LANGUAGE/ ЕЗИК

album06_sit_a_small lineup1986

Released at probably the highest point of Maiden's popularity, Somewhere In Time has a quite different feel than the previous albums. It represents a change of direction for the band, which was beginning to explore different sounds and styles. Perhaps the most immediately noticeable difference is the addition of guitar and bass synths. The synth sound is not overpowering, compared to Judas Priest's 'Turbo' for instance, and in most cases it is more of a background filler.Many fans have mixed feelings about the addition of the synths. The effect doesn't seem to hurt the songs, but it doesn't seem to make them better than they would have been without it. Faith No More comes to mind as a band that based its entire sound on the unique combination of synthesizer and metal guitar, with brilliant results. But Maiden had already carved a different niche, so why fix something that isn't broken? Still, one has to respect an artist's right to experiment and innovate. Although it is not a concept album, Somewhere In Time has a bit of a futuristic theme, which begins with the album cover. It is by far the most complex and detailed of Maiden's album covers, reminiscent of the sci-fi masterpiece Blade Runner, and contains almost 40 references to other Maiden songs and trivia.

I've read people on the net who consider this to be Maiden's best album, but to me it isn't quite as good as the previous three. Still, this is a very good album, containing some classic material.

Full-length, EMI Records
September 26th, 1986

Singles:

Tracklist:
1. Caught Somewhere in Time 07:26
2. Wasted Years 05:07
3. Sea of Madness 05:42
4. Heaven Can Wait 07:22
5. The Loneliness of the Long Distance Runner 06:31
6. Stranger in a Strange Land 05:45
7. Deja-Vu 04:56
8. Alexander the Great 08:35

Total playing time 51:24
 
Lineup

Bruce Dickinson: Vocals
Steve Harris: Bass
Dave Murray: Lead & Rhythm Guitar
Adrian Smith: Lead & Rhythm Guitar
Nicko McBrain: Drums

The 1995 reissue comes with a bonus cd with the following track list:

01 - Reach Out
02 - Juanita
03 - Sherriff Of Huddersfield
04 - That Girl

The 1998 remaster version also contains a special enhanced CD-ROM
multimediasection with videos, exclusive photo galleries, biographies,
internet linksplus a deluxe 24 page colour booklet with full lyrics,
Eddie art and photos.

 
 
Produced, engineered and mixed by:
Martin "Masa" Birch

Bass, bass synth and drum tracks recorded at:
Compass Point Studios, Nassau, Bahamas

Assistant engineer:
Sean Burrows

Guitars, vocals and guitar synth recorded at:
Wisseloord Studios, Hilversum, Holland

Assistant engineers:
Albert Boekholt, Ronald Prent

Tape op and tea:
Marvin Birch

Mixed at:
Electric Ladyland Studios, New York

Second engineer:
Bruce Buchhalter

Mastered by:
George Marino at Sterling Sound, New York

Remastered by:
Simon Hayworth at Chop 'Em Out (1998 re-release)

All titles published by:
Zomba Music Publishers Ltd

Sleeve concept and design by:
Derek Riggs and Rod Smallwood

Sleeve illustrations by:
Derek "Master Of The Universe" Riggs

Photos by:
Aaron Rapaport (original 1986 release)
Aaron Rapaport, Ross Halfin (1998 re-release)

Sleeve preparation:
The Artful Dodgers

Iron Maiden is managed by:
Rod "Rufus the Red" Smallwood for Sanctuary Music (overseas) Ltd. and Andy "Razzle Dazzle" Taylor For Sanctuary Music Ltd.

