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Well, two hands and fellas you can't lose, can ya? You really can't. I think the Zoom system is probably going to break down from all that sexiness on screen right now. Oh, is it going to break down from your side of mine? That's what you're all about. Okay, well, welcome to our guest, Jericho. It's the pot of thunder and rock and roll. And let's get going with the patented Duff Macaegan joke of the week.
Chris Jericho, Jeff Macaegan, call me. Hope everybody's okay. Hope you're doing good. Listen, I did my first new painting this morning. Yeah, the neighbors weren't too happy with my front door. That's amazing. Thank you very much for that. I had to think about that one for a minute, but I actually kind of like it. It's funny. Thanks to Duff for keeping us laughing and thanks to Duff for keeping us rocking with Guns and Roses.
I was in Las Vegas last week to see a GNR at the Allegiance Stadium. It was a great, great show and Guns and Roses are continuing on in the States till October. Then they're heading to Australia and New Zealand in November. See them while you can. I don't forget Fauzi as well. We are officially back on the road. We had the first show of the Save the World Tour last thing in Columbus. It was a great opening night of the tour. Thanks everyone who came and rocked with us.
We continue tonight and Joli edit the forage. I will do VIP then head back to Chicago about 50 miles away to do rampage and head back to the Fauzi gig that night. Then we got Belvedere on Saturday the Apollo Theater. Sunday's AW all out at the now arena in Chicago. MJF versus Jericho. If I lose, I never wrestle an AW again. I don't even want to think about that.
Then we continue on Harrisburg, Apatamax, Baltimore. Don't forget to catch this Phil Wisconsin in that Chicago area on Monday at the 6th. Then so many other gig gigs. Flint, Cleveland, Johnson City, all sold out, Pittsburgh sold out. Look to Fauzi Rock for tickets and new VIP spaces have just opened up. If you wanted to go to VIP in your town and they were sold out, we opened up a few more places. Go to Fauzi Rock.com and come join us with Through Fire Royal Bliss.
They will be out for us for most of the dates. Like I said, Fauzi VIP experience is back. One of the best of the business. You get a mini set, you get a little question and answer with us. We will sign something for you. Come hang out with Fauzi. You won't regret it. You won't regret. We are coming to Europe starting November 30th in Manchester. England actually doing Liverpool.
The cavern on the 29th. The famous cavern club being famous by the Beatles. But then we will continue on Newcastle, Glasgow, Dublin, Belfast, etc. Once again Fauzi Rock.com. Come check us out if you are in America or if you are in England. Speaking of England, one of the greatest drummers from the greatest English band. Heavy band of all time. Iron Maiden. Nick McBrain is here today talking with the new album, San Jutsu, which is dropped today.
You can get it wherever you buy or stream music. It is their 17th studio album. It is already talked about it being another classic. I really like it. It is a long album. It is a monster. But you got to listen to it over and over again. But it really is good. The band is hoping to hit the road next year. Nick hotels us about tour plans, a potential set list. Some of the plans he has for his drum kit for the upcoming tour.
He has some great stories about how he got his nickname. His favorite not-so-favorit train wreck stories on stage with Iron Maiden. He shows his memories and thoughts about the late great stones drummer Charlie Watts. Let's get our rock on with Nick O'Migbrain and Iron Maiden. San Jutsu right here on Talk As Jericho. I think last time we spoke Nick O'Neill you had some chef pants on. Now it looks like you have your bathrobe on.
I do. It is morning here. Where are you by the way? You been alone? No I am actually in Milwaukee. We are on the same time zone. Almost the same time zone exactly. This is my attire for going out. Since the pandemic last year when everything shut down and the drive thruvers are open. Me and the Mrs started going to Starbucks for our coffee in the morning. We take our little snackly puppy, little dog, a little shoky.
It was a ritual now. Every morning if we don't take this dog out she sits down on my chair and starts growling at me. So Wednesday morning is her birthday. She has a bath so we go to Starbucks, drop her off at the salon and then the wife going out robes. The girl's face is when we turn up with the Starbucks drive food. Morning Nick, morning Rebecca. Nice to see you. Nice to see you. I have my name on my road. Look. I don't know why. If I hang it up, I can find it because it's got my name on.
Let's quickly jump in with this. Nico. Where did Nico come from? She has asked us before but we've never discussed it. Everyone's talking about Nico. Where did this nickname come from? It was back in 1973, 1973. I was playing with the first two guys I played with when I went professional.
I called Billy Day and Mike Leslie and I was working with these two guys and the pianist Billy Day was an alcoholic. Anyway, we started working right in songs. I was the only one with a drive in line. Anyway, long story even longer. We ended up doing what we called the Ghost Hours at CBS Studios in Whitfield Street in London. It was the first, we were one of the first bands to go in so they could make sure everything was working right.
At the same time, we were recording an album. Well, we were in the pub next door called the Valiant Trooper. It was right next door to the studio. We actually talked to the owner of the bar knocking a hole in the wall so we couldn't have to go out to building into the pub. It was crazy days.
