IRON MAIDEN aces high EMS-50148

Spitfires and B-Sides: Iron Maiden’s ‘Aces High’ Mini-Album (EMS-50148)

Today’s entry focuses on a robust 12-inch release that served as much more than a standard single for Japanese fans. We are examining the 1985 Japanese White Label Promo pressing of the Aces High mini-album by Iron Maiden, released on the EMI label with the catalog number EMS-50148.

A Treasure Trove of Covers

Released on March 30, 1985, during the height of the Powerslave era, this “Maxi-Single” (or Mini-Album) offers a generous tracklist. Side A kicks off with the Winston Churchill-inspired anthem “Aces High” and follows with a live version of “The Number Of The Beast.” However, for serious collectors, the real draw is Side B. It features three non-album B-sides that showcase the band’s influences: a heavy take on Nektar’s “King Of Twilight,” a cover of “Rainbow’s Gold” by the prog-rock band Beckett, and a gritty version of Jethro Tull’s “Cross-Eyed Mary.” These tracks highlight the progressive rock roots that Steve Harris and the band would continue to explore in later years.

The “Obi Misprint” Quirk

This release is famous among collectors for a specific packaging error. The bottom of the Obi strip explicitly states “45 r.p.m.,” yet the record is actually mastered and pressed at 33 ⅓ RPM. This discrepancy is present on all copies of this release, adding a unique “error” aspect to the item’s history. The package also includes a double-sided insert featuring liner notes by the respected Japanese rock critic Koh Sakai.

Exclusive White Label Promo

This specific copy is a highly coveted Promo Sample. Unlike the standard commercial releases, the vinyl disc features the clean, text-only White Labels bearing the Japanese characters for “Sample (Not For Sale).” These promotional copies were distributed to radio stations and industry insiders prior to the street date. A numbered “Sample” sticker is also affixed to the rear cover. Manufactured by Toshiba EMI, this pressing offers the exceptional audio clarity required to handle the dense, triple-guitar attack of the band’s mid-80s sound.