Iron Maiden thank the following: Rod and Andy; Derek Riggs; Somewhere in the Killer Krew Tony Wigens, Dicky Bell, Dave Lights, Doug Hall, Warren Poppe, Rangi, Bill Barclay, Michael Kenney, Steve Gadd, Rob Price; John Whitehead; Eva, Karen and Platinum Travel; Ronan, Roger, Derek, Dizzy and Meteorlites; Charlie Kail and his Brilliant Constructions; Sanctuary Staff Terri, Val, Karen, Cathi, Tom, Bill; John Jackson for his Fair Warnings; Bill Elson and all at ICM; Keith Wilfort FC; Howard Jones; Bill Leibowitz; Pat McKenna; Masa and the Burrners; Kerrang!; Clive, Ralph, Jan and Rachelle at Zomba; Ira and Homeboy; Barry, Keith, Clutch and the Bravado Boys; The Tehe's Bar (Amsterdam); Mob for vocal support on 'Heaven Can Wait'; All the mums, dads, wifes, kids, girlfriends, and friends for putting up with us; Marvin; Pat Cash and Ian Barclay; Chris Ambler; the travelling fans who are always with us Yeah! You!; Steve Lazarus; Melbourne F.C. You'll Never Play Alone; Halfin and Bodnar; Andy Strange; Justin Pitman; Maitre Van Severen; London Thames Fencing Club; OFC Bonn; The Jersey bears; Tommy and Debbie Beal; Geoff Hammer; Leo Matta; Bruce and Terry; Rufus Lewis; Donny Robin and the Waterloo; Steve Kemp; Colin, Freddie and the Poop Deck, Nassau; Steve and Caroline Yorke; Chris Godfrey; Channel Islands Aero Club and all at Minstrel Bay; Vic Vella; Ian Branston, Bill Bright; John Williams; Audrey Mahoney, Andy Currant, Dave O'Brien, Mark Malevani; The lads from HMS Invincible; L'Amour (New York); Jimmy Shulman; Trevor Searle; Alex Alexandrou; C.C. Star; Cafe Toye; Safy, Jeff Rolat; Big Sal; Jim, Ken and Mike at Marshall; Peter Cornish; Pauline at Rotosound Strings; Dave Storey at Kahler Tremelo Systems; Chris at Dean Markley (USA); Larry and Steve at Di Marzio; Norms Music Brooklyn; Steve Angela; Guitars MD; Nady Wireless Systems; RSD Amplification; Dean Guitars, Chicago; Stuart and Billy H at Mannys New York; Roger and Melvin at Giffin Guitars London; Joe Lado Guitars Toronto; Gallien Krueger USA; Rick Gould; Jackson Charvel Guitars; Pawnshops of America; Seymour Duncan Pick-ups; Oliver, Horst, Elizabeth Link and all at Sonor Drums; Bobby Leiser, Mr. R. Paiste and all at Paiste Cymbals; Eddie at Footes and W. Shaw for me sticks; William Ludwig Jun. for the Skins; Studiomaster; Seat Belts; Alec at Alectron; Hotel L'Emeraude, Longuebille, Jersey; Wisseloord Studios, Hilversum, Holland; Sonesta Hotel, Amsterdam, Holland; Compass Point Studios, Nassau, Bahamas... and last, but by no means least... The Entire Population Of Hackney.

'Raised on infinity... somewhere down the pub'

Iron Maiden F.C.:

For North America:

P.O. Box 5080, San Francisco, CA 94101 (original 1986 release)

Japan:

Shinjuku-ku, Shinjuku, Yubinyoku-Dome, Tokyo 160 (original 1986 release)

For rest of World:

P.O. Box IAP, London, W1A 1AP(original 1986 release)

P.O. Box 3803, Harlow, Essex, CM17 0NZ, England

Telephone/Fax: +44 (0)1279 442666

Email: This email address is being protected from spambots. You need JavaScript enabled to view it.

(1998 re-release)

 album06_sit_a_small

Choose a title to see the lyrics

  1. Caught Somewhere in Time
  2. Wasted Years
  3. Sea of Madness
  4. Heaven Can Wait
  5. The Loneliness of the Long Distance Runner
  6. Stranger in a Strange Land
  7. Deja-Vu
  8. Alexander the Great

separator sit

1. Caught Somewhere In Time

[(Harris) 7:22]

If you had the time to lose
An open mind and time to choose
Would you care to take a look
Or can you read me like a book

Time is always on my side
Time is always on my side

Can I tempt you come with me
Be Devil may care fulfill your dream
If I said I'd take you there
Would you go would you be scared

Time is always on my side
Time is always on my side

Don't be afraid you're safe with me
Safe as any soul can be... honestly
Just let yourself go

[Chorus:]
Caught somewhere in time
Caught somewhere in time
Caught somewhere in time... oh oh
Caught somewhere in time
Caught somewhere in time
Caught somewhere in time... oh oh

Like a wolf in sheep's clothing
You try to hide your deepest sins
Of all the things that you've done wrong
And I know where you belong

Time is always on my side
Time is always on my side

Make you an offer you can't refuse
You've only got your soul to lose...
Eternally... let yourself go!

