Review Summary: A great debut album representative of the early 80s NWOBHM uprising in the UK, as well as showcasing hints of what would become the signature sound of one of Heavy Metal's greatest bands.
It was the start of a new decade, the second for heavy metal as a whole, and one where it would become fully realized and start branching out. A firm start to this was the New Wave of British Heavy Metal (NWOBHM), from which Iron Maiden are today the greatest export. They, along with their NWOBHM counterparts took what bands like Judas Priest and Black Sabbath started in the 70s, and added a good chunk of punk-like energy and speed, although don't tell Steve Harris I used those words.
Iron Maiden's debut is a pummelling heavy metal record from start to finish, however it's not without its faults. It does not have any sore thumb tracks, and other than the shoddy production (on this Steve Harris would agree) one will be hard-pressed to find a fault. The production along with a lack of standout moments are what keep it from being a bona-fide metal classic. But though it might not be a classic itself, it shows hints of many features behind Maiden's classics, like harmonised twin (or even triple these days) guitar leads, amazing bass playing and progressive elements.
The first track Prowler starts off with Dennis Stratton playing a riff, quickly joined by a now trademark maiden melody courtesy of Dave Murray. Eventually the rhythm section joins in, immediately pulling attention to how the bass is not only very audible, but sounding like the lead instrument. Paul Di'Anno's barking vocals join in along with the rhythm section, giving a rough, unpolished punky feeling to it unlike later Maiden. About a minute and a half in, the song breaks down into a bridge section followed by a solo. Here we get our first listen of the true technical prowess of the band with Clive Burr (drums) banging away, backing Steve Harris (bass) and Stratton+Murray playing a harmonised riff in unison before Murray goes into a blistering solo. It is one of the best tracks on the album, and sets a great precedent not only for what to expect from the rest of the album, but from Maiden in their career.
Straight-rockers like Charlotte the Harlot, a rare Dave Murray co-write (Steve Harris wrote most songs on the album himself) and the eponymous closer, Iron Maiden, follow suit from Prowler. Sanctuary is the first, but unfortunately not last example of a great track left off of an Iron Maiden album. It was added as the second track on the 2008 re-issue, and too fits into this category.
The second track of the original album Remember Tomorrow is the first hint of Maiden's knack for progressive songwriting, with a mellow intro and verse followed by a heavy technical instrumental section returning into another mellow verse, before finishing off with a heavy outro. Phantom of the Opera follows up on the progressive nature later on being the first Maiden epic at just over 7 minutes featuring multiple intricate instrumental sections and time signature changes. Phantom is my favourite track on the record, and a clear, as well as the only real standout. It is the first and only track on the record showing the full range of Maiden's songwriting ability and instrumental prowess.
Transylvania, a short 4 minute instrumental, is what I would consider the most overlooked track here. A great track, where Harris again announces that the bass is not to be a background instrument in this band, and of course great melodic guitar work.
Strange World is the only full mellow track on the album, and while it does not feel totally out of place, it does in my opinion stop some of the album's momentum, leading to it being the weakest track here. Running Free, a track built around Harris' galloping bass is another track I find to be on the weaker side due to it's repetitiveness, especially the stadium-ready sing-along chorus. Other than Strange World, the production, and Running Free's chorus in particular, this is an amazing album, and a great start to not one of the greatest careers in metal, but an entire musical movement, the NWOBHM.
Overall, Iron Maiden's eponymous debut album remains a cornerstone of not only the NWOBHM, but one of the greatest metal bands' discography. It is a front-to-back fantastic listen, although the production does hamper the experience a bit, and the track Strange World is a bit of a momentum killer. Personally I find Running Free to be another weaker track due to its repetitiveness. Lastly the album lacks true standout tracks other than Phantom of the Opera.
4/5
Recommended tracks:
Prowler (Trademark early Maiden)
Phantom of the Opera (Best track and the first Maiden epic)
Iron Maiden (Perennial live closer)
