Song Retrospectives: The 12 Best Tracks (co)written by Dave Murray (Iron Maiden)

To metal fans around the world, David Michael Murray needs no introduction. An integral part of Iron Maiden for over 40 years, Dave Murray is the only member of the band (other than the obvious exception of Steve Harris) to have performed on every album. Renowned for his distinctive guitar style, which is characterised by his fast, melodious but legato technique, Murray is regarded as one of the most influential guitarists in heavy metal.

Dave Murray is less well known for his songwriting – he does not write (or co-write) many songs but it is often the case that those in which he is involved have a little magic within them. Very few of the songs discussed here have been played live by Iron Maiden – what a setlist they would make. Here then - in chronological order - are my dozen favourite songs to benefit from his contributions.

Charlotte the Harlot (Iron Maiden, 1980)

Charlotte the Harlot remains the only song solely credited to Dave Murray; it captures the band’s early sound with fast-paced rhythm guitars, energetic drumming and Di’Anno’s gritty and hard-hitting vocals. Due to the recurring songs about Charlotte, it has remained a favourite with the fans. Rarely played live after the first part of the 1980s (although it was however performed on the Eddie Rips Up the World Tour  - albeit for only a very small number of shows), the track displays plenty of the initial punk type aggression of Maiden’s first two albums, shifting through different tempos and heralding Murray’s first credited contribution to the band’s repertoire.

Twilight Zone (Double A-Side Single with Wrathchild, 1981)

An intriguing entry in the Iron Maiden discography, Twilight Zone was originally slated as a B' Side but the band were so pleased with the finished product that it was promoted to be part of the double A-side. A breathless sprint lasting under three minutes, the song displays the chemistry between Dave Murray and Adrian Smith, whose interplay forms the backbone of the track. The lyrics are steeped in the supernatural and the afterlife – a theme Maiden would revisit several times in the future. It has become a neglected treasure having never been performed live after the departure of Di’Anno.

Total Eclipse (B’ Side of Run To The Hills, 1982)

Total Eclipse is amongst the first songs written as Iron Maiden’s sound was becoming a blend of hard rock, heavy metal and elements of progressive rock. Building steadily during the introduction, the song allows Dickinson to show off his vocal range, complementing the music as he conveys the apocalyptic narrative effectively. Total Eclipse was left off The Number of the Beast album in place of the infinitely inferior Gangland, something that was rectified when the album was reissued.

Still Life (Piece of Mind, 1983)

A prime example (along with Revelations and To Tame A Land on the same album) of Maiden’s increasingly progressive sound, Still Life is another lyrical example of their fondness for writing about the mystical and paranormal. Having seen the band play this at my first ever gig by anyone (NEC – Seventh Son Tour – the concert that features on Maiden England), it has long remained a favourite. Often overlooked in the context of Piece of Mind (amongst such heavy hitters as The Trooper, Revelations and Where Eagles Dare), it highlights Murray’s ability to write subtle, melodic introductions.

Déjà Vu (Somewhere in Time, 1986)

Progressive and synth heavy, Déjà Vu’s atmospheric and layered musical landscapes are skilfully executed, demonstrating the technical abilities of the two guitarists in particular. Never played live (including on the recent Future Past Tour), it mixes its bluesy introduction with penetrating hooks and   relentless bass, and vigorous drums from Harris and McBrain respectively. Completely complementing the themes on the rest of the album, Déjà Vu deserves its place in the Maiden legacy.

The Prophecy (Seventh Son of a Seventh Son, 1988)

From my favourite Iron Maiden album (see my retrospective on the album here: https://shorturl.at/bdjqI ), exquisite but ominous guitars open this song and the outro is the most gracefully beautiful moments on any album.  The most undervalued track on Seventh Son of a Seventh Son, it delves further into the themes of pre-cognition, destiny and the tragic consequences of ignored warnings. Iron Maiden did discuss playing the whole of Seventh Son of A Seventh Son in 1988 and with it being a relatively short album, I wish they had. As they didn't play this track at the time of release or on the Maiden England tour, it is virtually certain they never will.

Fates Warning (No Prayer For The Dying, 1990)

As an entire album, No Prayer For The Dying did not reach the heights of the classic that preceded it. It seems to be the destiny of several tracks mentioned here not to be played live. Despite seven of the ten songs from the album being performed, Fates Warning was not included in the 1990 set. One of the more brooding pieces on the album, it offers an introspective and philosophical perspective on destiny, mortality and the inexorable march of time.

Judas Be My Guide (Fear of the Dark, 1992)

Judas Be My Guide has all the hallmarks of a Maiden classic. A galloping, relentless track with hooks in abundance, a memorable chorus and melodic soaring solos, it is remarkable that it has never been aired in the live environment. I had the pleasure of seeing tribute band Maiden Scotland play it in 2022 and it was ecstatically received by the crowd.

 Brave New World (Brave New World, 2000)

Dave Murray co-wrote three songs for Brave New World (the most on one album). Inspired by Aldous Huxley’s dystopian novel of the same name, it expands the band’s frequent use of literary references in their songwriting. Recapturing the vitality of Iron Maiden’s classic albums, Brave New World was the most consistent album since the release of Seventh Son of A Seventh Son. The third part of a momentous four track opening salvo, the title track was Maiden - once again - evolving their sound.

The Thin Line Between Love and Hate (Brave New World, 2000)

The final closing epic on Brave New World, The Thin Line Between Love and Hate progressively unfolds via quieter, reflective sections, heavier more aggressive passages and a wonderful plethora of guitar solos. Crafted to maintain the listener’s attention throughout its length, it features one of Bruce Dickinson’s most accomplished and complete performances.

Rainmaker (Dance of Death, 2003)

Among the best singles the band released since the return of Bruce Dickinson and Adrian Smith, Rainmaker is more straightforward compared to some of the lengthier, progressive pieces the band were producing; however, the triple-pronged attack of Gers, Murray and Smith is used to great effect, adding depth and cohesion to the music. Played on the Dance of Death Tour, Rainmaker has been absent from the setlist ever since.

The Reincarnation of Benjamin Breeg (A Matter of Life and Death, 2006)

With a narrative based on a fictional character (an idea that was perpetuated by the band creating a website dedicated to his biography – some of which has been saved from extinction here: https://shorturl.at/uxGIJ ), it tells the story of a man whose history is shrouded in mystery. Taken from the exceptional A Matter Life and Death, The Reincarnation of Benjamin Breeg is a heavy mid-tempo track which blends melody and power.

Written: 23rd December 2023 (Happy 67th Birthday, Dave Murray!)