1 Iron Maiden
with Bobby âBlitzâ Ellsworth, Marty Friedman, and Brian Slagel
SIDE 1
1. Prowler 3:56
(Harris)
2. Remember Tomorrow 5:20
(Harris, DiâAnno)
3. Running Free 3:22
(Harris, DiâAnno)
4. Phantom of the Opera 7:02
(Harris)
SIDE 2
1. Transylvania 4:09
(Harris)
2. Strange World 5:43
(Harris)
3. Charlotte the Harlot 4:14
(Murray)
4. Iron Maiden 3:43
(Harris)
Personnel: Paul DiâAnnoâlead vocals; Dave Murrayâguitar; Dennis Strattonâguitar, vocals; Steve Harrisâbass, vocals; Clive Burrâdrums
Produced by Will Malone
Recorded at Kingsway Studios, London
Released April 14, 1980
Note: The US and Canadian release added âSanctuaryâ (Iron Maiden), 3:19.
Despite the instant smash impact of Iron Maidenâs self-titled debut, no one could say this band hadnât paid their dues. With roots all the way back to 1975, Steve Harris and a rotating cast were creating a new wave of British heavy metal long before anybody thought to stick capital letters on that term.
The slow rise through the pubsâwith many of these songs in the setâresulted in the bandâs first bits of pre-LP product, namely the legendary long-form seven-inch indie release The Soundhouse Tapes, and marquee positioning on what is essentially NWOBHMâs kickoff release, the first of the two Metal for Muthas compilations, which Iron Maiden opened with âSanctuaryâ and, in fact, velvet-roped themselves as the only band with two tracks on the comp, adding the majestic âWrathchildâ to Side 2.
Metal for Muthas arrived February 15, 1980, with the self-titled debut album set to frighten the shops two months later, a rapid rise pretty much assured with the laser-focused Rod Smallwood as manager. It didnât hurt that Iron Maiden had the five-way personnel magnetism to make these anthems translate live.
However, the production values of Iron Maiden left something to be desired. Although not distractingly bad like a few tragic examples from the NWOBHM (Raven, Fist, and Tygers of Pan Tang come to mind), it was a bit thin, urgent, and punky, which nonetheless suited the high energy and even frantic music as well as the aggressive growl and nonchalant cool emanating from the man at the mic, Paul DiâAnno. The album was recorded in thirteen days and produced by an apparently disinterested and not exactly pedigreed Will Malone, which (again, silver lining) led Steve Harris to get involved in production, an invaluable asset down the line in terms of his substantial input with Martin Birch, and later self-production and co-production roles.
Eddie down for the count. Left to right: Clive Burr, Adrian Smith, Paul DiâAnno, Steve Harris (seated), and Dave Murray.
Iron Maidenâs self-funded debut release, The Soundhouse Tapes, released November 9, 1979.
But no amount of subpar knob-jobbing could stop these stage-tested songs. Again, personality and high relief distinguish the record. Opener âProwlerâ was surprisingly punky, as were youthful anthem âRunning Freeâ and âCharlotte the Harlot.â âRemember Tomorrowâ and âStrange Worldâ showed that when one of these new-generation metal bands made quiet music, it was going to be morose and creepy in deference to the masters, Black Sabbath and bridge band Judas Priest. âTransylvaniaâ tacitly suggests greatness, for only the audacious and talented would stick an instrumental on their first album. As a sort of pedal-to-the-metal deference to Harrisâs progressive rock roots, there was the bandâs first literary/cinematic epic in âPhantom of the Opera,â with title track, although brief, managing prog flourishes as well.
Comparisons with the great Black Sabbath are underscored in the title track. Here was what was to become the first-generation-defining metal band of a new decade issuing in spring 1980 an album named after themselves, with a song named after the album, named after the bandâjust like Black Sabbath, which issued its groundbreaking debut in spring 1970. Both albums addressed horror themes straight between the eyesâliterally, with scary occult figures staring right at you from the record jackets.
But letâs not get carried away. Black Sabbath invented heavy metal, while Iron Maiden was pretty much a brash version of Judas Priest circa Sad Wings of Destiny through Stained Class and, frankly, nowhere near as good or trailblazing (this is a point I will never cede: despite how awesome Iron Maiden is, innovation is not one of its ticked boxes, outside of, arguably, the cover art). Black Sabbath, by 1980, was a completely new band with Ronnie James Dio at the helm, while Judas Priest was busy dumbing themselves down with British Steel, voluntarily abdicating their throne, with Steve Harris and an equally battle-ready Paul DiâAnno all too willing to sei...