[Chorus:]
Caught somewhere in time
Caught somewhere in time
Caught somewhere in time... oh oh
Caught somewhere in time
Caught somewhere in time
Caught now in two minds!

separator sit

2. Wasted Years

[(Smith) 5:06]

From the coast of gold, across the seven seas
I'm travellin' on, far and wide
But now it seems, I'm just a stranger to myself
And all the things I sometimes do, it isn't me but
someone else

I close my eyes, and think of home
Another city goes by in the night
Ain't it funny how it is, you never miss it 'til it's
gone away
And my heart is lying there and will be 'til my
dying day

[Chorus:]
So understand
Don't waste your time always searching for
those wasted years
Face up... make your stand
And realise you're living in the golden years

Too much time on my hands, I got you on my mind
Can't ease this pain, so easily
When you can't find the words to say it's hard to
make it through another day
And it makes me wanna cry and throw my
hands up to the sky

[Chorus:]

separator sit

3. Sea Of Madness

[(Smith) 5:42]

Out in the street somebody's crying
Out in the night the fires burn
Maybe tonight somebody's crying
Reached the point of no return
Oh - my eyes they see but I can't believe
Oh - my heart is heavy as I turn my back and leave

[Chorus:]
Like the eagle and the dove
Fly so high on wings above
When all you see can only bring you sadness
Like a river we will flow
On towards the sea we go
When all you do can only bring you sadness
Out on the sea of madness

Somewhere I hear a voice that's calling
Out in the dark there burns a dream
You got to hope when you are falling
To find the world that you have seen
Oh - my eyes they see but I can't believe
Oh - my heart is heavy as I turn my back and leave

[Chorus:]

It's madness
The sun don't shine
On the sea of madness
There ain't no wind to fill your sails
Madness when all you see can only bring you sadness
On towards the sea we go...

Out in the street somebody's crying
Out in the night the fires burn
Maybe tonight somebody's crying
Reached the point of no return
Oh - my eyes they see but I can't believe
Oh - my heart is heavy as I turn my back and leave

[Chorus:]

separator sit

4. Heaven Can Wait

[(Harris) 7:24]

Can't understand what is happening to me
This isn't real this is only a dream
But I never have felt, no I never have felt this
way before
I'm looking down on my body below
I lie asleep in the midst of a dream
Is it now could it be the Angel of Death has come for me
I can't believe that really my time has come
I don't feel ready there's so much left undone
And it's my soul and I'm not gonna let it get away

[Chorus:]
Heaven can wait / Heaven can wait
Heaven can wait / Heaven can wait 'til another day

I have a lust for the Earth below
And Hell itself is my only foe
'Cause I've no fear of dying
I'll go when I'm good and ready
I snatch a glimpse of the lights eternal rays
I see a tunnel I stand amazed
At all of the people standing there in front of me
Into the paths of rightness I'll be led
Is this the place where the living join the dead
I wish I knew this was only just a nightmare

[Chorus:]

Take my hand I'll lead you to the promised land
Take my hand I'll give you immortality
Eternal youth I'll take you to the other side
To see the truth the path for you is decided

My body tingles I feel so strange
I feel so tired I feel so drained
And I'm wondering if I'll ever be the same again
Is this in limbo or Heaven or Hell
Maybe I'm going down there as well
I can't accept my soul will drift forever
I feel myself floating back down to Earth
So could this be the hour of my rebirth
Or have I died or will I wake from dreaming?

[Chorus:]

separator sit

5. The Loneliness Of The Long Distance Runner

[(Harris) 6:31]

The tough of the track
With the wind
And the rain that's beating down on
Your back
Your heart's beating loud
And goes on getting louder
And goes on even more 'til the
Sound is ringing in your head
With every step you tread
And every breath you take
Determination
Makes you run never stop
Got to win got to run 'til you drop
Keep the pace hold the race
Your mind is getting clearer
You're over half way there
But the miles they never seem to end
As if you're in a dream
Not getting anywhere
It seems so futile

[Chorus]
Run on and on
Run on and on
The loneliness of the long distance runner

I've got to keep running the course
I've got to keep running and win at
All costs
I've got to keep going be strong
Must be so determined and push myself on

