#journeyman

... listen to music ...

Coloured-in art of the Deep South boxer from my OC Punch-Out female league, Atlanta GA’s DeClarabelle.

She has 18 wins but 65 losses, being maybe not the first opponent but still one of the earlier ones. She tends to look down on her opponent’s ’kind’, but does dearly love her Daddy. Despite her upperclass manners, she may have turned to boxing as her family's no longer being as rich as they claim.

She tries to be ladylike with her punches, but her stubbornness means she often goes for sloppy aggression anyway. Her being the first southpaw in line though means she's not quite as easy as you'd think.

Introduction

If Brave New World was Iron Maiden’s triumphant rebirth, then Dance of Death was the moment the band demonstrated that their reunion wasn’t simply a nostalgic return to former glory.

Released on 8 September 2003, Dance of Death is Iron Maiden’s thirteenth studio album and the second to feature the reunited line-up of Bruce Dickinson, Steve Harris, Dave Murray, Adrian Smith, Janick Gers and Nicko McBrain.

And what a line-up it was.

Following the enormous success of Brave New World, Iron Maiden had something that many veteran bands never get:

Momentum.

They could have played it safe.

They could have made Brave New World II.

Instead, they became even more ambitious.

Dance of Death contains some of the band’s longest, most progressive and most atmospheric compositions since the 1980s. Steve Harris continues to explore history and mythology, but the album also contains deeply personal material, supernatural storytelling and songs about war, religion, betrayal and mortality.

There is a sense throughout the album that Iron Maiden had rediscovered the freedom to experiment.

And nowhere is that more apparent than in the extraordinary “Paschendale”, one of the most devastating war songs Steve Harris had ever written.

The album is not flawless.

Some songs are noticeably stronger than others.

The artwork is, to put it diplomatically, controversial.

And the production has divided listeners for years.

But when Dance of Death is at its best…

It is magnificent.

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1. Wildest Dreams

The album begins with one of Maiden’s most immediate songs.

“Wildest Dreams” is almost deliberately straightforward.

The opening guitar riff arrives quickly.

The rhythm section locks into place.

Bruce Dickinson sounds confident and energised.

Lyrically, the song concerns self-renewal and the possibility of escaping the limitations imposed by one’s past.

That theme is particularly appropriate following the band’s extraordinary comeback.

The chorus is instantly memorable.

It isn’t the most sophisticated composition Maiden have ever written, but that’s not the objective.

It’s an energetic beginning designed to get the album moving.

And it succeeds.

Rating: 9/10

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2. Rainmaker

One of the album’s most underrated songs.

“Rainmaker” is short by Maiden standards, but it packs an enormous amount into its relatively brief running time.

The song explores the idea that people sometimes chase impossible dreams, only to discover that happiness cannot be manufactured.

Bruce’s vocal performance is excellent.

The guitars are wonderfully melodic.

Steve Harris’ bass provides the driving force underneath the entire composition.

And that chorus…

It sticks in your head.

An exceptionally concise Maiden song.

Rating: 9.5/10

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3. No More Lies

Here the album begins to expand.

“No More Lies” is built around one of Steve Harris’ increasingly familiar themes:

The passage of time.

The inevitability of mortality.

And the desire to make something meaningful from the years we have.

The opening is atmospheric and restrained.

Then the guitars gradually build.

Bruce enters with enormous emotional weight.

The chorus feels designed for an arena.

The repeated refrain can be divisive, but in a live environment it becomes tremendously effective.

There is also a beautiful instrumental passage in which the three guitars weave together effortlessly.

An underrated epic.

Rating: 9.5/10

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4. Montségur

One of the album’s heaviest tracks.

“Montségur” takes us to medieval France and the destruction of the Cathar stronghold of Montségur during the Albigensian Crusade.

Steve Harris once again demonstrates his fascination with history.

But rather than simply recounting events, he focuses upon religious fanaticism, persecution and the brutality committed in the name of faith.

The music is appropriately ferocious.

Nicko McBrain attacks the drums.

The guitars sound enormous.

Bruce Dickinson delivers one of his most aggressive performances on the record.

It is Maiden at their most uncompromising.

Rating: 9.5/10

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5. Dance of Death

Now we reach the centrepiece.

And what a song.

Clocking in at over eight minutes, “Dance of Death” is one of Iron Maiden’s greatest modern epics.

The song was inspired partly by Ingmar Bergman’s The Seventh Seal and the traditional medieval image of the Danse Macabre—the Dance of Death.

The narrative follows a traveller who encounters a supernatural gathering and finds himself drawn into a ritual from which escape seems impossible.

The acoustic introduction is beautiful.

Then the story begins.

