IRON MAIDEN - IRON MAIDEN
EMI, 1980
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| Probably the ugliest Eddie's ever looked |
In 1980, heavy music was in a state of flux. Black Sabbath had kicked out Ozzy Osbourne the year before, Led Zeppelin were creaking to a halt due to the faltering health of drummer John Bonham, AC/DC's rogueish frontman Bon Scott had died that February, and the punk rock explosion of the late seventies had changed perceptions of what rock music was supposed to be. The prevailing wisdom, that of larger-than-life, dumber-than-rocks songs about girls and cars and drugs, had been shown up as intellectually stunted, and people wanted more from their rock n' roll. Courtesy of a few geographically disparate English towns, they were about to get it.
The first rumblings of the clunkily-monikered New Wave of British Heavy Metal came from Judas Priest and Motörhead, two bands with little in common bar loud guitars and leather jackets. While Priest's early albums clung to the lengthy song structures and operatic pretensions of progressive rock bands, Motörhead opted for a more direct approach. Combining the relatively basic song structures of classic rock n' roll with the aggression of heavy metal, their swaggering, snarling, amphetamine-snorting brand of heavy rock was beloved of both punks and rockers, and it was this simplicity that inspired many of the early NWOBHM bands.
Iron Maiden formed in 1975, the brainchild of a prodigiously talented bassist and songwriter named Steve Harris. After several lineup changes and a brief breakup that occupied the next three years, the band (at this point consisting of Harris, guitarist Dave Murray and drummer Doug Sampson) recruited singer Paul Di'Anno and recorded a demo that was lauded in Sounds magazine, quickly selling five thousand copies. In late 1979 a record deal was inked with EMI, and guitarist Dennis Stratton was enlisted to thicken up the band's sound. After replacing Sampson with sticksman Clive Burr (late of Samson), the band recorded two tracks for the Metal for Muthas compilation and hunkered down to record their self-titled debut.
The first thing you notice about Iron Maiden is the exuberance of a young band that's excited to be making an album. "Prowler" bristles with a stuttering riff and a yearning wah-wah lead figure, leaping out of the gate as Di'Anno narrates a tale of hiding in the bushes and stalking women. Some punkish harmonies take the song over the top, at once similar and completely unlike those of Maiden's later career. In the hands of another band the subject matter might sound lecherous and seedy, but the aforementioned exuberance gives it a life-affirming air of teenage fantasy. That atmosphere carries on in other tracks from the album as Di'Anno self-mythologises, although not always to such great effect. "Running Free", for example, contains a beat that bears far too much resemblance to the work of noted glam-rock paedophile Gary Glitter***. "Sanctuary" is much the same in that it's a decent enough song, but features a definite punkiness that doesn't suit Maiden and never has.
That same punkiness is something that seems to split the album in two. It seems divided between fairly one-dimensional punk rock songs and lengthy progressive numbers which, while not as immediate as the shorter songs, are the more rewarding in the long run. "Remember Tomorrow", for instance, begins with gently plucked bass chords, gossamer-like guitar chimes and a plaintive melody from Di'Anno, but soon explodes into a series of crescendoes. The labyrinthine structure of this and the album's other epic, "Phantom of the Opera", are clear influences on many of the American thrash bands that would emerge in the next few years, primarily Metallica (who would cover "Remember Tomorrow" in 2008). "Phantom..." also marks the first appearance of the legendary Iron Maiden 'gallop', rendered here as more of a canter. Unfortunately, these same progressive songs highlight Di'Anno's clear deficiencies as a singer. While his enthusiasm is palpable, he simply doesn't have the vocal ability demanded by music like this. Imagine Black Sabbath if fronted by the Clash's Kleenex-voiced guitarist Mick Jones and you've got the right idea.
Throughout their career Maiden have recorded a number of instrumentals, a tradition that began on this album. Sadly, apart from a staccato riff and some fine lead harmonies and solos in the second part, there's not all that much to write home about from "Transylvania". It seems like two song fragments clumsily tacked together, like a cut-and-shut car. Thankfully things pick up towards the end of the album, with "Charlotte the Harlot" and "Iron Maiden" sending the crowd home happy. "Charlotte..." is a paean to a prostitute the band were acquainted with, and despite being home to more of that uncharacteristic punkish style and some truly terrible lyrics courtesy of Dave Murray—the only ones he ever wrote, I believe—it's one of the best tracks on the album. The chorus is irresistible, and even a frankly embarrassing bridge (in which Di'Anno indulges in the myth of 'rescuing' sex workers) can't bring the song down. The title track closes the album, and is one of the most beloved songs of Maiden's entire career, with the chorus exemplifying that singalong campiness so essential to the very best heavy metal. Even some more dodgy lyrics can't change that.
Overall the album is more notable for what followed than for anything it did by itself, though it's not without merit. The main issues with the album are the reedy production, some embarrassing lyrics, and above all, Paul Di'Anno. While he clearly tried his best, he clearly didn't have what it takes to front a band like this, especially not when you think of the vision Steve Harris had in mind. His future reputation as one of heavy metal's premier dickheads doesn't exactly help his case. While dodgy production, lyrics and vocals are issues endemic to most NWOBHM debuts, most of those bands either didn't stick around long enough to do anything else, or never did anything more notable than their first few records. Iron Maiden did, and as a result, this debut suffers greatly, simply by comparison to their later material.