Run over stiles across fields
Turn to look at who's on your heels
Way ahead of the field
The line is getting nearer but do
You want the glory that goes
You reach the final stretch
Ideals are just a trace
You feel like throwing the race
It's all so futile

[Chorus:]

separator sit

6. Stranger In A Strange Land

[(Smith) 5:43]

Was many years ago that I left home and came this way
I was a young man, full of hope and dreams
But now it seems to me that all is lost and
nothing gained
Sometimes things ain't what they seem
No brave new world, no brave new world
No brave new world, no brave new world

Night and day I scan horizon, sea and sky
My spirit wanders endlessly
Until the day will dawn and friends from home
discover why
Hear me calling, rescue me
Set me free, set me free
Lost in this place, and leave no trace

[Chorus:]
Stranger in a strange land
Land of ice and snow
Trapped inside this prison
Lost and far from home

One hundred years have gone and men again
they came that way
To find the answer to the mystery
They found his body lying where it fell all that day
Preserved in time for all to see
No brave new world, no brave new world
Lost in this place, and leave no trace

What became of the man that started
All are gone and their souls departed
Left me here in this place
So all alone

[Chorus:]

What became of the man that started
All are gone and their souls departed
Left me here in this place
So all alone

[Chorus:]

separator sit

7. Deja-Vu

[(Murray-Harris) 4:55]

When you see familiar faces
But you don't remember where they're from
Could you be wrong?

When you've been particular places
That you know you've never seen before
Can you be sure?

'Cause you know this has happened before
And you know that this moment in time is for real
And you know when you feel deja-vu

[Chorus:]
Feel like I've been here before
Feel like I've been here before
Feel like I've been here before
Feel like I've been here before

Ever had a conversation
That you realise you've had before
Isn't it strange

Have you ever talked to someone
And you feel you know what's coming next
It feels pre-arranged

'Cause you know that you've heard it before
And you feel that this moment in time is surreal
'Cause you know when you feel deja-vu

[Chorus:] 

separator sit

8. Alexander The Great

[(Harris) 8:35]

"My son ask for thyself another
Kingdom, for that which I leave
is too small for thee"
(King Philip of Macedonia - 339 B.C.)

Near to the east
In a part of ancient Greece
In an ancient land called Macedonia
Was born a son
To Philip of Macedon
The legend his name was Alexander

At the age of nineteen
He became the Macedon King
And he swore to free all of Asia Minor
By the Aegian Sea
In 334 B.C.
He utterly beat the armies of Persia

[Chorus:]
Alexander the Great
His name struck fear into hearts of men
Alexander the Great
Became a legend 'mongst mortal men

King Darius the third
Defeated fled Persia
The Scythians fell by the river Jaxartes
Then Egypt fell to the Macedon King as well
And he founded the city called Alexandria

By the Tigris river
He met King Darius again
And crushed him again in the battle of Arbela
Entering Babylon
And Susa, treasures he found
Took Persepolis the capital of Persia

[Chorus:]
Alexander the Great
His name struck fear into hearts of men
Alexander the Great
Became a God amongst mortal men

A Phrygian King had bound a chariot yoke
And Alexander cut the 'Gordian knot'
And legend said that who untied the knot
He would become the master of Asia

Hellenism he spread far and wide
The Macedonian learned mind
Their culture was a western way of life
He paved the way for Christianity

Marching on, marching on
The battle weary marching side by side
Alexander's army line by line
They wouldn't follow him to India
Tired of the combat, pain and the glory

Alexander the Great
His name struck fear into hearts of men
Alexander the Great
He died of fever in Babylon

