THE NUMBER OF THE BEAST

1. Invaders for the radio edit it was said, a fast, short, electric piece, the intro which launches Bruce with his characteristic phrasing; the chorus which always lacks violence, heaviness; the brand of the NWOBHM which had to avoid the clichés of the heavy, heavy groups of before; good here more than honorable mention to Dave and Adrian who set the controlled fire with their solos, and always Steve who adjusts his bass 2. Children Of The Damned for the intro, yes 1982 imagine that, yes prog related it makes me laugh; remember this drum roll halfway through, yes the guitars which go solo, soft if we listen to today's hard music; ah the fluid, progressive solo, times are changing 3. The Prisoner and one if not the title of MAIDEN; the voice-over on the prisoner, my cult series, the famous intro pumped on... not pumped, just reminiscence of another very great hard band, AC/DC or DEEP PURPLE look for; in short, Bruce distills a more incisive voice on this anthology piece; prog was dead so how many fans went towards jazz, the older ones, how many branched off towards hard which already sounded in their intros, meanders and other soli breaks on prog still ah this aerial break with Clive's hypnotic guitar and drums, ah the guitar which responds to the other one, what of Adrian or Dave started? The prisoner ah how many times I forgot to turn down the sound at the start of the song! 4. 22 Acacia Avenue with a suite of Charlotte the Harlot and its chiseled intro riff; this riff that returns, which shows the raw sound of this new genre, at the time when listening to it on the radio was still normal; well, the guitar is looking for itself, a roll of the pad and presto the air takes the 3rd, it swells, swells and Clive demonstrates that the drummer must have had a place of choice; hold the marshmallow guitar solo, yes soft, swirling, which stays stuck to your ears; the sound starts again, without vocals, with, Bruce not letting himself be fooled; soli incandescent guitar with the well-defined bass, yes he also loved Phil LYNOTT

5. The Number Of The Beast yes, just the intro lets drops of prog-metal blood bead Ok; the riff, the voice, the rise, well that was the music, energy, kindness, noise too; the sustained riff that keeps you weightless, the clip with the dance competition, with Dave and Adrian engaging in a fierce friendly duel... Yes, don't forget that the MAIDEN guitarists were not penguins! By the way, did you get up to change the front K7 or did you already have the double reverse? 6. Run To The Hills and the easy intro which is also remembered; the guitar that speaks well we will have seen everything; the military rhythm starts, the background of the clip with the Indians, we would now tell you that you are racist, ah la la; in short, another guitar solo that spills out of my memory, she doesn't stop too, before listening to it in real life; and this chorus one to move on to the TV itself 7. Gangland yes if there was one it would be this one; less good, goes everywhere although; the nervous riff and the vocal phrasing always have that little something extra; yes I am too sensitive ultimately; the solo is melodic, just rock today; you have to go see them in concert to understand what this new metal really is; it explodes, it roars, we imagine the Harley too 8. Total Eclipse as a bonus, yes originally time was running out on the supports; title that I listened to long after since it was not on my original K7; in fact this title comes out of my vision of the album, yes a little manic I am; but the spatial finale makes me smile, yes I still see a few prog tears there 9. Hallowed Be Thy Name for second best track on the album; the intro already this sound of timpani, cymbal, this riff which sets in motion, Bruce which warms up his voice, the melodic solo which floods the stage; Aggressive Bruce, stop, you'll become a beloved hardcore singer; you nod your head, you are on the alert, you feel the prog metal latency before its time; yes the heavy break which is looking for itself and which will quickly explode into an uncontrolled solo joust, enjoyable, orgasmic pleasure; the variation is intended to be reassuring and launches a rhythmic and fruity melodic space, repetitive before the return of Clive's voice, voice and rolling, yeah.