The guitarists often went direct into their amps and preferred minimal effects. They opted for tried-and-true British amplification: Marshall JMP and 2000 valve amp for Murray, JVM for Smith and a 100-watt prototype Marshall built for Gers (based on an old 200-watt monster he used in “the Gillan band back in the day”). The guys say they kept their studio setups relatively simple for Senjutsu. (Image credit: Annamaria DiSanto/WireImage) Especially because the songs we do are quite complex – you can’t just go hell for leather, straight into it.” For sorting out songs, acoustic is the way to go. “Nicko will sit there with his sticks, playing on his knees, just watching what we’re doing. “We take the song in sections, break it down,” Smith adds. “Steve had an acoustic bass, we had acoustic guitars and we’d work it all out … scribbling the chords down in our notepad. “We sat down quietly,” Murray says of Senjutsu’s early sessions, for which he employed a Gibson Hummingbird. But instead of strapping on their electrics and cranking their amps, the guitarists broke out their Gibson, Taylor and Martin acoustics.
USED IRON MAIDEN GUITAR TABS FULL
The band members brought in material – from full demo tracks to riff snippets – and began to knock the ideas into full-fledged songs. When we turned up to Paris, everything was done there on the spot.” “Some albums we’ve spent weeks in a rehearsal room working out six, seven songs and then gone into the studio,” Murray continues. The studio and producer may have been familiar, but the process of creating Senjutsu looked a bit different from past Maiden records. “It was an old art-deco theater: gorgeous, high ceilings and great vibe.” “That room in Paris is amazing,” says Murray. The band had a break in the Legacy of the Beast tour, so they booked time with longtime producer Kevin Shirley at Guillaume Tell in Paris – the nearly 100-year-old theater turned recording studio where they cut The Book of Souls.
The last time Iron Maiden were all in the same room together was when they recorded Senjutsu. “I’m very careful… I stay at home a lot anyway.”
Gers, Murray and Smith report that they’ve each managed to remain healthy. And he’s had all his injections and whatnot, so he should be good.” “I think he went out for a birthday meal and picked something up from one of his kids. “Bruce picked something up, but I didn’t speak to him yet,” says Gers of the singer, who at press time was recovering at his home in England. Only days before we speak, Dickinson announced that he’d caught a breakthrough case of Covid. When Guitar World connects with the guitarists in August 2021 – Murray dialing in from his home in Hawaii, with Smith and Gers calling from opposite ends of England (south and north, respectively) – the coronavirus has just infected one of their own. They helped set the standard for the NWOBHM sound with the one-two punch of their 1980 self-titled debut and the following year’s Killers – before elevating the form to its stadium-filling, album-selling and artistically ambitious heights with their ensuing five-album run of stunners: The Number of the Beast (1982), Piece of Mind (1983), Powerslave (1984), Somewhere in Time (1986) and Seventh Son of a Seventh Son (1988). So many ideas – it’s quite breathtaking, really.”Īs Gers points out, any Maiden fan knows that the band has a well-established track record of pushing boundaries and continually raising their own creative bar.
You’ve got the huge choruses of Hell on Earth.
… You can have your fast metal stuff, Death of the Celts where there’s all the Celtic things, the Eastern-kinda of The Parchment. There’s no set three-minute song that goes exactly where you want it. “Because of our past we’re a band that can afford to do that,” says Gers of Senjutsu’s extended running time.
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