The return of
Iron Maiden's "classic"
Dickinson/
Harris/
Murray/
Smith/
McBrain lineup (plus third guitarist
Janick Gers) in 1999 led to an incredibly successful world tour that saw the New Wave of British Heavy Metal legends commanding stages with the same unmitigated power and authority as they had during their mid-'80s heyday. But the question remained as to whether the reconstituted group would be able to carry this momentum into a studio setting and recapture the songwriting chops of its glory years. This question made
Brave New World one of the most highly anticipated metal releases of 2000, and thankfully, the eventual answer to that question was a resounding "YES!" In fact, the album pretty much picked up right where the "classic" lineup had left off on 1988's
Seventh Son of a Seventh Son: with a faithful rediscovery of
Iron Maiden's best-loved sonic aesthetic and compositional quirks, updated only insofar as was necessary to measure up to new-millennium recording standards. In every other respect (and much like
Seventh Son of a Seventh Son),
Brave New World's meticulously orchestrated three-guitar attack still allowed for a greater sense of space than early
Maiden albums (as well as the use of subtle keyboard textures in a supporting role), while boasting a beefier, in-your-face mix à la
Piece of Mind or
Powerslave. The remarkable pipes of singer
Bruce Dickinson actually seemed to have benefited from a less grueling touring schedule over the previous decade, and his renewed songwriting partnership with bassist
Steve Harris (and other assorted bandmembers) yielded several new
Maiden live standards such as punchy first single, "The Wicker Man," and the positively anthemic title track. Also worthy of special mention were
Harris' emotional solo copyright, "Blood Brothers,"
Adrian Smith's distinctive solo licks throughout "The Fallen Angel," and six-string stalwart
Dave Murray's Arabian-flavored contributions to "The Nomad." These highlights notwithstanding, a more lucid appraisal revealed that
Brave New World was no
Number of the Beast, once the initial euphoria died down. But as comeback albums go, its excellence was undeniable, and announced not only
Iron Maiden's triumphant return, but an important turning point in heavy metal's long, arduous climb back to respectability after years of critical abuse. ~ Eduardo Rivadavia