Review Summary: I: A Blood-Curdling Beginning.
Chapter I: A Blood-Curdling Beginning
The 80's was an interesting decade, and at the time underground metal acts were the one's who were building their way to fame. Iron Maiden is no different. Started by bassist Steve Harris in 1975, Iron Maiden was born. Maiden is most recognizable with the lineup with Bruce, Adrian, Nicko etc., however that wasn't there in the beginning. After numerous initial lineup changes, the band settled on the beginning lineup, and 5 years later created their first record. This time, Maiden didn't have any world tours, hit singles or big Boeing planes. This is the one that started it all. The public reaction to the record was great, and the band were shocked and amazed when they realized they're record had been doing good. Iron Maiden's debut is not only one of the best metal debut's of all time, but the start of something special. Iron Maiden had begun to shown their wares.
Maiden's debut is somewhat different from their albums in their prime, such as Piece of Mind, Number of the Beast or Powerslave. The albums sound is raw and the musical style is a lot more aggressive and punk-like. Sure, Maiden's recognizable riffs and intricate rhythm sections are present, however this was a more straight-forward record than their next couple of albums. The production is also thin and a bit weak, but it's passable since this is a debut for a band who didn't have a huge following at the time, and didn't have a ***-ton of money like they do now. The performances however, while more aggressive and straight-foward, are still excellent. Dave Murray is a great guitarist like he's always been. His arpeggiated solos are present and his infectious riffs are abound also. Dennis Stratton, even if this is his only record with the band, is also very talented. He helps Dave form the guitar sound and has unique solos also. Clive Burr has a very similar style to Nicko, and is a fantastic drummer. Steve Harris is truly one of metal's best bassists, with his intense plucking and heavy bass-riffs are infectious and evilly groovy. Paul Di'Anno was the band's vocalist before the behemoth known as Bruce Dickinson. Paul definitely is not a bad vocalist. His style fit for the band's sound at the time, and he can hit some high notes while also having a melodic style. He is no Bruce Dickinson, but for the band's sound at the time, he was a great fit for them. Unfortunately, he allowed drugs to take over him, ending his career with the band after their second record Killers (1981). A noticeably different lineup and a noticeably different sound, Maiden still has all the progressive and wild rhythms they're known for.
Song wise, this album mostly succeeds, with a handful of great tracks and a handful of mostly forgettable ones. Prowler is a strong opener, with an amazing guitar section, rough vocals and catchy rhythms. While lyrically unimpressive, Prowler is still a very impressive song. The song does nicely go into Sanctuary, which is a more straight-foward track. The guitar riff is simple, the bass attack is captivating and the solos are brilliant. Sanctuary is a catchy song, however it isn't an insanely impressive song. Remember Tomorrow is primarily a ballad, with a calming start, but plunges into Maiden's memorable madness. It's good, however it's not an insanely memorable song for me. Running Free is the lead single for the album, and while a very catchy and fun track, it isn't insanely impressive.
The main issue with some of these songs that aren't memorable is that they don't have anything that sticks out. Some of the songs are too straight-foward to really be a captivating listen. The old-school feel is conveyed well, however it brings down the great parts to some of the tracks. However, even with some meh songs, this record has some unbelievably strong ones. After Running Free, the coupe de grace of the record, Phantom of the Opera, begins. The track is easily one of Maiden's best, with amazing musicianship and interesting vocals. Each member has a standout part to the song, with the brilliant solos and captivating riffs, the amazing bass line, or Clive's captivating drumming. This is easily the best song of the Di'Anno era, and one of the greatest ones in Maiden's discography. Transylvania is Maiden's first instrumental and is a pretty impressive one. The song has a consistent fast pace, with great musicianship and utterly amazing drumming. Strange World is another sudo-ballad, and is a crowning jewel here. The song is a pretty sad song, with calming vocals, clean guitar riffs and a soothing bass line. It's definitely better than Remember Tomorrow, and is a pretty special song. Charlotte the Harlot, however, is a pretty boring song that brings back the negatives to the record, and becomes the skip-able song on the album. Then of course, you have Maiden's most played song, the title track to the band and album, Iron Maiden.The track is a bit different than the live version . It's a very simple song, without a solo, a consistent drum beat, raw vocals and a cool riff. The song is pretty fun live and a pretty fun song to listen to, and it could be see as the band's anthem.
When comparing this record to some of Maiden's later work, it seems underwhelming and dated. However, this record is still a strong debut and a strong record overall. This song has great performances and some pretty entertaining songs. However, the album also suffers from the straight-foward feel and some forgettable tracks. It isn't insanely technical, nor is it insanely progressive. The aggressive nature of the album works well however, and makes a pretty satisfying album. This was Maiden just getting started however, and they proved their ability well here, but they became something much more after this. However, even with thin production, some underwhelming songs and the mostly simplistic aspect to the album, this is still a great record and one of the strongest debut's for any metal band.
Favorite Track: Phantom of the Opera
Least Favorite Track: Charlotte The Harlot