Bruce Dickinson becomes a storyteller.

His voice changes with the narrative.

The music grows.

The guitars become increasingly dramatic.

The song constantly shifts between delicate acoustic passages and enormous metal arrangements.

Steve Harris’ bass is magnificent.

Dave Murray, Adrian Smith and Janick Gers produce some of the album’s most beautiful guitar harmonies.

Then comes the final crescendo.

It is breathtaking.

There are few Iron Maiden songs from the post-reunion era that demonstrate their ability to combine storytelling, atmosphere and progressive composition so successfully.

Rating: 10/10

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6. Gates of Tomorrow

A darker and more aggressive composition.

The song explores humanity’s uncertain future and the consequences of our actions.

The opening guitar work is particularly effective.

Bruce sounds wonderfully forceful.

The chorus is memorable without becoming overly repetitive.

Nicko’s drumming provides tremendous momentum.

It is perhaps overshadowed by the enormous songs surrounding it.

Nevertheless, it remains a very strong album track.

Rating: 8.5/10

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7. New Frontier

One of the album’s most unusual songs.

The subject matter is controversial and unsettling: human experimentation and the creation of life.

The lyrics raise questions about scientific progress and whether humanity’s ability to create something means that it necessarily has the moral right to do so.

Musically, however, the song is surprisingly playful.

The main riff has an almost classic-rock quality.

Bruce sounds mischievous.

The song is considerably shorter and lighter than some of the album’s epics.

It’s an unusual little detour.

And I rather like it.

Rating: 8.5/10

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8. Paschendale

If Dance of Death has one defining masterpiece…

This is it.

“Paschendale” is one of Steve Harris’ most powerful compositions about war.

The song takes its name from the Battle of Passchendaele during the First World War, one of the bloodiest campaigns of the conflict.

But this isn’t a celebration of military glory.

Quite the opposite.

It puts the listener into the trenches.

Mud.

Gas.

Artillery.

Death.

Fear.

Young men thrown into an industrialised slaughterhouse.

The opening is haunting.

The tension gradually builds.

Then the guitars erupt.

Bruce Dickinson’s vocal performance is magnificent.

He sounds like someone trapped in a nightmare.

The instrumental section is extraordinary.

The three guitarists produce some of the most atmospheric harmonies in Maiden’s catalogue.

Then comes the final passage.

Huge.

Powerful.

Devastating.

This is Iron Maiden at their very best.

Rating: 11/10

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9. Face in the Sand

One of the album’s darkest songs.

The lyrics examine humanity’s obsession with death, violence and spectacle, particularly through the media.

The title suggests the futility of attempting to ignore the inevitable.

Bruce sounds almost mournful.

The unusual drum arrangement gives the song an ominous atmosphere.

It takes its time.

Some listeners may find it too slow.

Personally, I think the deliberate pacing is precisely what makes it work.

A deeply atmospheric composition.

Rating: 9/10

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10. Age of Innocence

One of the album’s more controversial songs.

The central theme concerns the decline of society and the erosion of innocence.

Steve Harris is clearly frustrated with aspects of modern life.

The song contains some excellent guitar work.

The chorus is strong.

However, lyrically it doesn’t reach the sophistication of Paschendale or Dance of Death.

Still an enjoyable track.

Rating: 8/10

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11. Journeyman

And what a way to finish.

Iron Maiden had experimented with acoustic elements before.

But they had never quite ended an album like this.

“Journeyman” is essentially an acoustic ballad, with the guitars and vocals taking centre stage.

The song explores mortality, regret and the journey through life.

Bruce’s voice is beautiful.

The harmonies are gorgeous.

The restraint is remarkable.

After the aggression and complexity of the preceding tracks, the quietness feels almost cathartic.

It’s a brave way to conclude the album.

And it works.

Rating: 10/10

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Production

Production duties were again handled by Kevin Shirley, working closely with Steve Harris.

The result is somewhat controversial.

Some listeners adore the organic, almost live feeling of the recordings.

Others find the production comparatively compressed and feel that certain instruments—particularly Nicko’s drums—don’t possess the impact heard on the band’s classic albums.

Personally, I think the production suits the material better than it is sometimes given credit for.

The guitars are warm.

The bass remains prominent.

Bruce sounds powerful.

The three-guitar arrangement is generally clear enough to distinguish each player’s contribution.

There is room for improvement, but the production certainly doesn’t prevent the album’s strongest compositions from shining.

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The Three-Guitar Attack

By this point, Iron Maiden had fully embraced the three-guitar line-up.

And it works.

Dave Murray.

Adrian Smith.

Janick Gers.

Rather than simply creating a wall of sound, the trio frequently divide responsibilities.

