Interview: Janick Gers, Dave Murray, & Steve Harris, Iron Maiden

The mighty Maiden return was a powerful Devil of an album. Chris "not Sammy Sick" Collinwood goes on video location with them.

Steve Harris

IRON IN THE SOUL

"It's all a bit silly this, innit?" Steve Harris surveys the scene. Surrounded by unused cranes and warehouses in London's Docklands, Bruce Dickinson, in full leather stage gear, is down on one knee miming along to his own vocal performance for "Be Quick Or Be Dead," all the while a camera only inches off his face attempts to capture every last drop of vocal emotion he can muster.

The band have already run through the song collectively, and soon it will be Steve's turn to rock out as if in front of 15,000 fans, except he's on his own and the only audience is a few distinctly unrocking film crew members who observe the proceedings with mild bemusement from over a nearby wall. After his bit, guitarist Dave Murray declares himself knackered, while Bruce pontificates on the (at the time) forthcoming election, and who he may or may not vote for.

Its knee-knockingly cold, and it's obvious the band would rather be almost anywhere else, doing almost anything else. Still, troopers that they are, they manage a performance (as any of you who have seen the "Quick" video will testify) that looks like they are as into it, as if it were the first time they've done this.

Only guitarist Janick Gers seems not to mind too much. He has injected a fresh spirit into MAIDEN, and this is the first time he's co-written with them. This is his third bite at the cherry called "rock fame," starting out with the mildly prog-rocking WHITE SPIRIT, a North East band who came to prominence around the same time as Maiden.

Janick and Dave

Janick's main notability at the time was a stage persona which leant heavily on Ritchie Blackmore's, all cocked legs and fluttering hands. He left White Spirit to join GILLAN, on the departure from the latter of Bernie Torme. This brought his Blackmorisms under even closer critical scrutiny, and, whether consciously or not, he toned them down, although elements remain to this day. Gillan's final gig was at Wembley Arena in December 1982, where, prophetically enough, Dave Murray professed to be in knocked out by Janick's playing.

Ian Gillan had been Janick's hero since when he was in DEEP PURPLE, and after Gillan split Janick wasn't quite sure what to do, unlike Ian who soon resurfaced in the worst ever version of BLACK SABBATH.

"After playing with someone like that, it's a case of 'What do I do now?' I couldn't find just anybody to play with." Janick recalls. "Then I met FISH at a football match, while he was still in MARILLION. He came round for a cup of tea. I thought no more of it until a while later he rang up, and asked me to learn a bunch of songs. Then I played at a Marillion gig at Wembley. We did MOTT THE HOOPLE's 'All The Young Dudes' and I was telling the drummer he had the tempo wrong. I found out later he was the bloke who'd played on the original track [Dale Griffin]! Soon after that, Bruce, who I had always stayed friends with, asked me to play on some solo stuff he was doing. That was soon before Adrian [Smith] left Maiden, so I was already in the picture."

A gap of nearly nine years had ensured between Gillan and Maiden, yet Janick was adamant he would hold out for the right thing.

"I nearly joined DIO at one stage, but that didn't work out. I was aware that people were saying I had been away too long, but you've got to believe in yourself. I always knew inside that I had something, that it would work out. The only time I was slightly worried was when I did the gig with Fish. I thought 'Right, I've been away a few years, let's see if it still feels right.' It was make or break time. I walked on stage and got the feeling back straight away. It's just a feeling inside, like 'Yes, this is what I do."

He says that the first time he played with Maiden, to see whether it would work out, sparks flew.

"We finished the first song, and I was shaking. It was so right. There was so much adrenaline and I knew straight away it was perfect."

A story Murray substantiates...

"It was obvious from the first time he played, there couldn't be anyone else. I'd been friends with Adrian for years, long before he was in the band, so I was pretty upset when he left. But he seems much happier now, so it's really worked out best all round."

The new release, Fear of the Dark (see review elsewhere) - has received, as have many albums lately, a lot of "talking up." But whereas KISS's Revenge and DEF LEPPARD's Adrenalize, to name but two, have been cited as a "return to roots" and "rawer, more powerful," Fear... is being called "different," and "something of a departure" from usual Maiden. Steve Harris, miming over for a moment, feels it's just more varied.

"We've got four different collaborations this time. Me and Janick, Janick and Bruce, Davy and Bruce."

Does he not think his co-production could have been a factor in this variation?

"Well, I co-produced in the past, it's just, this time, I've taken a credit. I suppose I did take a bit longer this time, spent more time in the studio."

