An Iron Maiden book review on jambands.com? (A first defense: there was a time, back in the 1980s, when Relix splayed an Iron Maiden feature across it pages.) If there is any doubt that the famed British heavy metal troopers belong here now, consider the following passage, tucked away on page 393 of this massive beast that needs some 670 pages to tell the five-decades and counting tale. (Ending it on page 666 would’ve been too on the nose, though the book, graphically and devilishly, makes note.)

As author Popoff prefaces the transition of the Irons into its third act- as a massively successful, resurgent, and relevant band, particularly as an arena/stadium touring ensemble, that starts around May of 2000 and extends into the next quarter-century- he foreshadows the band’s ascent “…in which we celebrate the near Deadhead-level sense of community that marks the Iron Maiden of the new millennium.”

We are everywhere and, perhaps, so are they.

So, with that justification out of the way, let’s talk about this hefty piece of history. For starters, there is really nothing else in literature about Maiden comparably so encompassing, and very few as detailed about any artist short of maybe Dylan or the Dead. The collection of interviews- archived and current- that Popoff utilized is staggering, and as abundant from the earliest years as from the present. This story of Iron Maiden, arguably one with the author’s conspicuous opinions and biases, is the whole one, or as near as imaginable.

Popoff, a longtime notable rock journalist and Iron junkie, makes no secret of the Maiden songs, albums, cover art, versions of mascot Eddie, solo efforts, and so on, that he likes and prefers. He also pulls no punches in comparing and contrasting Maiden with its influences and peers such as Genesis, Black Sabbath, Judas Priest, and any number of L.A. hair metal contenders. He’s as critical as he is congratulatory, and as comprehensive with the details. 

What is not here, other than a few choice selections, is much about any sordid stories of excess. Mostly because there just don’t seem to be very many to reveal, and mostly because Popoff admits early on that, despite Iron Maiden being a thrilling and brilliant band in concert, the songs- and, thereby, the albums- interest him the most.

An Iron Maiden devotee surely will want this weighty volume, but for anyone curious about how a band forms, finds its sound, struggles to the summit, tumbles down, then rises to the top once again- in other words, the classic hero’s story- Popoff’s bible is as much the gospel as any.  Up the Irons!