We did this CBS convention in Strethe, South London. That week we were in the pub, we were recording at the daytime. We've gone in the pub to meet Dick Asher who then was the president of CBS and a guy called Obi-O, Einstein. We were meeting them in the pub. I'm playing a one-on-band in the pub. These two guys walked in. One was Dick Asher and Billy had been at the source and he used to get drunk very quickly.
He introduced the rest of the band to Dick and this other guy who it was who was with him. Then he comes over to me and he says, at the top of his head he goes, I want to introduce you to Italian. I was called Nicky. My mum and dad came and I used to have a book called Nicholas and the Bear. I used to carry it all around. It came from Nicky. They used to call me Nicky and then he introduced me.
This is Italian brother Nico. He pronounced it Nico. Dick Asher took his hands and said, I was to meet him. Then Obi turned up and Obi at that time had these two Irish wall fans. I think there are Irish says, red big, big, big old tall dogs. He comes in the pub with these two dogs. He's larger than life. He's dogs are sniffing around everywhere. Then Dick Asher comes over and introduced me to Obi.
He goes, I want to introduce to Nico the Italian drummer. I quite like that. That's how I'm going to get my name. I speak of drummers. It was a sad day yesterday when one of the greatest drummers of all time. Charlie Watts passed away. I'm sure being a drummer of your generation Charlie is a huge influence. A huge influence for any generation. What are your thoughts on Charlie and his style?
Absolutely great loss to the music and family in general. When you think about the life he's had, especially with the Rolling Stones, that 80 becomes like 200 years. He was such a great influence on many of us younger players and when I say younger, you know, of my generation for sure. His style was unique because he was a jazz drummer. He came from a big band background.
He just slipped into the gig with the Stones and obviously stayed sat on a drum store and never left. But he had this lovely technique. He played both orthodox grip and match grip. He tended to change between the two, which was cool. He did this thing instead of going to go to and for groove with a four on a high hat, he'd go to and he'd leave the fourth quarter no out.
It became like a ringo used to have to switch on the high hat and he'd dance. So then you take that and it was, you know, there was a quote somebody told me it was like music isn't about the notes. It's about the space in between. That was classic Charlie that he never overplayed anything. He sat on the pocket. Not like ringo. You know, ringo was a pocket player. So this is the generation in the early six years you're talking about.
And so as a player, total total respect and it was a sad day I heard yesterday like everybody else and and I knew there was a bit of news about the tour that he handed over the drum store to Steve Jordan who he recommended to take. They were great mates and he said, Steve's an absolutely fantastic player, such a versatile player and big old high hats. You know, that's probably why he has the big 15 inch. I think he's.
But yeah, you know, so I don't know how how the boys are going to go out and tool without him now knowing that he's not here. It's a sad loss and our drumming community has lost a great ambassador, but you know, I was very saddened by it. Did you ever cross paths with the stones with Charlie at any festival or yeah, the only time I ever met I briefly said hello to him was the they did.
They did a secret gig at the 100 club in Oxford Street way back in the must have been early 80s. I don't think I was up with maiden. So let me see now I it was before maiden might have been like 8081 and this gig and Billy Preston was on keyboards and this the 100 club is probably about 400 people.
I got to say a load to him as I made my way to the stage was that in this stage was about two for 18 inches high. So right there and I took a walkman in with me. So I must have been early because you know when the Sony walkman came out. I was actually got caught recording them. I'm kind of telling a story now. So anyway, this big old bouncer came up and he's caught me. He's dragged me out the back of the at the front of the you know where you go into pay.
And he's taken my cassette machine is taking the cassette out and it's gone up to Harvey Goldsmith who was actually put promoted this this particular private party and explodes. I call him bootleg in the fucking bed. And Harvey's gone you should know better than me. I said Harvey you should know better I'm a musician. Am I going to boot like this? You have to be talking. I was just for me.
I know you can have this back at the end of the night. I know he gave me my machine back and I thought idiot why didn't I have another cassette. But that was the only time I came in contact with Charlie. I met Mick in the Bahamas when we were recording house like hmm. Yeah, you know I don't I know Ronnie. I've never met Keith only set for that you know like a person you know but I saw.
I just picked me out of to Charlie but I didn't really know him. I only know him through his his wonderful plan and the band one last thing about Charlie and stones I saw them about 2013 it was right at the beginning of the set they were doing it's only rock and roll. So something happened where Mick came in wrong and then Keith went off in the space and even Darryl Jones was off and they were on the verge of a massive train wreck. And Charlie just kept drumming you know face never changed.
And finally they all just gathered around him and got back into the groove again. Have you ever had to do that with maidens every been times when you almost get to a train wreck and you just got to keep playing. Pick a song out the hat. Yeah. Well one story that springs the mind. Like that was when we were doing the power slave tour we did three nights at Hammers, Methode and maybe more actually I think we might have done five nights there.
And we were doing flight of Icarus and Bruce always before we eat and you get a kick out he goes scream for me. Yeah, three times that he always said it's retired. The flight of Icarus. Yeah, you get one of the nights he goes screaming. The screaming I was with yeah, scream for me. I was with and he didn't get to the third one and I counted it in. I mean,
I was going to go back to the back. Right. So David, I because David, I was stays left. They were stayed right and Ari. Bruce is out front giving it the big. I couldn't stop. I thought I can't stop. I'll be really embarrassing. I'll just carry on out of it. I'm going to get out of this. So they all ended up coming flying up to the drum. It was standing on the steps in front of me. Go, what the fuck?