One provides harmony.

Another plays rhythm.

Another delivers the lead.

Then they switch.

This allows Maiden to create enormous instrumental passages without losing melodic definition.

It is one of the defining characteristics of the band’s post-1999 sound.

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Bruce Dickinson’s Renaissance

One of the most enjoyable aspects of Dance of Death is simply hearing Bruce Dickinson having fun.

The uncertainty surrounding his return has disappeared.

He is completely comfortable again.

His voice possesses greater maturity than it did during the 1980s, yet he has lost none of his power.

From the aggression of Montségur to the storytelling of Dance of Death and the emotional restraint of Journeyman, Bruce demonstrates an extraordinary range.

His second era with Maiden is no longer a reunion.

It is simply…

Iron Maiden.

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The Controversial Artwork

If there is one aspect of Dance of Death that almost everybody agrees upon…

It isn’t the music.

It’s the cover.

The artwork, created by David Patchett, is widely regarded as one of the weakest album covers in Iron Maiden’s catalogue.

And that’s a shame.

Because the concept itself is fantastic.

Eddie surrounded by a bizarre cast of supernatural figures, seemingly participating in a macabre dance, is perfectly suited to the album’s title and themes.

Unfortunately, the finished artwork has a rough, computer-generated appearance that doesn’t sit comfortably beside Derek Riggs’ legendary paintings.

The band themselves have reportedly expressed dissatisfaction with the final result.

It remains one of those situations where the music deserved something visually more memorable.

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Legacy

Dance of Death has gradually developed a strong reputation as one of the finest albums of Iron Maiden’s second era.

Although it didn’t receive quite the universal acclaim of Brave New World, its reputation has strengthened considerably over time. Much of this is down to the enduring quality of its longer compositions.

“Dance of Death” has become a fan favourite.

“Paschendale” has established itself as one of Iron Maiden’s definitive war songs.

“Journeyman” demonstrated a side of the band that had rarely been explored so openly.

The album also continued the band’s renewed interest in progressive songwriting. Rather than trying to recreate their 1980s sound, Maiden were now comfortable writing ten-minute compositions and allowing songs to develop naturally.

This would become increasingly important as the band’s career progressed.

Albums such as A Matter of Life and Death, The Final Frontier and The Book of Souls would continue exploring this more expansive approach.

In that sense, Dance of Death represents an important step in Iron Maiden’s modern evolution.

It proved that the band’s second golden era was not simply nostalgia.

They had entered another period of genuine creativity.

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Overall Verdict

Dance of Death is an album that rewards patience.

It isn’t as immediately accessible as Brave New World.

Nor is it as consistently brilliant as Powerslave.

But when it works…

It works spectacularly.

The reunion line-up sounds completely comfortable together.

Bruce Dickinson is magnificent.

Steve Harris continues to write with enormous ambition.

Adrian Smith, Dave Murray and Janick Gers have developed their three-guitar approach into something genuinely distinctive.

Nicko McBrain remains one of the finest drummers in heavy metal.

And the songwriting reaches extraordinary heights.

The album isn’t without weaknesses.

Gates of Tomorrow and Age of Innocence don’t quite match the strongest material.

The Angel and the Gambler syndrome doesn’t exist here, but some songs could still benefit from tighter editing.

And the artwork is unfortunate.

But those criticisms pale beside the album’s greatest achievements.

“Dance of Death.”

“Paschendale.”

“Journeyman.”

These are songs that demonstrate Iron Maiden were still capable of producing genuinely magnificent music more than twenty years into their career.

And Paschendale in particular deserves to stand alongside The Trooper, Aces High and Where Eagles Dare as one of their greatest historical compositions.

If Brave New World was the resurrection…

Dance of Death was the proof that the resurrection was real.

Iron Maiden weren’t simply back.

They were still evolving.

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Final Rating

Overall Album Rating: 9.5/10

Standout Tracks: Paschendale, Dance of Death, Journeyman, Rainmaker

Most Underrated Track: Face in the Sand

Hidden Gem: Rainmaker

Best Epic: Paschendale

Best Vocal Performance: Dance of Death

Best Closing Track: Journeyman

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Final Verdict

Dance of Death is a superb example of Iron Maiden’s ability to reinvent themselves without abandoning their identity. It combines the melodic accessibility of their classic material with the progressive ambitions that increasingly defined their second era. At its best, it is breathtaking—particularly on Paschendale and the title track—and although it isn’t entirely flawless, its strengths comfortably outweigh its weaknesses.

Iron Maiden had returned with Brave New World. With Dance of Death, they proved they intended to stay.

Todays Word Of The Day is: Gadabout