Scott Lavender
The Piano Tribute To Iron Maiden

THE REVIEW

Works like this, besides being original, give the idea of how many semi-unknown artists exist on this planet. It naturally raises the question, however, whether such finds are solely to fill the pockets of the musician in question or if they are sincerely due to an act of "devotion" towards the legendary band of Harris & Dickinson. Nothing strange if it sounds "commercial," after all, everyone has to eat, and I find this to be a more than worthy way to earn a living. I'm really just trying not to be dazzled by an absolutely new idea (using the piano to perform Maiden's classics), which doesn't bring much new in itself. In short, certain finds were "property" of Apocalyptica, and the result was (and is) decidedly superior.

The tracks included in the CD are 11 covers of the most famous Iron Maiden songs. The selection is adequately chosen, as it covers a timeframe from "Aces High" to "Brave New World." Two subgroups can be identified: those where the pianist's flair shines in all its splendor, and all the others, which appear even pretentious. In the first case, I would certainly include "Number of the Beast," in which the intro has been slowed down for a couple of rounds, and then bursts into the usual and unrestrained flood of notes. Not to forget to mention "Brave New World," particularly suitable for this type of arrangement, "Run to the Hills" - which truly seems to come from a classical music repertoire, but it is certainly not Lavender's merit - and the magnificent "Hallowed Be Thy Name," truly thrilling.

But the listening ends here: it will probably depend on personal taste, but there is very little else. Some scattered flashes, without one being able to remember where on earth they heard that passage which wasn't so bad after all. Too little personal touch, while the only unpublished track is even "masturbatory" in some passages. This album, however, could be the ideal junction between '50s rock'n'roll and the various evolutions of "classic" metal, able to appeal even to those who don't want to hear about New Wave Of British Heavy Metal. I'll sum it up: imagine how Jerry Lee Lewis would improvise on the sheet music of "Number of the Beast" (even if it sounds crazy!). It might be enjoyable to see live, but it's "just" a good exercise in style, certainly not trivial in conception and development. A classic CD that, perhaps, not too long ago, I might have overrated.