I was going, what the fuck are you doing? I went, what's me? One, two, three, four, back. Bam, bam. That was one of those guys. A jail moments and we were recording and all he watches out in the stones, I've stoned mobile. And we were out the back and I played, got through the gig with total embarrassment. I felt like I went from this. I'm playing really well tonight to this. Oh my God. What did he do?
So Chris is no word of a lie. I thought I'm not going to get fired. I'm going to leave the band. So I've gone out. I'm going to dress in the car. I said, look, I'm really sorry. You don't have to fire me. I'll just leave. Everyone started laughing. Martin Birch came in and he said, that was priceless. And you know, and so there is a tape of that somewhere.
And I'm, you know, I wish, wish I'd have asked Martin about it. I did ask him about about it years and years ago. And he said, I was a quarter inch tape that was running of the whole show. Not just a two inch magnetic stuff that we had in, you know, because it was all analog in those days. And he said, I've got that in my attic. And he said to me, I'll get it out one day just to embarrass you. So that was quite an experience.
Were you feeling like when you first joined made because you were the new guy in the band. Was there a lot of pressure to where you felt like if you made this mistake that you just, you're going to get fired instantly. Was it that high pressure for you? Well, yeah. Yes and no. You know, I mean, I think all musicians, whether you're playing professionally doing it for a living or you know, doing it because you do it because of love for your instrument.
I love for the guys you play with. And so we never, you know, to say you don't make the states and people say, I don't make the states. That's a lot of, no, to be s because we all do. And it's how you get out of them. Like the stones when Charlie, I'm going to be like, oh, that's okay. Just keep an eye on it is one. Even dream for you can make me. Well, it is one with those guys. You're man genies like all over the shop. You're like, where's the camera?
Yeah, you do feel that you're not so much letting yourself down, but you're letting the audience down and your bandmates where if you make the mistake, you've got to own up to it. And one of the stories I usually tell people is when you do make a mistake, do it again deliberately.
It's been the next time round of bar comes out and you know, just do it. They're saying, oh, I was just trying something out. You know, because you know what the drama always gets playing no matter whether it's useful or not. But no, in no early days, obviously I was under the pressure because I had to replace a very dear friend and an absolutely phenomenal drummer.
So I'm not only on my big shoes to feel. So I had a lot of pressure on me to actually make sure I was in there doing what I was supposed to do. And yeah, this makes me stay. Everybody was making mistakes. You know, but it's how you get away with them and how you not covering them up so much, but sometimes you slip a wrong note in and you can't get away from that.
You know, drunk timing is very important. So sometimes you can do a drum feel come out and are in the wrong spot. So you then have to catch the get back into the one. So yeah, it's so important to make sure you, you know, especially in those days and even more so today because I'm not supposed to make the mistakes that I was making 40 years ago. Story points, but it does happen.
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Well, it's a big time right now because a new Iron Maiden album is always such an event, shall we say. And there's not a lot of bands left where the album is like, oh my gosh, Iron Maiden, new album coming out and everyone wants to know all the details and song titles and song times and all this sort of thing. Are you happy so far with with with the buzz that Sanjutsu has got because everybody's talking about it worldwide.
Absolutely, absolutely. You know, I've been online and looked at comments on Facebook and people on our webpage, you know, Iron Maiden FC. And you know, even now there's a lot of winging going on. Oh, the server, the Kevin Shirley Copnix, you know, he can't mix a spoon and a bowl and all this stuff. And you know, what makes me amazed about today's society and the way with the social media, wait till you get the record and CD, play it at home and then make your mind up.
Everything has winging about it. You know, and here's the thing. We made records in the 80s and 90s was analog and we're still an analog type band. We don't, you know, you've got digitized shit now. It's all numbers, zeros and ones and stuff and cleanliness. People have become conditioned to hear in a certain frequency and records that are made like that. We're still mixing from the heart. We still play the song and even with the mistakes that we can see, little mistakes that are in there.
You know, so yeah, I'm a bit annoyed because you know, I find that people are toots being too super analytic about two songs. Wait till you get a record, get a vinyl, cut the CD and the machine and have a listen. But the vibe of the, you know, that even even the send you to Eddie who is freaking phenomenally. I mean, he's not as frightening as the book of Souls 8.
But yeah, the vibe that, you know, because we haven't had an album out in six years, obviously taking a year and a half away from all this polyking pandemic and shit, but the vibe is just great. And you know, the beautiful thing here is that all the songs on this album, Chris, it's like what don't you play live? I'll leave that out to your lovely listeners when they get copy and they listen to it. There's not one track that you couldn't play live that wouldn't be like a stadium out track.
Even the long story. I mean, three Steve Harris written solely, you know, and Steve doesn't mess around when it comes to the way he constructs his songs. And you're always going to have an intro. And you know, people are mounted about it. Oh, what's the moment? We are all saying, we're lying on the wall. What's the deal with the country guitar to begin our plays? Give me a break.