As one of only two surviving members, along with Dave Murray from the first album, as well as being band founder after they had gone through names such as GYPSY'S KISS (yes, it is cockney rhyming slang), principal songwriter and logo designer, Steve has a reputation in some quarters has being ruthless in his hiring and firing of band members. This is really nothing more than a single-minded determination that Maiden should be the right mix. Also, you never hear those criticisms from those who were hired or fired...

"Each time we change line-up it was totally necessary, unavoidable. We don't like changing, but if people don't want to give 100% anymore, or can't for whatever reason, then they have to go. It's very difficult to say whether, if this line up had been together since the first album, anything would have changed, but I like to think it wouldn't. As for being the leader, I do sometimes make decisions on behalf of the band, but you need someone to do that. We've all got input though. It's not like I lead the band and tell everybody what to do. I am the main songwriter, but the song-writing's always been open, it's just that no other bugger used to bother writing anything! I openly encouraged it on earlier albums 'cause I had so much pressure on me, whereas now the standard of song-writing is so high it's a competitive thing to come up with stuff that's as good as everyone else's."

Does he not ever feel limited within Maiden to the kind of material he can write?

"No, that's just it. I don't have any limitations in Iron Maiden. I do exactly what I want to do. If I want to write something that's a bit off-the-wall, then I do, as long as it's a good song. We've been criticised in the past for doing stuff that's always the same, and we've been criticised for doing stuff that's too different. Like when we did Somewhere In Time and Seventh Son, people said it was too 'progressive.' All you can do is what you think's right, and not worry about what other people think, even the fans. You can take note of what they say, but you can't go on a general consensus. That's bullshit. You've got to be totally stubborn about it and hope they like it. Most of the time I write with a view to playing live, because that's where I want to be. But if you take notice of what people say, you'd never emerge with an overall opinion anyway. If you asked a group of Maiden fans what their favourite albums are, they'd all be different. Even if they agreed on an album, the tracks would differ."

It's true Maiden don't have a standout track live, a "Freebird" or a "Sweet Child of Mine." Steve feels this shows a depth to the material.

"Like, with No Prayer For The Dying, a lot of people loved it because it sounded rawer, more reminiscent of the early days perhaps, yet some wanted us to go the way we did on Seventh Son, so they didn't like it at all. You have to do what feels right at the time."

Most bands on completion of a new album will say it's the best yet. Crikey, I believe even RUSH did after Presto! Steve though feels you need to live with an album for a year or so before you can tell.

"To be really objective, you have to play the material live. Disregarding the new one, Peace of Mind was my favourite for a long time, until we did Seventh Son, but I was always into more progressive music anyway."

Many put a lot of Maiden's initial success down to being in the right place at the right time. Over the years, this has proved to be a load of tosh, otherwise WITCHFYNDE and MYTHRA would still be around, but at the time they came along they were the spearheads of the NWOBHM (do you have to ask?). Steve thinks they'd have been popular without that.

"I don't see any reason why not. The main thing is the band gives it some stick live, and we write good songs. If that sounds big headed, then OK, but if you didn't believe, there'd be no point in going on."

Something non-rock fans often pick up on is the band's strong image, such as that big monster they always have.

"Yeah, Eddie's really important. We didn't realise how important when we first started having him."

@@@Ah, Eddie the 'Ead. Starting life as a backdrop, fashioned to look like a victim of the 'Iron Maiden' (the mediaeval torture device, not the ex-Prime Minister, even though it amounts to much the same thing), he used to spit blood at the climax of the band's set with a device made up from an old fish pump by ex-roadie Dave Lights. Unfortunately, this often used to end up dribbling over the drummer, resulting in some irate early maiden sticksmen. According to Steve, many purchasers of the first album bought it on the strength of Eddie's shock headed image on the cover, before they heard the music. Another major factor has been their willingness to gig...

"When we first started out all we used to think about was playing as many gigs around Britain as possible. When that first album came out, we started getting a cult following around the world. Then we were lucky enough to get a support slot on the KISS European Tour, which was brilliant, and that cracked us enough to be able to headline our own shows. We toured supporting [with] bands we loved and now they sometimes play under us. Like Donnington last time, when we were above Kiss. That was fantastic for us, especially as they always said they'd never go on before a band that had supported them."

Many musicians reach a stage when they think of packing it all in. After twelve years of almost constant activity, has there ever been a time when Steve, somewhere on tour, has felt like this.? The suggestion is met with incredulity.

