Excerpts from my CD review blog, "Far Beyond Drivel" on WordPress:Maiden is easily recognizable by this point, and while they’re not as simplistic and repetitive as, say, AC/DC, they certainly have their own sound, their own songwriting tropes, etc, that they generally stick to pretty well. You know what you’re getting with an Iron Maiden record, that’s for certain, and they rarely stray from the mark. I found Brave New World to be a rejuvenated and triumphant return to the glory of a band that could have been written off. I loved that album, and though I really can’t stand Gers’ lead playing, his songwriting chops in the context of Iron Maiden are undeniable. The Smith/Dickinson combo has, by now, become as synonymous with the “Iron Maiden sound” as Harris’ solo compositions.Starting with a lead-in intended to be reminiscent of Ennio Morricone’s “Ecstasy of Gold,” as heard in the old Spaghetti Westerns (replete with rattlesnake sound effects), I’m already slightly disappointed, as the horns sound like a synth – are they cutting corners here? Surely Maiden can afford to bring in a horn player for a half a day’s work, right? As the song kicks in, though, it’s classic Maiden, with the sound you would expect from modern Maiden – the drums, guitars, bass, and vocals all sound how you expect them to, and that’s all fine and good. Dickinson, though I’ve no doubt can hit any note he damn well pleases, seems to be straining a little here and there, and I miss the occasional roughness he was putting in his voice in the “Fear” era material.It’s been said they recorded this album mostly live, limiting overdubs, and that’s evident in some of the performances – there are definite mistakes a good ear can hear over the course of the record, and truthfully, I have to say I welcome it. A lot of modern metal has become too clean and quantized, with every slight imperfection overdubbed so the whole thing has a sheen of artificiality. This record has a solid, organic feeling to it that invites you to dig in and listen closer, making it a more intimate experience.The first single, “Speed of Light,” at first I really didn’t care for. Cowbell? On a MAIDEN song that’s not a goofy B-side? Blasphemy! But on repeat spins, it certainly fits, and the song itself is catchy and good. It’s no “Wasted Years,” but it’s not bad. Murray is fluid as all get out all over the record, flipping his custom Strat up to the neck pickup and cutting loose an indistinguishable flurry of legato runs and trills; Smith crafts beautiful, technical, and melodic solos; and Gers just slops around, falling over his guitar and making noise (can you tell I really don’t like his lead playing, AT ALL??).“The Great Unknown” is a standout track for me. Starting with a clean melody before getting all Maiden-y, this tune has some great textures and and solid vibe. Though Bruce is reaching high here, he doesn’t strain like on some other songs. I especially enjoy Nicko’s playing on this track. He’s got such command and adds so much flavor with how he varies his attack on the cymbals – not a lot of guys do that anymore, and again, it sounds organic and real, the way it should.“The Red and the Black” starts with solo Steve Harris, playing what sounds like an 8 or 12 string bass. I’ve never heard Harris experiment like this before, and probably the only other time I’ve heard such things is from Monty Colvin on some Galactic Cowboys records. In all other aspects this otherwise decent song is ruined by a guitar constantly tracking to Dickinson’s vocal – it’s distracting, lazy, and unnecessary, and it’s a major misstep in what could have been a strong track.“The Book of Souls” sets itself up to be this record’s (and tour’s) “Powerslave.” No, this isn’t anything approaching a concept record, any more than Powerslave was, but the track evokes some vivid imagery the band use to fill out the cover, booklet and upcoming tour, which should prove to be quite interesting.In some interviews, the band seem to be making a big deal about doing one song in “Dropped-D” tuning. This minor alternate tuning of the guitars and bass can make for some drastic differences, when used to full effect – it allows for power chords (the staple of rock and metal) to be played with one finger, making fast-change chorded riffs easier to do. In practice, it has little effect on the song it’s used on here, the opener “If Eternity Should Fail.” The song was penned by Dickinson and originally intended for a solo album (If you haven’t listened to any solo Bruce, check out “The Chemical Wedding” from the 90s – brilliant!). However, Maiden are stretching in some areas here. Smith briefly plays some slide guitar on his solo for “Death or Glory,” for instance, and then there’s the album-closing “Empire of the Clouds.”The 18-minute “Empire” begins with a strong piano movement, a first for the band, played by Dickinson, who takes sole credit for writing the song. It tells the tale of the ill-fated R101 dirigible, an aircraft so large that, as Dickinson describes, “the Titanic fits inside.” Impressive indeed, as is the song itself. At 18 minutes, it could easily be an 8 or 9 minute song lazily stretched out for the hell of it, a criticism I levy against the classic “Rime of the Ancient Mariner.”“Empire,” however, suffers not the same fate. It goes through several movements, all thematically related and yet very different (something Harris’ more epic tracks could certainly do better). Nicko has some outstanding drum ambiance through the quieter bits, and the whole song comes together fantastically before returning again to the opening piano movement for closure. If this song alone is the reason “The Book of Souls” is a two-album affair, then it is a good reason, indeed.In closing, “The Book of Souls” has enough to please almost any Maiden fan, young or old. Like most double albums, some fat could have been trimmed to make for a truly brilliant work, but the excess is not necessarily filler and they’d still probably have too much solid material for one CD. It’s the strongest effort Maiden have made since the beginning of their 4th age, and among their better releases overall. This will stay in my rotation for a good bit. Enjoy!