Well, I love that too. It's like the first Iron Maiden album in six years and people are already so the people that are like, I've heard the album and it's funny because it's a quick segue. The lovely people at Iron Maiden sent me the record, but it's almost like mission impossible. You listen to it once or twice and then it disappears.
I'm like, what? Like, I didn't know I would have listened to it completely locked in. But I put it on the background. Oh, that's a great song. Let me have another listen and then it disappears. So it's always the very kind of candlesteen made in way. But still like what a huge epic record and the people that see these, you know, long songs are already like complaining that it's too long. It's been six years. It can't be too long. I'm okay with it being long.
You know, and it is a thing. You know, people complain about that, you know, why is it always such a, you know how it was. You know, you got your band. By the way, how are the boys doing? Very good. Thank you. Very good. Have you played any gigs since so we played a couple gigs. We're actually getting ready to go out next week to be honest with you and everything's going good. We have a new song that just hit the top 15 on the charts. So we're actually guys are right behind us. So we're. Sorry.
I'll have to go and have a peek. But what would that. That's great. Yeah. I mean, I remember when we did our show in LA together. What a great night. That was what a great night. Yeah. My biggest memory from that night moving away. I know we'll go back to this. I remember on stage out in the car park the way they built that stadium. There was a massive big flood light. And from my perspective, I don't know because I was up on a riser.
This light was that you know, sometimes when something peripherally takes you, you know, you just can't not look at it. Right. This light. And I kept sending Charlie going till someone to shoot that. It's so annoying. And you know, you think what a stupid boy you're playing out in front of 60,000 people. You know, and you're worried about a light in the car park.
But yeah, getting back to recording your long song. It's so many times. It's happened where we've finished the track. And we go back and have a listen. And you go, you know, that's a great track. Yeah. Well, we keep that second verse. That is brilliant. You stop in the chorus. You know, or we'll take that from there.
So you're listening but compiling at the same time. You critiquing. And this is the way we worked on this album. Everyone was critiquing everybody else is playing and performance, which was unheard of before. You know, usually we just listen, go like that. Oh, I made a mistake there. You know, Evan, that taker note, you know, said to clean it up. If we're going to use that. Right. But at the end of it, you said, oh, that was, that's a bit sandy. It didn't sound like that.
It out there wouldn't be played. But that's brilliant. You know, and we all kind of think, yeah, that's, that's, that's the one. And then Kevin, a chime in, you know, long it is. Well, no, how long is it? 12 and half minutes. Yeah. You're close. No, you know, yeah, it must be because that track certainly don't feel 12 and half me. And you don't physically feel it as being a long track.
Even Empire were the clouds. Now that did feel long. Yeah. That was, that was an epic. That was an open. Now of course, it's 18 and half an album. You know, that's right. That's right. That's right.
But these tracks that Steve's written, you know, in the past, but on this album, particularly, didn't feel that long. And I think maybe having listened to it myself, I'm totally different object. I have a different objectivity when I'm listening to that album. I'm listening to everybody's playing and I'm enjoying it.
I don't ever feel that tracks too long or that section repeat parchment is my favorite track. That's not 12 minutes long. And there's a lot of different repetition in it. But on the repetition of different counter melodies that keep coming in and there's this one melody. Then there's another similar in a way to the red and the black.
In as much as there's always guitar, refrains and melodies that go into across the groove, the man Steve have laid down. You know, I like that track. It doesn't seem that long. So I think the best thing for going for your original question about the vibe that's going on with the album. Yes. There's a lot of great, great chatter going on. People don't like the Eddie. Other people do. There was one person that I know is what couple of people on the forum are going.
What have they got a black background like the book of souls ad? Can't they come up with something better than a black background? I mean, come on people. You know, you could you could put a kaleidoscope behind Eddie. You know, all these different colors like maybe you know, sergeant peppers. Something that can't have I.
And they still moan about it. What did they put a black background? I've found that about, you know, Iron Maiden fans, Star Wars fans, wrestling fans are like that. They're so involved and so interested that they tend to complain a lot as well. And especially nowadays because there's a forum for everybody just go online and write whatever they want to write. Yes.
That's changed. I don't want to paint a picture of me being moaning about. I love our fan. We have the best and everyone in the world who plays professionally says they're fans of the best. I know our fans are the best. I know that without a doubt and sit and stand. But I get kind of I don't get angry. I can't just go, go scratch.
I don't have one. And I like that because the freedom of choice, people have to have that, you know, and I love that. And I think our fans. Some of them I think do it just because they want to get a reaction from the rest of the forum. It's cool. And it starts out this like threads and stuff. And by the way, I do go on, but I don't actually answer anything or critique, you know, go in there and go, oh, you're you're off out of all the mate.
But it's great. So the general vibe Chris is just just just phenomenal. You know, and I've got before we carry on. I wanted to tip my hat off to all our gang back in England, Mary, Dave Shaq, say that I've got all the people. There have been behind and Sarah. She's our web goddess. She does all the internet social media stuff. She came up with the bell. She's our spiced idea.
And I just want to let it be known that I've from the bottom of my heart really appreciate everybody back at I made an HQ for what they've done and how they, you know, push this. As I spoke to Dave Shaq today, he said, I'm going after the third of September. I'm going on holiday. I think you're probably going to need it. So that's off. That's off to everybody. Last time I saw Dave Shaq, we played World War One tank paintball after download a few years ago that that's small with organized.