* Who would become more famous for Metallica covering their songs than they ever would on their own
** This description does Girlschool a great disservice, as there was more to their work than mere Motörhead plagiarism
*** Though who was to know in 1980?
The first rumblings of the clunkily-monikered New Wave of British Heavy Metal came from Judas Priest and Motörhead, two bands with little in common bar loud guitars and leather jackets. While Priest's early albums clung to the lengthy song structures and operatic pretensions of progressive rock bands, Motörhead opted for a more direct approach. Combining the relatively basic song structures of classic rock n' roll with the aggression of heavy metal, their swaggering, snarling, amphetamine-snorting brand of heavy rock was beloved of both punks and rockers, and it was this simplicity that inspired many of the early NWOBHM bands.
Unlike many music scenes which tend to be based around one location (i.e. San Francisco's psychedelic scene of the late '60s, late 1980s Seattle grunge etc), the bands of this nascent scene sprouted up all over the country. Barnsley, Sheffield and Halifax in Yorkshire birthed Saxon, Def Leppard and Satanic Rites respectively, the West Midlands town of Stourbridge was home to Witchfinder General and Diamond Head*, Newcastle offered Raven along with the cartoon Satanism of Venom and, blatantly enough, Satan, and London would give us Angel Witch, the "female Motörhead" known as Girlschool**, and Iron Maiden.
Iron Maiden formed in 1975, the brainchild of a prodigiously talented bassist and songwriter named Steve Harris. After several lineup changes and a brief breakup that occupied the next three years, the band (at this point consisting of Harris, guitarist Dave Murray and drummer Doug Sampson) recruited singer Paul Di'Anno and recorded a demo that was lauded in Sounds magazine, quickly selling five thousand copies. In late 1979 a record deal was inked with EMI, and guitarist Dennis Stratton was enlisted to thicken up the band's sound. After replacing Sampson with sticksman Clive Burr (late of Samson), the band recorded two tracks for the Metal for Muthas compilation and hunkered down to record their self-titled debut.
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| Maiden in 1980. Note Paul Di'Anno's ropey boiler suit. He probably traded his leather jacket for drugs |
That same punkiness is something that seems to split the album in two. It seems divided between fairly one-dimensional punk rock songs and lengthy progressive numbers which, while not as immediate as the shorter songs, are the more rewarding in the long run. "Remember Tomorrow", for instance, begins with gently plucked bass chords, gossamer-like guitar chimes and a plaintive melody from Di'Anno, but soon explodes into a series of crescendoes. The labyrinthine structure of this and the album's other epic, "Phantom of the Opera", are clear influences on many of the American thrash bands that would emerge in the next few years, primarily Metallica (who would cover "Remember Tomorrow" in 2008). "Phantom..." also marks the first appearance of the legendary Iron Maiden 'gallop', rendered here as more of a canter. Unfortunately, these same progressive songs highlight Di'Anno's clear deficiencies as a singer. While his enthusiasm is palpable, he simply doesn't have the vocal ability demanded by music like this. Imagine Black Sabbath if fronted by the Clash's Kleenex-voiced guitarist Mick Jones and you've got the right idea.
Throughout their career Maiden have recorded a number of instrumentals, a tradition that began on this album. Sadly, apart from a staccato riff and some fine lead harmonies and solos in the second part, there's not all that much to write home about from "Transylvania". It seems like two song fragments clumsily tacked together, like a cut-and-shut car. Thankfully things pick up towards the end of the album, with "Charlotte the Harlot" and "Iron Maiden" sending the crowd home happy. "Charlotte..." is a paean to a prostitute the band were acquainted with, and despite being home to more of that uncharacteristic punkish style and some truly terrible lyrics courtesy of Dave Murray—the only ones he ever wrote, I believe—it's one of the best tracks on the album. The chorus is irresistible, and even a frankly embarrassing bridge (in which Di'Anno indulges in the myth of 'rescuing' sex workers) can't bring the song down. The title track closes the album, and is one of the most beloved songs of Maiden's entire career, with the chorus exemplifying that singalong campiness so essential to the very best heavy metal. Even some more dodgy lyrics can't change that.
Overall the album is more notable for what followed than for anything it did by itself, though it's not without merit. The main issues with the album are the reedy production, some embarrassing lyrics, and above all, Paul Di'Anno. While he clearly tried his best, he clearly didn't have what it takes to front a band like this, especially not when you think of the vision Steve Harris had in mind. His future reputation as one of heavy metal's premier dickheads doesn't exactly help his case. While dodgy production, lyrics and vocals are issues endemic to most NWOBHM debuts, most of those bands either didn't stick around long enough to do anything else, or never did anything more notable than their first few records. Iron Maiden did, and as a result, this debut suffers greatly, simply by comparison to their later material.
* Who would become more famous for Metallica covering their songs than they ever would on their own
** This description does Girlschool a great disservice, as there was more to their work than mere Motörhead plagiarism
*** Though who was to know in 1980?