separator sit

At a crossroads in 1986, Maiden had come off a string of three huge albums as well as a career-punctuating live spread that has now entered the history books as one of the greatest live albums of all time. Live After Death was in fact one of the first records from the '80s allowed to join what was a club of records exclusively of the previous decade, namely albums from the likes of Priest, Kiss, UFO, Ted Nugent, Blue Oyster Cult, Thin Lizzy and, er,... Peter Frampton. However unanimous they are on Live After Death's spit and fire, fans debate the merits of the band's next proposal, Somewhere In Time, many calling the album belabored. Much the same can be said for Derek's cover art — the Somewhere In Time sleeve was positively exhausting to look at, and then, flipped o'er to the back... well, you'd be hard pressed not to go blind studying the thing. "The preliminary meetings for this album, for designing this, were done in Amsterdam," recalls Derek. "It was specifically to talk about this cover, and we ended up in a hotel talking about it for three days. And I just thought I would get out for a walk and look at the canal things. Because it's quite small, and the canals sort of wind around in a decorative way. So I was wandering around, wandering up the street, daydreaming, and suddenly this big pair of lips came up at my side. And I jumped! And I turned around, and saw what it was — there was a black girl in her underwear, with bright red lipstick on, and she had a red light above her window. And what happened was, she jumped up, and because I was walking past the window, all I saw were these big red lips coming at me like this (laughs). And suddenly I realized I was in the red light district in Amsterdam. So that's where the woman comes from on the front (look to Eddie's left ankle) — a remnant from the red light district in Amsterdam."

sit1

"But that was the first acrylic one, because I got sick of watercolors. They just weren't performing. But you can't airbrush acrylics very easily. They've all got shortcomings. Watercolor, you can't paint over anything. If you're using watercolor, you can't paint on what's underneath, so you have to airbrush. Acrylics don't really go through an airbrush very well. So you have to paint, which is okay. But then you can paint over things if you mess them up, so that's OK. Oil is probably the best thing, but they don't dry very quickly so it's not any use. These have to be done in three or four days or a week."
Continues Derek, getting into the details, "Somewhere In Time was a
complicated picture, but I never felt that the actual picture... it was so complicated, it all gets lost; it falls down a bit there. All the jokes are my idea, like the reflection in the window that says 'This is a very boring painting.' Occasionally someone would come up with an idea for an actual picture, but the brief for this one was, we want a city more like the Blade Runner city rather than something like Star Wars. They wanted a science fiction city. Sol worked with that brief and created a picture. I had put in a bunch of well-known starships like the U.S.S. Enterprise, but they didn't want to get sued so I had to take them out. But I did manage to squeeze in Batman — this is three years before the movie came out. He's on the back, standing on a ledge, which is just above the Powerslave cartouche."

Derek continues his tour of Somewhere In Time's frenzied — and kind of chicken-scratched — profusion of detail... "Webster's — that's for Charlie Webster; I'd forgotten all about him. He was the art director at EMI, when we were doing this cover. This Cyrillic above the words Pizza Hot, I think it says sour milk in Russian, if I recall correctly (note: this might also refer to yogurt, or something short and to the point to designate a store that sold milk and other dairy products, in Russia). The Chinese there... I copied it from a Chinese or Japanese magazine, and it was an advert for zit cream. I copied it, I wrote it down, and a friend of mine, who is Chinese says, Why did you write that in there?' I said, 'I got it out of a magazine.' And he says, 'Do you know what it says?' And I said no. And he translated it for me, and said — because a lot of Chinese is based on context — As far as I can tell, that says: Danger, yellow bikini.' (laughs)."
And in another instance of fate, guess what Eddie happens to be wearing.
"And Eddie's got a nuclear-powered willie," continues Derek, pointing out the biohazard sign on Ed's crotch-plate. And the cramped hand rising from the lower right? "That's a joke! It goes way back to Creature From The Black Lagoon. Now, the Creature From The Black Lagoon, the original black-and-white thing, was done in 3-D. He comes out from the lagoon and he kind of rips up somebody's tent and kills them. That shot, from the Black Lagoon, all these victims, they've all got one hand like that. They're lying on the ground and they've all got one hand sticking up like this. And it's a joke amongst horror fans — always that hand. So that's what that is. And Eddie's actually in the pose that toy soldiers take up. That pose was always used by soldiers or cowboys. I never really knew why they were standing like that, because they weren't actually doing anything. Why is he pointing his gun at the ceiling, dad?' 'I don't know, son.'"
And that space age toaster trailing Eddie? "That's his spaceship; it's what he rides around in. It looks just a bit peculiar — I just wanted a little buggy."