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But with HubSpot's AI powered marketing tools launching benchmark breaking campaigns is easier than ever. Get started at HubSpot.com slash marketers. Nico, how long has SanJutsu been in the can so to speak? Well, we recorded it in 2019. Wow. Yeah, it's been a while. So, you know, there again, you know, I've got to say it's been like a military operation protecting the music. Steve, I think was the only one who had actually on his hard drive had a copy of the album.
I don't think even Kevin had it. So once it was mixed and signed off Steve was the only one. It was like four knocks, you know, because Steve is very, very super protective as you can imagine. And I got a copy of it probably three months ago. And that was on a file that, you know, Steve said, I'll send you the artwork. He sent me the artwork first. I got all the different formats of the artworks. I had to think about, you know, what I'm going to do in the future drumwise.
So that was the primary reason for sending me that early. And then then I said, can I, he said, you've got a copy yet. I said, you know what happened? What do you mean I've got a copy of it yet? Of course I haven't. I said, I'll send it to you now. And so it was a Bruce had a copy that he did with Steve when Steve was back over in England or must be seven, eight months whenever it was because obviously the writing on the wall they had to, but Bruce, Bruce been able to copy digital copy.
And so I've lived with it for three months. No, we just shoot with three months. So it was all kept under wraps. So when I saw the artwork for Eddie, I'm like, oh, you know, once you said, did you just you don't see the album artwork right?
Yeah, yeah, absolutely. Of course you did. So, you know, the one where he's with the. Yeah, yeah, yeah, yeah, that's my favorite like the samurai ancient samurai Eddie and all the different warrior poses that that is inside the actual album is what you're talking about.
It's just had you know, I think Mark did the artwork as well for us again and it's just the whole thing to me and just I mean not just as the drummer of the band, I mean, I also, you know, very critical on what to look for for, you know, the artwork in terms of what it represents, you know, and that the whole, the whole things just standing.
And that's what presented to the band is that something that Steve just says here's what we're doing is yeah, I got this idea and discuss it with you guys. Yeah, yeah, really, you know, we talked about this over the years about dead delegating different things that's not all Steven is primary Steve Bruce and wrong.
So Steve's attitude was still a very democratic band, but he can't phone everybody up to make a decision. So of course, the decisions that we get to know about it and if we feel that perhaps it's not the right thing or we have a different attitude, you know, to add something to it. And he's talked about, but nine times out of 10, it's really left up to you know, the three amigos and I, we were totally 100% confident in Steve, first of all, of course, and the management team.
So, you know, like for instance, when we decided we were on the book of souls tour talking about the legacy, we knew that we would, how we were doing it and the spitfire on all the different realms. And it was like, what's on do you want to play everybody out of choice? Obviously, my came up moment, we got to do where he was there for doing the war.
Yeah, all right, that was written down and Davey, you know, had his choices. And so that's how that the music type side of it, we all tend to talk about how we're going to present the set list. But all that artwork and stuff is I'm obviously the drum side of it. And that's my domain. That's my realm. Nobody interferes with that. That's all down out. But I do run it by Steve, master Rod's Chegwin. He's like, oh, you're going to let me see what bloody stuff you're doing with the rule.
Now just respect my love on the drama and the drama set. That's my realm. No, no, by the way, I've run it by Steve. Any mom's and family changes the subject. But yeah, so really it's the three of them and the team. How about when you recorded the songs? I heard this time from just listening to some things that Adrian has said and Steve has said that did you guys basically write and record at the same time in the studio? Were guys coming in with ideas that you all work on or?
Yes, absolutely. This album is slightly different from the fact that we what we, especially with the longer songs like darkest hour, days of future past, quite short track. So we learn them and in their entirety. So but the longest songs we would we would learn the piece, the bit play it with sitting a circle. Everybody gets their cool sheets written out and solos would be like, well, Jan, do you want to do the first solo? This is a great thing about maiden. No, there's no ego.
Yeah. There's no ego whatsoever. So it's not like, well, I wrote this. I'll do the first solo. Nothing. I mean, if you listen to writing on the wall, Davey does the first solo, right? And, and Adrian wrote the track with Bruce, so you think, oh, I'm not a do the first. I said, no, no, no, no, no. I say the one. Right. So you know, there's there's none of that. So what happens is was sit down, learn the track, learn the R, sit there.
Maybe played it. You know, there's no bass drum on a park a floor. You know, you get the idea. And so once we've done that, we got the sketch right, then we'll start doing the color by numbers. So then we'll go, we've ready. Let's just put put the headphones on off we go. And then we learn once that piece of music has been written, if we feel comfortable, we go, right, Kevin, can we record and he's got, it's got it set up where he presses a certain button on the desk or whatever he did.
And then we're in record mode. So then we recalled it. So we did a lot of the songs in sections. Gotcha. On this album. And so that was that was slightly different for us, but it worked. It was a, it was a phenomenal, but we would be in the studio. This was a thing, you know, people, it must have cost you a fortune. Yes, it probably did, but you know, it was worth it because rather than go to a studio with your equipment there, a rehearsal room.
