A lot was made of how no one liked their last tour, where they played their new album in its entirety. Although there was groaning from metal hipsters and ironists, though, at the show last year from my seats all I could sense was that everyone else around me had really done their homework: everyone there seemed to know every word and air-guitar riff from the new album. As an aside, at an Iron Maiden show a few years ago, I witnessed a sight that I will definitely take to my grave: in front of me for most of the show were two teenage boys air-guitaring along to every moment; and in the middle of one song, I swear I witnessed one of the boys correct the other one’s air-guitaring, as in “No, it doesn’t go like this, it goes like this.” Genius.
Anyway, my theory on Maiden is that they took the molten confusion of 60’s and 70’s rock culture and made a Disneyland attraction/ride out of it, with a degree of opera-derived camp that wasn’t far off from the then-ongoing Ice Capades craze and presaged the 90’s and 00’s Broadway musical trend. They also aren’t far off from the intents of the original Disneyland: pillage folklore and myth and create a technically masterful piece out of each one. The same way that a kid in the 70’s probably knew of Snow White and Pinocchio through the Disney animated films, a metal fan in the 80’s probably was more aware of “The Rime Of The Ancient Mariner”, “The Loneliness of The Long Distance Runner”, and Winston Churchill’s infamous “We shall go on to the end” speech from Iron Maiden’s records than from their sources.
Maiden of course come from a pre-Internet world where knowledge of arcane tales was cool, and it was ultimately the same world where Dungeons & Dragons could flourish unironically. It's hard to remember a time where Area 51 and Roswell was not common knowledge, and instead of wikipedia'ing "Alexander The Great" you might have to go to a library and look something up in an encyclopedia, which is pretty much what it sounds like they did when writing said tune.
Metal and indeed rock in general has always plundered history and culture for source material, but in some ways the brazen way in which Maiden appropriated/pillaged was just in line with the burgeoning culture of “metal” from its origins on. We all know about Zep’s swipes from Lord of the Rings (not to mention Rush’s subsequent swipes from the same) and the way that Sabbath’s very name is from the 1963 Boris Karloff/Mario Bava horror flick (imagine how pretentious metal would have become if the Sabs had named themselves after the film’s original Italian title, I tre volti della paura) – but it’s arguable that neither of these bands had their sights set on the cohesive branding that a band like Maiden would later put together. Although the Sabs did pull the hat trick of same-song-name/band-name/album-name on their debut (which Maiden would of course pull themselves), Satanism and black masses was surprisingly not necessarily an ongoing lyrical preoccupation for the band, and in the end they are essential celebrated for being a great rock/metal band.