IRON MAIDEN – The X Factor (Ryan Ranks #10)

IRON MAIDEN – The X Factor (Ryan Ranks #10)Welcome back!

We have arrived at the tenth Iron Maiden album, 1995’s The X Factor.

I know it’s been a long time, but that’s because I wasn’t exactly looking forward to visiting this one. While it turned out better than what I expected, The X Factor is probably my least favourite record so far, and it’ll likely be a contender for weakest Maiden album by the time I finish off their discography.

The biggest, and most polarizing, difference since the prior album, 1992’s Fear of the Dark, is the change in lead singer. Out went Bruce Dickinson, who left to pursue a solo career (and wasn’t exactly happy with how things had been going with the band), and in came former Wolfsbane vocalist Blaze Bayley.

What did I think of the change? Well, this mid-to-late ‘90s stretch is probably the nadir of the band for me, but I can’t entirely blame it on Bayley. Dickinson cast a very large shadow in terms of his vocal range and stage presence, and very few people could dream of living up to it. I don’t think Bayley was a bad singer at all. He had a great baritone voice and could hold up his end if he was not being taken out of his range. He has some highlights here and there, but it just didn’t feel like Iron Maiden when he was on vocals.

Also, the songwriting was just not on the level of the band’s prior output. While you can cherry-pick some solid tunes from this era, there’s a higher ratio of lacklustre compositions. This album in particular had a bit of a dreary feel to it, much of which can be attributed to Steve Harris going through a divorce. He said it was the toughest time in his life, and the songwriting reflects this.

One common complaint I have with the tracks here is that they mostly start very slow and sombre. I know that some of the songs pick up in intensity and pace, but there’s not much in the way of opening riffs or inviting hooks to immediately ensnare the listener. Things drag and feel rather homogenized as a result, which isn’t something you want for a 71-minute album.

Cover Art

IRON MAIDEN – The X Factor (Ryan Ranks #10)The darkness and misery really come through in the album art, which is far and away the least appealing cover Maiden’s done to this point. Trading the epic oil painting illustrations of the past for what looks like a claymation Eddie vivisection, the drab colours really do get across the bleak nature of the album’s subject matter.

It’ll get worse (2003’s Dance of Death, I’m looking at YOU), but this is definitely bottom-tier artwork.

Just in case retailers weren’t into the whole “gore” thing, the band put out a version with the album art pictured on the right. It’s still not very good. Eddie looks like a wad of gum in an electric chair.

11. “2 A.M.”

Through the lens of a lonely protagonist who doesn’t exactly have the most optimistic future prospects, this is likely the track that is most representative of Steve Harris’ family woes at the time. Steve’s lyrics are bleak, and the instrumentation reflects the dour subject matter well, even if it doesn’t really stand out from the rest of the album. This one’s just not all that interesting.

10. “Fortunes of War”

Once again, we start off soft and melodic as the song explores the PTSD endured by soldiers after returning from war. Here, we get some decent vocals from Bayley, but they don’t overcome the pace, which is especially slow, even when the volume picks up. Overall, “Fortunes” takes too long to get sonically interesting, though it redeems itself slightly near the end.

9. “Look for the Truth”

A song about facing one’s fears, it’s yet another entry in the “slow opening into dun-dun-dun riffs” category. It does
separate itself slightly due to some catchiness and a decent solo, but I wouldn’t exactly rush to hit ‘replay’ once this
one was over.

8. “Sign of the Cross”

I’m sure I’ll take some heat for this ranking, but I’m sorry, I’m not super into this one, at least not this studio version. It does have some energy in places, interesting lyrics, and there’s some nice mood-building with the chanting, but my big gripe is the sheer length. At 11 minutes, it overstays its welcome, and its position as the first track on the album creates a bit of a barrier to entry.

Some people REALLY like “Sign”, though, and that’s cool. I just haven’t been fully wooed by this one yet.