And then you write the whole things and you, you know, scratch it all together and you, you do your color by numbers, get it all right. We could do that in the studio. So I think we booked that studio for two and a half months, three months. And the other, the other good thing that we did with it was we got this from the matter of life and death album when Kevin would pre-mix while we were playing the song.
So I kind of get a pre-mix done. So a lot of the groundwork was done whereby any older days we, you know, Steve would, we would record. I'd get the drums right. Then Steve would go and change his bass strings and redo the bass. That didn't happen. That hasn't happened for a long time on these, these albums. We've actually recorded together. And nothing was really done. A lot of the rhythm guitar parts were all, were all recorded as we played them.
So low's when we got to certain, certain, so low sections, they would probably be read down unless they were that good that they didn't need to be done. So it was a great experience, his one. Because there's some intricate playing on there. There's the middle section for death of the Celts. Yeah, yeah. Which once again, a classic Iron Maiden history lesson, which is amazing.
But the middle part of that, I said to a friend of mine, this is the best kind of instrumental middle section since seven son of a seven son, the song. It just cooks and there is part after part after part is that something that you didn't pieces because that is a very intricate. You mentioned dream theater earlier. Yeah. This sounds like dream theater. This is very intricate here.
You know what my total recall of how those tracks were put together. That one it would probably was done in parts because it is so intricate. But I can't say verbatim off the top of our year. We did that bit there. That bit there. Most of the time that happens with with segues or going into a different time. The whole section of the learn. Right. So it might be then then cut and paste onto the previous section or whatever.
So yeah, that was probably done in bits. Most of the songs had bits done like that. Separately, as I said, the more writing on the wall, I think we did the solo section. If I'm not mistaken on that. The whole thing was pretty much the same as the solo section. That was probably an add. That's the hardest track for me to play on the album.
Really? Why is that? It's like triplet triplet triplet triplet triplet triplet triplet triplet triplet triplet on the bass drum. And it's about 130 beats a minute round that sort of that sort of tempo. So it's right on the edge. I remember when Steve came up with it, he said, oh, you're kind of real at triplet feel like what we do. You know, the gallop.
Oh, I remember when I first tried it, I was having a bit of difficulty with it. And I said, you're going to have to let me live with this for a bit. Let me, let me practice that, you know, getting that nice and clean. And so we did that guy made me some time on my own with it. But yeah, I think death of the cults was down in bits. You know, it's interesting because you mentioned Iron Maiden Gallop. And that is, you know, the centerpiece of the band, a trademark of the band.
And that basically started with you. This is your drum pattern that you do quite often. So you created the Maiden Gallop. Who's done it again? Oh, he's got anything else in his door. Yeah, I've got dirty. I'm doing a draw. So, you know, just saying, you know, yeah, but you know, this is the thing. You know, you play.
It's like what Charlie, when we talked about how Charlie, what's the, what's in between the notes? You play what's needed for the song. And if it happens to be something that's got a feel similar to something else, then be that as it may. I'm not going to change something just because it's like something I played before.
You know, the Eagles there, you know, whatever. You know, but that's that locked my rhythm is to drive the rhythm section. And that's me and Steve primarily basing drums back bone of the band without a doubt. Of course, whatever Steve's claim dictates how I will interpret the rhythm. And that's what that track needed much to my shegwinn. I kind of as I said to Adrian, it's all your fault. He said, no, he said, you've made you've made that bed. Now you've got to land it. That's on you.
Okay, I got you. I get where you coming from. But you know, it's what the song needs. It's it's not because, oh, I that's the maiden gallop on a stick it where I can. No, that's what it required. It was perfect for that. I got to just play the kick on, you know, one and three, you know, that's indeed that's the need. Yeah, that's the best thing. I've got to say that off back. Yes, that's been fun. The disco version.
As we start to wind down just to talk about a couple more of the songs, is there are some songs on here. Bruce has alluded to it that are different from the from typical main songs, which is great. You guys have always changed things up, but you're talking about writing on the wall is one. And then the title tracks on Jetsu, which is completely different from what I was expecting.
But it's very much a drum based heavy rhythm type song. Yeah, is that the way it was presented to you? Or did you just say, hey, let me try something more of a tribal beat here.
Yeah, it was it was presented to be like, um, Kodo drums, that kind of big, you know, like imagine there's these, you know, the Japanese Kodo players, you know, pro being a. And it was, it was like, bad, bad, bad, you know, and and and Steve said, you know, I can hear like big, you know, like a Tom, more Tom's rather than a straight groove.
I mean, in the chorus of it, you know, it goes into the snare and it still keeps the basic jungle theme. Or if you like, it's not so much the Kodo because I'm using too many different sounds across the kit. So it was something that we worked on together. We all kind of put, you know, Bruce was like, oh, you know, that that sounds really good.
More or not going to the two high Tom's going going the more around the lower lower part of the kit. So yeah, I'd say that 60% of that was was my, my input into how that part was was created. And that's to track that's for that. I've got to say he for an album opener that is I'm spec that you to track. That really is, you know, it gets a different from what you would normally expect. And then that's why it works.