"Not once. Why should I? Even when we're knackered on the road, you just sit down and think, 'What else would I be doing? What else could compare to this?' Nothing."

Does he think that working in proper jobs, both as a draughtsman and a roadsweeper (the hot summer of 76... "I used to sweep in the morning then go up the open-air lido for the rest of the day") was important?

"It was important at the time. I had the view that I was going to give this 110 per cent, but I was working right up until just before we were signed. I thought I'd get some qualifications as a draughtsman behind me in case this didn't work out. But I think the real reason I appreciate it more is because it took four and a half years before we got a deal. Loads of gigs around the country, sleeping in the truck."

1980

A truck that legend has it, Steve's aunt paid for.

"Yeah, she lent us the money for a truck, and players so we could be self sufficient."

Steve has recently been playing Auntie for the band BRITISH LION.

"I loved their songs, so I've tried to help them to the stage where they can get a deal. No one else seemed to believe in them, so, if I'm in a position to do something about it, then why not?"

On the new album, there is for the first time a genuine love song, "Wasting Love" written by Bruce ("I can only assume he's in love" - Steve). Maiden lyrics are usually of the gung-ho, "take that, Jerry" variety, or concerned with historical or literary figures.

"Quite often the music will conjure up lyrical imagery," says Steve. "Like 'Mother Russia' did on the last album. The title track of the new one has got a really moody intro that sparked off the lyric. It used to be books or films, but now I usually fit lyrics with the melody. Melodies can come to me at any time, and I'll hum or whistle them onto a tape. If you take the chords away and Nicko bashing shit out of the drums, there's some quite nice tunes in there."

These 'quite nice tunes' have inspired some quite fanatical followers.

"You get people who'd kill for us. It's brilliant, but it can also be almost frightening. They can be so into it that it becomes... worrying. Like that bloke who changed his name to 'Iron Maiden.' On one hand, he's got to be crazy, but on the other he must be into us almost to the point of no return. Some people might laugh at him but I think it's just unbelievable. You can't buy that... I wouldn't change my name to West Ham though."

With people treating him and the rest of the group like minor (and in some cases not so minor) deities, they've done well to stay level-headed. Steve doesn't believe this treatment keeps him from leading a real life.

"Life can be insular on the road if you want it to be, but we don't really approach it like that, especially now that my family comes on the road. I travel on my own bus, but that's because I've got four kids, my wife, and a nanny with me. It wouldn't go down too well if one of my kids woke up in the night and kept the rest of the band awake! Plus I have to entertain the kids during the day, that makes me get out rather than just sit in a hotel room. But people even start questioning that. 'The band's splitting up' just because we've got separate buses! That's bollocks. As a band, we're a unit, but if we don't see each other for two months after a tour that's fine."

Maiden will soon be off on another world tour. Whereas in the rest of the world they are huge in both album and ticket sales, America has never really fallen under their spell recording wise, yet they play the vast arenas. They have in fact been called the biggest cult band in America. While say, DEF LEPPARD embraced America, Maiden always seemed almost too British to do so.

"Well, America embraced Leppard too, so you can't knock them. They opened it up for a lot of bands. But their music is naturally more geared for radio, whereas we appeal more to a European audience, because we've built it from a more grassroots level. We've done a lot more touring than them, as they've spent so much time in the studio. I can't see us breaking through like them in America, simply because we're not as radio friendly."

Would he like to?

"Of course, but I'm not bothered. I've still got other ambitions. There's still lots of countries we've not played. There're still challenges, even down to whether we can still cut it. This year's Donnington is still challenging."

But having headlined Donnington in 1988, is it not a bit of an anti-climax to do it again!

"I liken it to playing in a Wembley Cup final. It would be fantastic, then you get there again four years later... it's still wonderful, but it wouldn't quite have the edge of the first one. We could have left it at one appearance, untarnished but... Also, last time we played, we were really really nervous. I'm sure we will be again but not as much as that. It's the only gig I can remember going on stage and still being nervous. That usually happens beforehand, but once you're on stage the adrenaline takes over. I distinctly remember being on stage, four or five songs into the set, and talking to myself, saying 'For fuck's sake, you're blowing it, pull yourself together and get on with it.' I said to Nicko let's sort this out. We did, and the rest of the gig was great. But we could have blown it. that nervousness gave us an edge."

Riding on the back of easily their best album since Powerslave, Donnington and wherever else they play could be their best shows yet. There's plenty of life in the old girl yet.