Adds Derek on the busv text seeminglv everywhere, "I just wanted lots of logos. If vou go around town, it's all company logos. So I had to invent company logos, in order to make it look like a town. Bradbury Towers, that's a statement, not the name of the building — Ray Bradbury Towers. See, in Blade Runner, the building that he's in, I think it's called Bradbury Villa or something like that. It's referring to that; it's a science fiction joke."
The name Acacia refers of course to 22, Acacia Avenue,
and below that, "That's the very first Iron Maiden poster there. And right in the middle on the front, that's the lamp post from the very first cover, complete with sign and garbage can. It all feeds back on itself. Icarus is falling off the top of that building on the back. There's some Jewish — it's God written in the shape of a man, deep mystical stuff; Jews pick up on it. That would be Caballic stuff."
And Herbert Ails?
"There's a song on Piece Of Mind called To Tame A Land, and it's about Dune. They phoned up Frank Herbert and asked if they could call the song Dune, and Frank Herbert said, 'No, you can't call it Dune. And you can't do anything based on my book, because I think rock 'n' roll is decadent and corrupt.' So they put Herbert Ails, as in, Herbert's not very well (laughs)."
And they've got the football scores there, and Live After Death and Blade
Runner showing at the cinema; Phantom Opera House, as in Phantom Of The Opera. Ruskin Arms, that's the pub they used to go to, and Rainbow, that's The Rainbow pub in LA. L'Amours is in New York. Hammerjacks is a nightclub in Baltimore they used to go to. There's the TARDIS from Doctor Who. Doctor Who flies around in a time machine called a TARDIS (time and relative dimensions in space). The time machine had a chameleon circuit to make it blend in with the background, but he landed in 1960s London, and it disguised itself as a police phone box, which were around in 1961 or something. But the chameleon circuit broke and it got stuck as a phone box. So he's flying around in a time machine that looks like a 1961 phone box."
"There's Fireball XL5, which most people don't remember — this had all the spaceships in it, didn't it? Jerry Anderson had Thunderbirds and Stingray, and one his early ones was called Fireball XL5 and it was a rocket ship. The one before that was called Supercar. You have to get one of the DVDs; they were brilliant, better than Star Wars (laughs). And that big thing there, that's a pyramid, and we've got death floating around, and there's the Tyrell Corporation in the background. That's the name of the corporation in Blade Runner. They're the company that makes the clones that Harrison Ford is trying to shoot. The Mekong Lives In LA. is written just to the right of that. The Mekong is in Dan Dare, a science fiction comic book from the 1920s, 'Dan Dare, pilot of the future.' You don't know Dan Dare, pilot of the future?! Good God, man, culturally deprived! (laughs)."

 

sit6

sit7

Derek Riggs's original scetches for the Somewhere in time cover

Continuing the tour, Derek points out that, "this is whiskey in Yiddish and that's Bruce with a brain. They told me to paint portraits, and they complained because they didn't look exactly like them. Hello? They're inches tall. They're the size of postage stamps (laughs). The whole painting would have been about 15 inches high by about 32 inches long. Powerslave is 23 inches, I think, because that's as big as a sheet of board as I could get, so that would have been probably 23 x 26, and we would have had to trim it down to make it square, or just paint blue at the top or something. But yes, there's Sanctuary Music Shop. There's an HMV store, because they were signed to HMV. There's Gypsy's Kiss, which was Steve's first band. There's the Spitfire from Aces High, so there's the Aces High bar over there. That's a flying saucer, a UFO..."
"And with Eddie," says Derek, getting back to the core of the busy shot, "the whole concept was that it carried on from one album to the next, which is why he kept the artificial eye and all the things that happened to him. I just like rolling him on like that, seeing what you could do with him next, which parts you could keep."
Other interesting tidbits include the clock set at two minutes to midnight, the football score with West Ham naturally ahead, a namedrop for Philip K. Dick, who wrote the book Blade Runner was based on, Nicko's Iron What? T-shirt, the Eye Of Horus, the cat with halo, the Asimov Foundation building, and Tehe's Bar, the place where the band copped some backup vocalists for use on Heaven Can Wait.