And the other thing that I've the one, I mean, it's not not a mate applying things so much is that, that Helen earth, the last track, it fades out. And I know it's funny because we haven't done an actual track where you fade out the music. And then that's it. You know, there may be a fade musically. And then the intro would be the outro. Yeah.
But we actually, you know, it's one of those on the fade right everybody. Obviously, obviously with automation now you just press a button and everything goes down as it. Not like the old days where you all had to bring everything down together. So you all got ready. But you know, that's too quick. You know, you got me to the snare drum too.
You know, just a point I said to Bruce, you realize that there are albums with a fade out. I said, I don't think I can't remember the last track that we have. Especially on finishing album, the finishing track. Just just as a matter of interest boys and girls. That's a good point. So you mentioned a couple more things about your drum set. And what do you have planned because every I niccomic brain drum set every tour is something spectacular as well.
Because we can't see you. We can never see you always see as the drums. So it's got to be something. Here's the thing. I really lost. Last two, the book of sales tour and the legacy. I actually took my angle of my Tom Tom's flattened them out a bit. And I took my drum store out the bat an inch and a quarter. Right now that be honest with you Chris. I don't know. It's supposed it's like when you know comparison for you and your wrestling days would be putting a pair of pants on with a big crutch.
What do you code piece in it? You know, like. I don't know. I'm just trying to make a comparison of how it would feel. You know, but I feel first of all that I was on. Like on a mountain just going up an inch and a quarter and flattened the drum. So that made me made me my posture to play the Tom Tom's at set up and get my back straight over. I mean, it's a little too late. Was it? I was too little too late.
Yeah, little too soon to whatever that is. But you know, at least I need because my lower back. It was pretty pretty messed up. So by taking my drum set up my drum Tom's flatter and going up high, you can actually see me. Whereas before you just see the top of the head and me for it and then we got me to now I'm actually up level. So girls just so you know, make sure you can have a look at me. But no, for the so obviously the legacy tour we're going back out with that next year.
There will be obviously some plan. I take it will be planning on doing something later for Sanju. So I do have some incredible ideas for how I will present my drum set if and when we do decide to go out. But you know, because everything such question mark, you know, because of what's going on in the world. Legacy tours scheduled garden June. I am looking at a new kit for that. Put section of the legacy tour. But yeah, I mean, this is the one of the great things that Steve has always said to me.
He said, look, Nick, here's the artist's rendition of the that what we're going to go out on the stage. It once that's been decided, that's how our stage that will look. I then take my ideas and put them onto a drum set. And I get carte blanche with that. I'll always run it. As I said earlier, I'll run it by Steve and say, look, this is. Do you like the gold? Do you like the gold hardware, the black hardware, or the regular silver? And he goes, I like them all. You choose.
So I do that because he's the this is Steve's band. This is his creation. This is his dream. Five other guys are living it with him. And I want I will I mean, not no disrespect to Rod. I love Rod like a brother. And you know, but you know, certain things that I've done on my drums him and Bruce have laughed at. And yet my boss is going well done on that drums. So yes, I've got some good ideas. But yeah, it's great because that's my tapestry.
Yeah, tapestry. Yeah. And when's the last time you actually saw the all six of the guys have you been together at all in the last few years? Absolutely. No, I haven't seen any of them. I mean, we spoken on the phone. Yeah. But you know, the last time was our last show, which was I think August the 2019 somewhere around there. August or September on the last part of the legacy tour. And you know, then we are only arguing as in the warehouse ready to go out in 2020.
Do you miss playing live? Absolutely. Yeah. I got a couple of couple of got. Okay. So the restaurant we do our party every year to rock and roll ribs on it. And then we're going to go to the party on the full hopefully if everything's okay in the state of Florida, because at the moment we're we're wrapped up as number one for Kobe desks and people get sick. Right. If we don't have to shut down. We're having a party and I've got a I've got a tribute band called titanium taught.
Boys and girls don't try and nick the name because it's already been registered. Okay. And it's not a main tribute band. I'm having a baby. Instead I've got Tatiana. Who's a you know, because unfortunately, right. My idea from years ago Chris, I'm leading for because I need to let you not only you. I come up with this Eddie needs a girlfriend and we're called a red weiner. And guess what?
The iron maidens have used it. Which is really pissed me off. Anyway, that's not not really it's only we're doing an offer. Right. I've got I've got a gig I'm doing. I've got a rehearsal tonight. Funny. Now first time I'd have actually been in a room playing with other people. Since two years. So wow. We're doing a gig in a club, a club down here called Piper's Club on the 15th of October.
And I think it's 15th and I'm going to use do my bad company tribute band called dodgy enterprise. So we're we've been we've been. They're both good. I'm still laughing. Retaining. They took me a couple of minutes to get that. I can't take credit for that. I have to tip me out off to the wife. My wife with back because she said, I know. Why don't you call your band titanium towel and I'll wait. Oh, that's pretty good. So yeah, we're going to cover their house.
So you know, I'm going to do a couple bunch of songs over that, you know, watching that. No, I'm played. I haven't seen the band spoke to Bruce last week because he got COVID. It's a good thing. Advocate advocate right there because Bruce had the as vaccinations. And he got sick and he said, I just felt like I'd ever heavy flu, which if you have been vaccinated is I believe is how you feel when he gets. Right. If you haven't had the injections, it could be a lot worse. Well, it is a lot worse.
