03. Iron Maiden Iron Maiden 1980 (EMI)
Heavy Metal
Come into my room and I'll show you my wares.
Overview
I’ve often mentioned in contrast to a lot of reviews and opinions from this time period, how I’ve often thought that heavy metal around this time actually had very little in common with punk musically, which of course it was often compared to. But what punk did have in common with heavy metal (especially the NWOBHM) were two things. Firstly both had a D.I.Y ethos where bands just got on and done it with the limited resources that they had available. Secondly certain heavy metal bands relied on a punk attitude to build their fanbase and Iron Maiden were one such band that qualified on both criteria points. Iron Maiden were able to present their brand of heavy metal very much at street level a la punk, as opposed to the stadium rock approach that a lot of metal bands aspired to, oddly enough when Bruce Dickinson joined the band a few years later, the band would be the polar opposite of this early approach. In terms of attitude, Iron Maiden had started out as a pub band that played the East London circuit and you needed to be hard band to do that. All through this period band leader Steve Harris had held the band together, through numerous line-up changes and had a steadfast belief in what the band were doing. So with the vast majority of quality NWOBHM bands coming out of the Midlands and the North East, London was certainly due a major player and that player would come in the form of Iron Maiden and they along with Angel Witch were both early leaders of the London HM scene, but of course Iron Maiden would go on to quickly scale critical and commercial heights that few bands could’ve dreamed of. From the word go the band’s trump card was largely their aforementioned punk attitude which was perfectly delivered by vocalist Paul Di’Anno (who looked like a street tough) and this won the band a large number of punk inspired fans. The band were soon championed by then influential music newspaper ‘Sounds’ in fact ‘Sounds’ were amongst the most vociferous of all the UK music press when it came to the NWOBHM, especially since Maiden had already impressed with their 3-track demo of “Iron Maiden” “Invasion” and “Prowler” which of course would all appear on their debut album. These three tracks would then be released on the 1979 EP
The Soundhouse Tapes, before the band signed up with EMI and then they appeared on the NWOBHM compilation
Metal for Muthas in 1980. Most importantly they also had an influential manager in Rod Smallwood (just think Peter Grant for getting stuff done) and after some more line-up changes issued their eponymous debut album which would be recorded by producer Vic Malone. Most importantly though the the band achieved two vital marketing victories and that was the introduction of a band mascot called Eddie and even more importantly the band’s distinctive album artwork which would vital to the band and also to metal. The importance of album artwork can’t be stressed enough, as there was no MTV, videos were newish, so things like radio airplay, press coverage and album artwork were vital advertising tools, as the amount of people that would buy on the strength of an album cover, despite never having heard more than maybe a song by the band was quite staggering (I was one of those who would often buy on the strength of an album’s cover as well) The album would go onto to reach an impressive no.4 spot on the UK album chart and sell by the bucketload on mainland Europe and see the start of a new metal legend.
Verdict
The Iron Maiden debut would be an album that linked punk to the NWOBHM and for that reason alone it can be considered groundbreaking. But the album is so much more than just groundbreaking, as the album is a genuine metal heavyweight and one of the most vital of the whole decade. In Paul Di’Anno the band had a true growler for a vocalist and he both looked and sounded the part, and was especially good on the album’s more punkier numbers like the blinding album opener “Prowler” one of the most enduring tracks on the album, which quickly demonstrated the band’s stunning musical ability especially when it came to playing at speed. Other punkier tracks well suited to Paul Di’Anno included the percussion heavy “Running Free” and here the drums of Clive Burr pretty much dictate the track and then there is the rapid tempo of “Sanctuary” which just actually appeared initially on the US version of the album. Musically the band were beyond most of their contemporaries as in guitarists Dave Murray and Dennis Stratton, they had a pair of guitar wizards that were able to match K.K Downing and Glenn Tipton from Judas Priest when it came to playing at pure speed. Songs like the seven minute progressive rock inspired epic “Phantom of the Opera” would soon become quintessential Iron Maiden and would be the basis for the future direction of the band, especially when Bruce Dickinson jumped on board. This song is then handily followed by the instrumental “Transylvania” again another stunning exercise as the band flex-out. The iconic “Charlotte the Harlot” is another essential track and would be a recurring character featured by the band and finally there is the album closer the eponymous “Iron Maiden” which was the only song on the album not to feature Steve Harris on its writing credits, as it was written solely by Dave Murray and this remains another early band essential. The band even had time to put down some softer based tracks, like the gentle opening ballad “Remember Tomorrow” which does come early on the album, but about halfway through the whole track beefs itself up and the band do what they do best, and give us another display of breathtaking technicality which dominates the song. Then comes another ballad “Strange World” a song often seen as the weakest album on the album by many, but personally I really like it and think it’s perfectly suited and placed on the album. Certain critics would dismiss the album’s production, but again they probably haven’t taken into consideration the D.I.Y approach of the band. Also band leader, bassist and principal songwriter Steve Harris underpins the whole album with his galloping bass style. Overall as a band Iron Maiden had musical capabilities that even most 1970’s prog bands would’ve been happy to have had, as the band displayed their ability to stunningly change tempos and play extremely complex musical passages with relative ease. Most of the above characteristics would soon earn Iron Maiden the status of the new heavy metal giant on the block and even after just one album, they were seen as the British metal band most likely to follow in the footsteps of Judas Priest, which of course they not only did, but they would also surpass Judas Priest in terms of sheer impact and commercial achievements in just a few sheer short years. Upon listening to this album, the one thing that always stands out is the presence of that distinctive Iron Maiden sound from the word go and I guess metaldom largely has Steve Harris to thank for that.
Paul Di’Anno- Vocals
Dave Murray- Guitar
Dennis Stratton- Guitar
Steve Harris- Bass
Clive Burr- Drums
Production- Will Malone