One wonders if Somewhere In Time had put Derek close to a nervous breakdown. "I don't have nervous breakdowns," counters Derek. "Despite what some people might think, I'm quite stable (laughs). No, but that wore me out quite severely. I was living in London at the time, and working on that for two months, and it took three months in all. I just had to stop, because I had had enough. It got into my head and I just couldn't see anything else. I couldn't think about anything else. It did my head in, because there're all these little details. I started hallucinating, and in the end I was just sitting there and daydreaming about what each character was doing. All these little people, where were they were going? What did they do with their lives? I just had enough of it and stopped for two weeks in the middle. But I don't have nightmares and then paint them. It starts and stops on the canvas — usually. But that one was very intense, when you're working at that rate for that long with that much detail... pretty intense bloody work getting that done."
Derek next peruses some original sketches he had done for a dramatic live presentation cyber-Eddie to go with the theme of the record. "These were done for Dave Lights. I don't know what his real name was. Everybody always called him Dave Lights, just to differentiate him from Dave Murray, the guitarist. But he used to take my pictures, and he would... well, I would do him sketches like this, and he would take it and turn it into a Busby Berkeley musical set. He would take it and he would build it and build and once or twice I did backgrounds for him. But the rest of it, all the light shows and the sets and the giant puppets all came from his head — all that stuff. I don't know what happened there, but he's not with them anymore. I think he burned out or something."

sit5

Derek Riggs's scetches made for Dave Lights

"A bit of a compromise was Wasted Years," laughs Riggs on Somewhere In Time's first single, which pre-empted the album's release by a month. Despite its strangely precise look, the medium for this one is Derek's usual at the time — gouache — but the piece actually looks sort of digital, given its compositional elements.
"If you look at Eddie — that's such a departure from the last time," notes Derek. "For Somewhere In Time,
Eddie is stripped down as a robot. Now this was a difficult single, this Wasted Years. We had to have something that had Eddie in it somehow, but we didn't want to preempt the album look of Eddie. Because it would take the shock away from what we did to Eddie, right? We didn't want to give away the game before we started. So we were stuck, for what we could do. You try illustrating Wasted Years. What do you do? If you put four guys on there playing guitar, and you put the title, Wasted Years, it looks like they've been wasting their time playing guitar. If you have a picture of Eddie chopping people up, it's like, he's been wasting all these years chopping people up; what can you do? Whatever you do, it turns it into a negative."

sit3  sit4

Illustrations for the Wasted Years single

"So we said, we couldn't use Eddie too much, because it was such a radical change to Eddie, that even giving a bit of Eddie away, wed kind of blow it. So, I think, Rod said what about using him as a reflection in something, so you could only see part of his head. So you can't really see what's going on, but it's still got Eddie on it. So we played with that for a bit, and we said, what about a time machine? You know, wasted years/time machine. And that was the only idea we could find that could work properly, and fulfill all the specifications of what we needed to do with it. It's got a TARDIS in it again, that spaceship that looks like the police phone box. So it's a duffer. It's a technical illustration of a keyboard of a time machine (laughs), with Eddie reflected in the window, because it was the only thing we could think of, that wouldn't give Eddie away, which fit Wasted Years, without becoming a kind of self-defeating illustration."

sit2 sit8
illustration for the Stranger in A Strange Land single Illustration for the Somewhere on Tour poster

"Stranger In A Strange Land was the second single, after the album has been released," says Derek, this classy and epic track emerging in November of'86, two months after the issue of the album proper. "They wanted Eddie in that bar in Star Wars. So I knew I needed the bar in Star Wars, but I did him as Clint Eastwood. And it's the scene... you know, Clint Eastwood walks into the bar, and there's two guys playing cards, and one of them pretends to reach for the cards, but you know he's really going to reach for the gun, because this is the bit where Clint Eastwood shoots them all, and doesn't incur any bullet holes himself, somehow. You know, he's the stranger with no name, the stranger in a strange land. It's even got Clint Eastwood's physique, if you look at it, plus the little cigarette thing and everything. Fist Full Of Dollars might be the actual movie, and I mixed the two up and made them work together."
Indeed the picture works splendidly. Derek demonstrated his mastery of the medium, turning in a symphony of color, but one that was lit challengingly and properly, the upper quarter of the piece being of particular merit. And Eddie? Well, if he was threatening Mr. Riggs with a teeth-clenched "Make my day," Derek would soon raise him one, before shooting holes in him and suspending him in vapors for Seventh Son Of A Seventh Son and sundry pieces more whacked than the last

This material is taken from Derek Riggs's book "Run for Cover"

PLAY

seventh-son-eddie.gif

Members Login