The thing I like about this section is that it's always interesting to look back at the beginnings of a band or artiste, see how they started out and how they developed, how their music changed (or didn't) over the years. Often gives you a greater appreciation of how they got to where they are now, or in some cases shows you the almost indiscernible shadow of the possible future --- or lack of it --- they could have had, had not one particular thing changed in their story.
It's very much the case of the latter when we come to speak of Iron Maiden. Although now rightfully enthroned and recognised as the leading heavy metal band, even over thirty years after they formed, the big “break” Iron Maiden got in life, I believe, was a change of vocalist. Although their first two albums were moderately successful, they did not serve to break them commercially and lift them to the heights of stardom: it took their third album, “The number of the Beast” to do that, and it all pretty much hinged on the arrival of one Bruce Dickinson, following the departure of the man who had fronted the band for their first two albums.
Iron Maiden --- Iron Maiden --- 1980 (EMI)
In fairness, it's easy to see why. While both the debut, to be discussed here, and its followup, “Killers”, a year later, were fine albums, there was a rawness about them and a certain something lacking, that seemed to prophesy that should things not change, Iron Maiden were going to go down as one of the bands of the NWOBHM who, though successful, would soon fade into the mists of its history, along with other bands like Raven, Xero, White Spirit and Trespass. Of course, that didn't happen, and they rose to, and retain, the position of megastars. But you can see from their debut that, though impressive enough for a young band, and showing the signs of being on the cusp of something truly remarkable, the weak link was holding them back, if that's not too mixed a metaphor.
The album starts off with that by-now-famous twin guitar attack but then vocalist Paul Di'Anno cuts in, and his voice is rough and gutteral, and though it kind of suits this album's rawness and menace, you couldn't really see him singing “Rime of the Ancient Mariner”, could you? “Prowler” is a good opener, but not that special really, though it certainly demonstrates the versatility of the two guitarists, Dave Murray and Dennis Stratton, the latter soon to be replaced by Adrian Smith. Clive Burr on drums bashes out the rhythm with gusto, and as it ever would be, Steve Harris' bass is there to quietly keep command of the song.
A much more ambitious song, “Remember tomorrow”, penned, it has to be allowed, by Di'Anno and Harris, opens with moody bass and picked guitar, quite similar, it must be said, to the midsection of the much later “Rime of the Ancient Mariner” from “Powerslave”. After a low-key intro, Di'Anno goes into overdrive on the vocal, the twin guitars building the tension and power before the song slides back down into what could fool those who don't know it as a ballad. Great use of the guitars on the verses, where many bands would have opted for piano or keyboards, which Maiden seldom used all through their long career. Towards the end the guitar work gets as frantic as Di'Anno's vocal histrionics, and the song ends powerfully and well.
Their very first chart single is next, but I personally consider “Running free” as more filler material, and there are much better tracks on the album. It does have plenty of energy, great rolling drumbeats from Burr, and a nice little guitar solo, but it doesn't put too much of a strain on the attention, and I feel passes by without any real impression. Still, it was their first hit. It also marks the end of Di'Anno's contibution to the songwriting. Far, far better is the now-classic “Phantom of the opera”, their longest song for some time, coming in at almost seven and a half minutes. It starts with that iconic guitar riff, then trundles away like a runaway train, and it must be admitted that Di'Anno does a sterling job on the vocal here.
The song goes through a few changes along the way, making it Maiden's first step into progressive metal: it's almost composed of movements, like a classical concerto. A great guitar solo from Dave Murray helps move the song along, then Harris' bass takes the second movement, as it were, joined by the guitars and drums, creating the instrumental section and taking it into what I would term the third movement, where both guitarists rock out with some more fine solos, one across the other in some excellent interplay. The fourth movement then comes when the song goes more or less back to its opening chord structure and Di'Anno comes back in on the vocals to finish proceedings.
It's without question the standout of the album, and would remain for many years one of Maiden's favourite tracks, both by the fans and the band. It's followed by one of their only instrumentals, “Transylvania”, a rollicking, rocking guitarfest with powerful drumming from Clive Burr driving the melody on like a steamhammer. Even more rare in future years, up next is an Iron Maiden ballad! With restrained guitar and even soft vocals from Paul Di'Anno, “Strange world” runs almost seamlessly from the spooky, atmospheric ending of “Transylvania” and indeed seems like it might be another instrumental, as there's no singing for almost a minute and a half. Considering how good this track is, it's a pity Maiden opted to not have another ballad for another twelve years, but that was their choice. “Strange world”, however, shows Harris could write a slow song as well as, if not better than, any other heavy metal songwriter.
The only song written by Dave Murray on the album is next, and though it's a little raw, “Charlotte the harlot” would be revisited on 1982's “The number of the Beast”, the continuing story of the prostitute running through some of Maiden's best albums. It's a fast rocker, with Di'Anno back at his supercharged best, Murray's own guitar growling through the song as if he wanted to stamp his total identity on his creation. Nice little slowdown about halfway through distinguishes it from tracks like “Prowler”, “Running free” and the title track, which closes the album.
I know it's become a staple of the band, and indeed their signature song, but I find “Iron Maiden” a little too raw, somewhat bereft of musical ideas. A lot of the music on this album comes close to punk rock (punk metal?), mostly due to I think Di'Anno's vocal but also the hard, edgy guitar playing of Murray and Stratton, as well as the subject matter for the songs, mostly chosen by Harris. Also contributing to the punk feel of the album was the raw, muggy and as far as Maiden were concerned, totally unsatisfactory production of Will Malone, who after the debut never worked with the band again.
Iron Maiden would release one more album with Paul Di'Anno before firing him and replacing him with Samson's Bruce Dickinson, beginning a whole new era for the band and opening their music up to a much wider audience. From there on, Maiden would not look back, but had they stayed with Di'Anno, or indeed hired someone similar after he had been let go, would we in fact even recognise the name Iron Maiden today, or would they just be a small footnote in the book of Heavy Metal history?
Going on the strength of this debut, you'd have to say that the seeds of greatness were there, it just took a really great singer and a small change of direction to make them flower and bear fruit, but then you should never forget where you came from, and had this album not been recorded there would never have
been an Iron Maiden, so we must be thankful and take the album on its merits.
I do think, though, it could have been a very close-run thing.
TRACKLISTING
1. Prowler
2. Remember tomorrow
3. Running free
4. Phantom of the opera
5. Transylvania
6. Strange world
7. Charlotte the harlot
8. Iron Maiden
Recommended further listening: “Killers”, “The number of the Beast”, “Piece of mind”, “Powerslave”, “Somewhere in time”, “Seventh son of a seventh son”, “No prayer for the dying”, “Fear of the dark”, “Brave new world”, “Dance of death”, “The final frontier”, “A matter of life and death”