Review Summary: Just out to scare.
Five years after forming and comprehending a trickle of lineup changes, Heavy Metal zealots
Iron Maiden gained their prologue. Bruce Dickinson had no part of it and neither did drummer, Nicko McBrain, or guitarist, Adrian Smith - the fellas who've contributed a lot since. Maiden fans know this. And by all means understand guitarist, Dave Murray, and Bassist, Steve Harris, contributed a whole lot more. After all, these two bear life on all records. Lead Vocalist, Paul Di'Anno on the other hand endured only two.
But his vocals aren't to blame. When drugs and alcohol get in the way it isn't unheard of. Put aside and set for the future, here it's 1980 Iron Maiden bringing their self-titled debut album. And inner is Di'Anno who's one leathery, vehement and cool cat. "Walking through the city/looking oh so pretty/I just got to find my way", he opens the show on "Prowler", pouncing on an entree of rocker lyrics. Straight off the bat the man's a powerhouse given the raw and raspiness of his voice. He doubles it again in "Running Free", a damn good anthem that takes the fundamentals of a Hard Rock classic; check out those toms; check out those backup vocals; check out that cutting, overdriven guitar riff. Di'Anno maintains a straightforward chorus throughout - rockheads can't resist to shout it.
"Phantom of the Opera" steps into real Heavy Metal territory. Guitars and bass give a run for their money; dangerously rapid and rushed riffs sweep with expertise - and a whole lotta animal integrity takes place. 7 minutes and a couple tempo changes later, the track serves as the heaviest and most complex on the album. Di'Anno wails and shouts, "You're the phantom of the opera/the devil/you're just out to scare" near its raging end. His turn to shut up as the brilliantly named instrumental, "Transylvania" intercedes, just like the lightning overhanging Dracula's castle. And that could sum it up well. Transylvania overrun by zombies?; It's an all out turf war between the vamps and the undead.
"Strange World" is a soothing ballad despite no dreamy love crap; rather nightmarish yet gentle opposed to a Bryan Adams song. It flickers with wonderment, particularly when the instruments breakdown and a jarring sense of solitude ensues; a defining space in the track where it leads minds to truly gander at the strange world among us. "Remember Tomorrow" wears a similar suit; shiny guitar and a calm Di'Anno vocal, yet suddenly shoot into an aggressive and cranked posture. Not an instrument breakdown, but a mental breakdown (soundtrack available here).
"Iron Maiden wants you for dead!", Di'Anno squeals during the album's miraculous finale, "Iron Maiden", as if to say 'you've been listening to Iron Maiden! Come again!'. And why not?
Iron Maiden is an infectious and towering heavy metal debut, achieving greatness with or without its future heroes.
All I can say is I'm hooked.
