition to 2000 copies 180 gram vinyl. Issued with the original artwork, including printed inner sleeve with lyrics.


Tracklist:

SIDE A
1. Aces High 4:31
2. 2 Minutes To Midnight 6:04
3. Losfer Words (Big 'orra) 4:15
4. Flash Of The Blade 4:05

SIDE B
5. The Duellists 6:18
6. Back In The Village 5:02
7. Powerslave 7:12
8. Rime Of The Ancient Mariner 13:45

Total playing time: 51:12

First re-release of the fifth single by the legendary British Heavy Metal band.
Released on 15 June 1981, it was band's last release with singer Paul Di'Anno. It is the only single from "Killers" as the preceding release, "Twilight Zone", was not included on the album's original pressing.
According to drummer Nicko McBrain, the track is a remake of one of the band's earlier songs, entitled "Floating", of which "Purgatory" is a faster re-arrangement. It was one of the band's least successful singles as it failed to break into the Top 50 in the UK charts, although the band's manager, Rod Smallwood, states that this was because "it wasn't really a single, it was just lifted off the album which the fans already had".
Most notably, the single's original cover artwork was withdrawn for use on the band's next studio album, "The Number Of The Beast". Smallwood recalls that, on being presented with the original cover, "we said, 'No, that's much too good', so we kept it for the album. We had the artwork months before we had the music". This meant that the band's artist, Derek Riggs, had to come up with a replacement, this time illustrating the Devil's face rotting away to reveal the band's mascot, Eddie's, face underneath.
Recorded from the original analogue master tapes.
Parlophone Records Ltd., A Warner Music Group Company, 1982/2014 (2564625171). Made in UK.


Tracklist:

Side A:
1. Purgatory

Side B:
2. Genghis Khan

Samples: http://www.last.fm

Fourth re-release of the sixth single by the legendary British Heavy Metal band.
This is the first single from band's 1982 album "The Number Of The Beast". The song was released as a single on 12 February 1982; more than 5 weeks prior to the album's release on 22 March 1982. The single marked Iron Maiden's debut release with new vocalist Bruce Dickinson.
Credited solely to the band's bassist, Steve Harris, although significant contributions were made by lead vocalist Bruce Dickinson, it remains one of their most popular songs, with VH1 ranking it # 27 on their list of the 40 Greatest Metal Songs and # 14 on their list of the Greatest Hard Rock Songs. Due to his previous band, Samson's, contractual issues, Dickinson could not be credited for any of his contributions made during the writing of "The Number Of The Beast". Although bassist Steve Harris alone receives credit for the song, Dickinson states that he made a "moral contribution" to the song, in addition to "Children of the Damned" and "The Prisoner" from the same album. While speaking at the IBM Smarter Business conference in Stockholm on 10 October 2012, Dickinson revealed that parts of the song are based on the "rising sixth", inspired by a documentary he watched, which explored why "My Way" was one of the most popular recorded songs.
The song documents the conflict between European settlers in the New World and Native American tribes during the days of colonization and later westward expansion. The song is written from both perspectives, covering the Natives' viewpoint in the first verse and the Europeans' in the rest of the song.
"Total Eclipse" was selected as the single's B-side over the song "Gangland", which in turn would appear on the initial version of the album. The band later regretted this decision, with Steve Harris commenting, "We chose the wrong track as the B-side. I think if "Total Eclipse" had been on the album instead of "Gangland", it would have been far better." The song was added to the "The Number Of The Beast" album when it was remastered in 1998.
Single has the second of three single covers featuring Derek Riggs' depiction of Satan, which debuted on "Purgatory" and later appeared on "The Number Of The Beast" covers. According to Riggs, the idea behind the original "Run To The Hills" cover was based around the idea of a "power struggle in hell", in which the band's mascot, Eddie, battles Satan with a tomahawk (referencing the song's subject matter).
Recorded from the original analogue master tapes.
Parlophone Records Ltd., A Warner Music Group Company, 1982/2014 (2564625170). Made in UK.


Tracklist:

Side A:
1. Run To The Hills

Side B:
2. Total Eclipse

Samples: http://www.last.fm

First re-release of the thirteenth single by the legendary British Heavy Metal band.
It's the second single from the band's third live album, "Live After Death" (1985).
The A-side track is none other than Maiden’s biggest hit “Run to the Hills” live from the Long Beach Arena in ’85. Like all their early live tunes with Dickinson, it kicks ass! Bruce sounds great, the guitar sound is sharper than on the studio version, and the track just ripples with the energy that comes from a live Maiden performance.
The B-side is a live track recorded at the Hammersmith-Odeon in ’84, “Phantom of the Opera,” which is always a treat to hear with Bruce on vocals. The solo bit on this track is particularly intense and Steve’s bass tone is perfect. Once again, it sounds excellent; guitars, bass, and drums perfectly fusing to forge the tightest instrumental in Maiden’s career.
Every live recording of Maiden from the 80’s slays. Youth perhaps, but whatever it is, it’s the reason these tracks and "Live After Death" absolutely destroy later recordings like the "Live At Downington" and "A Real Dead One".
For those that enjoy Maiden’s live output, these tracks are fantastic!!
According to Riggs, he was asked to paint a cover illustration both "Run to the Hills" and "Phantom of the Opera" and so the artwork depicts Eddie as the phantom in a hilly landscape.
Recorded from the original analogue master tapes.
Parlophone Records Ltd., A Warner Music Group Company, 1985/2014 (2564624863). Made in UK.


Tracklist:

Side A:
1. Run To The Hills 4:02

Side B:
2. Phantom Of The Opera 7:24

Total playing time: 11:26

Samples: http://www.last.fm

First re-release of the twelfth single by the legendary British Heavy Metal band.
Recorded live at Long Beach Arena in USA on March 14-17th, 1985, it's the first single for the band's third live album, "Live After Death" (1985).
Iron Maiden's World Slavery Tour was one of the longest and most extensive tours ever undertaken by a Rock band. Lasting from August 9, 1984, to July 5, 1985, and visiting such countries as Poland, Austria, Hungry, Yugoslavia, Italy, France, Spain, Portugal, Scotland, England, Germany, Sweden, Canada, Japan, and the U.S., the show included a mammoth setup that replicated the intricate ancient Egyptian scenery of the "Powerslave" album cover. As a "thank you" to the hundreds of thousands of fans who packed arenas the world over, the live album "Live After Death" was issued in 1985. "Live After Death" is easily one of Heavy Metal's best live albums ever. And this first single for upcoming album is a must have for every Iron Maiden fan!!
This is the only Iron Maiden release since the “Soundhouse Tapes” that doesn't have an Eddie on the cover. 
Recorded from the original analogue master tapes.
Parlophone Records Ltd., A Warner Music Group Company, 1985/2014 (2564624864). Made in UK.


Tracklist:

Side A:
1. Running Free (live) 3:26

Side B:
2. Sanctuary (live) 4:39

Total playing time: 8:05

Samples: http://www.last.fm