The live versions with Bruce Dickinson, though, are actually much better. Those versions feel more dynamic, and there’s more pyrotechnics and gaga to add to the spectacle. I saw Maiden do “Sign” live, and it was great theatre.

7. “Judgement of Heaven”

One of two songs that deal with questioning one’s religious beliefs, “Judgement” is carried by strong guitars, having a pleasing opening riff and a powerful solo section. Not much else really stands out here, but it gets in and out without wearing overly thin.

6. “Blood on the World’s Hands”

Opening up with a unique bass solo from Harris, the song charges into an exploration of the Bosnian wars and the horrors within with crunchy riffs and a suitably stark tone. Honestly, you can take the lyrics and pretty much apply them to what was going on in the world the last few years.

I’m not entirely sure if the opening bass solo really fits with the subject matter, but it’s still striking and well done. It’s one of the more musically intriguing tracks of the album, and it’s a very good Bayley performance.

5. “The Unbeliever”

The album closer, this one actually starts with an enjoyable riff. Another one written about someone who questions their beliefs, “Unbeliever” has a different feel than other tracks, which is a bit hard to find on this album. It leans more into the prog-rock side of things for its eight minutes, with long, elaborate solos, changes in tempo, and a solid rhythm. It’s one of the better songs here, even if I would have trimmed a minute or two off the length.

4. “The Edge of Darkness”

Yet another track with a slow, brooding introduction, “Darkness” is based on the 1979 film, Apocalypse Now, describing Colonel Kurtz. The lyrics are actually a highlight here, strong and evocative. The structure is unusual, bearing no real chorus, other than “ooohhhhh”.

Once the tempo picks up, the guitars give the song life with a blistering solo and meaty riffs, greatly elevating this to a high spot in the rankings. This is one I’ve appreciated much more after doing this project.

3. “Man on the Edge”

Man on the Edge” is based on the 1993 movie, Falling Down, or Frank Grimes: The Movie. The song takes you through the overall plot and themes of the film, but the chorus is kind of dumb with Bayley repeatedly howling the name of the film. That aside, it’s one of my favourite tracks as it’s one of the few songs with honest-to-God energy, a solid, driving beat with great guitars and percussion, and fitting vocals from Blaze.

This is probably the best Iron Maiden song to be written about a Michael Douglas movie, at least until someone unearths a demo recording of a song based on Basic Instinct or Wall Street.

2. “Lord of the Flies”

Like “Man on the Edge”, the William Golding novel-inspired rocker has more vigour than most of the rest of the album, and it’s channelled into a satisfyingly driving groove and one of the better Blaze vocal performances. It’s one of the few songs here that is actually fun to listen to, and it’s a solid overall composition.

Maiden must have thought fairly highly of this one, too, as it was another of the rare Bayley-era tracks to be played live after Blaze departed the band.

The single release of “Lord of the Flies” actually had one of the best songs Maiden did around this period: a great cover of UFO’s “Doctor, Doctor”.

1. “The Aftermath”

Written from the point of view of a soldier who questions the worth of war, it’s the strongest track on the album. It doesn’t fall into the ‘sluggish start’ trap as hard as a lot of other songs, there’s a substantial beat with good riffs and drums that carry the action along, the shreddy solo is frenetic, and it deftly fits Bayley’s range. “Aftermath” also features the best Harris lyrics on the entire record.

The live version, released as a B-side to 1998’s “The Angel and the Gambler” single, is also very good and displays that Bayley is a capable live singer, as long as the band doesn’t try to force him to sing the more demanding Bruce– era Maiden tracks. It definitely blows the A-side away, but I’ll get into THAT next time. I think this one deserved to make more setlists, post-Bayley

More of Ryan Ranks coming soon to CGCM Rock Radio/Website: Ryan Ranks

IRON MAIDEN OFFICIAL WEBSITE / FACEBOOK

Leave a Reply

Your email address will not be published. Required fields are marked *