It's not could be. It is. It's going to be, you know, so I honestly boys and girls, you look out there. I would thoroughly, totally recommend. Don't matter how old you are. Don't matter how young you are. Get vaccinated because then we can open up the world and go out and do what we do. Play some rock and roll. Last question for you, Nick. What song or songs are you looking forward to playing live from St. Jutsu? And what's your favorite song you like playing live currently?
Oh, that's easy question. The lot. I honestly think, you know, maybe we should leave out stratigo. Right. Well, that's not going to work. That's not going to happen. That's the single. Yeah. All of the tracks, I think, but you know, as I said earlier, Chris, my favorite tracks parchment. Just be it's just got such a great feel to it. And I love the counter guitar melody. That's quick. That build up to the very towards the very end section where we go into the double time.
And we made we go back to, you know, we made nice that. But all of those songs, I think, would be stunning live. I really do hope that if we do go out, which it seems strange not to, but it will, you know, we haven't actually confirmed anything. To do that yet, but would be nice to do the whole album. I would love to play that record the whole, whether it would be played in the same, you know, the running of the tracks on the album. I don't know. I think we did that with Matt on life and death.
You did. Played it as it was on the album. So probably would be that we'll see as to my favorite track ever to play live is how I'd be on name. That is just the track that, I mean, to be honest with you, all of Maiden's tracks to play live are just great. They all have their own certain fingerprint and feel. But how does when we get to play that? I mean, just the whole intro, you know, this is bells.
Although I don't, I used to play the tubular bells on the, Michael Kenny does it now because he always can get the right sound every night. It saves me, you know, turning around trying to play the bell of a symbol plus the tubular, which is what I used to do. And it saves the drum, my drum tech and having Roy come out and put the cloth around, you know, used to have three holes in the drum riser. You know, to accommodate the halfway of the tubular bell.
And the thing is that it never ceases to get my psyche going when we go into the solo section. It lifts the whole song lifts up. I mean, we've got it to a tempo now where it isn't too fast. It's still faster than the album's very bloody. Yeah, you know, sometimes that get carried away with play it too quick called Bruce couldn't sing it. You come up, you come off stage, you go, oh, finally, you don't got to get full faith now. I can't get the words out. What's the matter with you?
And so, but you know, it's got this, this whole, there's this three guitar sets, you know, and it's just, you know, and then when it comes out bad, I don't know, into the chorus line at the end, it's just, and then the very end of it. It's something that possessed me that track. And the old days, David would end up, you know, and then they would go into the chorus line. And then they would go into the chorus line.
And I'd stand up in the old days, I'd stand up on the floor, Tom, Tom, literally it would take my weight. My job was probably 30 pounds. And I'd be giving it all this today. We would have sticks and, you know, I'm pointing at him and doing the whammy bar with the drumsticks. But I can't stand on the floor, Tom, I can stand on the stool and put on it because the, you know, the drums aren't as strong as they used to be, the way they made.
Like a shells thinner, you know, you could crack them. Right. And I was just telling this story. It was one time we were in New Zealand. And we added 90, 93, I think it was a field of art tour. And so nor was supposed to send me a signature drum set that the line signature, they're like 12 applied, but being the shells are often three calls on each stick. Well, the bloke sent me a false 3000 drum set. And it was a 22 inch base drum 16 inch floor 10 12 13 Tom Tom, right.
And my then my drum set water, come on. I found me out. You're you ain't going to believe this. Hey man, they sent you the wrong drum set. I went, what makes them me? Hey, go off. Anyway, so we played it. We got to the end of the set. Right. We did hallowed in the set. I stood up on the floor, like I used to with my normal drum set.
Right. Davis go, I'm giving it a big and I've gone to floor Tom Tom, the leg broke. It twisted and bent the leg. The Tom's gone that way. I've fallen back on the drum stool. Right. Wack me head on the on something one of the symbol stands. Right. I've got David still go. I haven't finished the song. I'll pick the floor Tom up and frown it up in a light interest. Right.
He's been pumping the light and he's no word of a light. He's been pouring a light interest. Bruce in the meantime has come back towards the drum set. Can't call me. I'm gonna finish it. I've kicked the drum set over the snare drums over here now because it when I fell it at four minutes of the high hat. So there that the floor Tom decided to fall out the light interest just barely missing Bruce who then flew the Tom back at me.
Here is trash. It's the culture and we still got like number of the beast or I'm in the way. So I managed to get the high hat and give it a. That on a snare drum this light. Oh my love. So hence I don't stand on the floor Tom anymore. Oh, Nico it's always a pleasure to talk to you man. Hopefully we'll get a chance to see you down the road somewhere. I got to come to rock and roll ribs one of these days. It's just down the road from where I live.
Yeah, sure. You're more than welcome. Just let me know when you want to come up and I'll meet you and give me a 10% discount. I'll see you in the morning now. Okay, the 15th. Great job on the new record Nick. Thank you, man. Thank you so much. Be safe. God bless you. Take care. See you soon.