The rise to prominence of Iron Maiden throughout 1978 and 1979 had been on the back of hard work, helpful promotion from Neal Kay and his venue and the acquisition of Rod Smallwood and Andy Taylor as managers of the band. The demo tape that the band had first recorded at Spaceward Studios on New Years Eve 1978 saw them gain fandom at Neal Kay’s Bandwagon, and further high-profile gigs on the back of the rise of the NWOBHM movement that was washing over the land. Then came the decision to release their demo as a self-release album, which became the legendary “The Soundhouse Tapes”. The band’s signing with EMI left them in a position where they could now go into the studio and record their debut album, something that both the band and their fans had been waiting what felt like a lifetime for.
Before that could happen, two personnel problems had to be taken care of. Up to this point in time of the band’s history there had been a consistent problem in finding permanent members to fill the second guitarist and rummer positions. In terms of the second guitarist to complement established member Dave Murray, the band was once again in a position that they needed to find one for the recording of the album.
In Mick Wall’s contemporaneous “Run to the Hills – The Authorised Biography of Iron Maiden” he wrote: “Maiden had recorded the Radio 1 session still as a four-piece. Now, with EMI in a hurry to get the band into the studio to begin recording their first album, the need to fill the vacancy for a second guitarist was more pressing than ever. "We could have easily done the album as a four-piece," says Steve, "but that was never the idea. We were always looking to be a band that had twin lead guitars, so we thought, 'Right, now we've got a deal we've just got to get this sorted.'" At first, they actually offered the job to Dave Murray's old Urchin sparring partner, Adrian Smith, but Urchin had just landed a deal themselves, and Adrian was loath to abandon his plans just as it seemed his band might be getting somewhere themselves. Instead, they placed an ad in Melody Maker, which read, in part, "Must be HMfreak. Twenty-two or under." Dennis Stratton, another long-haired East End musician who was, in truth, neither of these things, applied anyway and was "pleased, but rather surprised" to get offered the job”.
Stratton’s appointment may well have come through the desire of a musician with good standing and solid chops than anything else, especially when it was coming to record their first album. The problems that came with his rather swift demise from the band following the tour to support this album would be discovered from this point onwards.
The drumming problem was one of a different concern. Doug Sampson was a good drummer and was well established in the band. However, his health had been a concern, perhaps more so for Steve Harris and Rod Smallwood than Doug himself. There were concerns that he would not be able to survive the long and hard touring that was being planned to promote the album. It was with this in mind that Sampson was relieved of his duties. Though he was no doubt immensely disappointed at this decision, in interviews since he has admitted that it was probably the right move for all concerned. That would not have been much consolation as he watched the band explode over the next few years.
Now a new drummer had to come on board. Back to Mick Wall and his excellent biography. He wrote:
According to the received wisdom of the time, Clive Burr had been brought to Steve Harris' attention by the all-knowing Neal Kay, who had spotted the future Maiden drummer during his short tenure with their London NWOBHM rivals Samson. Steve, on the other hand, now claims that "we got Clive through auditions. We auditioned a few people. One bloke I'd seen who was really good was John Mylett, who had been in a band called Nutz, who were quite well known for a time in the '70s, before the punk thing came in and blew them away. Then later he joined another band who became quite well known as Rage. And it was between him and Clive, basically. In fact, John may even have been a better drummer, technically, than Clive, but in the end we gave it to Clive because he had this certain feel to his playing that felt right, and he was a nice bloke. Clive just had a certain something about him we liked, you know? And he was also from 'round our area as well, a West Ham supporter, so that sort of helped as well”.
For his part, Rod Smallwood confirmed later that Dennis Stratton had in fact tipped him off about Clive in the first place.
And so, the five members of Iron Maiden was now set – for this moment in time at least – and all that remained was to head into the studio and lay down the eight tracks that would become the legend that is the debut album from Iron Maiden, titled “Iron Maiden”.
In the years since, many of those both in the band and around the band have decried the production on this album, and suggested that it eventually harms the way that they view (metaphorically) this album. Legendary producer Martin Birch, who would eventually be the main man for the next decade of Iron Maiden albums, has said he was surprised that he wasn’t asked to do the job, though given he was at that time doing that same job on another little album called “Heaven and Hell” by another little known band called “Black Sabbath”, it seems he would have been unavailable anyway. Finding the right producer proved to be a problem. The first was dismissed because the band disliked the muddy quality produced. The second insisted that Steve Harris play with a pick, and soon found himself in the same dustbin outside the studio. The third, Will Malone, still seemed to be unable to get the sound that the band wanted. While everyone involved would have preferred a better sound, in many ways it is the production that allows it to retain its charm and greatness. Certainly, the album is tied to the era because of its sound, but that just makes the actual songs and music even more powerful, because it is so easy to hear how far ahead of their contemporaries they actually were by the riffs and rolls that they played. Better production may have increased that, but the reality is that everything here still holds up against everything in the past 45 years, and that this album is still unique as it is.
It was only natural that the band would open up their debut album with the song that was their first big hit and had drawn them the huge support they had initially received over the previous 18 months. “Prowler” was a hit in London pubs for a year before this album actually came out, having been a part of the original demo that had been pushed by people like Neal Kay, and had also appeared on the bands self-published “The Soundhouse Tapes”. It immediately puts forward Maiden’s main strengths – the twin guitars, one playing the rhythm and the other putting out a lead track, the underrated drum beat that holds them together, the bass line that dominates more than almost every other bass guitarist in history, and the vocals that were not classical hard rock, not punk, but a very complementary fusing of the two. In particular, Steve Harris’ bass line and Dave Murray’s lead guitaring are immediately at the forefront and shown to be the dominating influence of the band. The middle solo section of the track is still so fresh and bright and powerful, 45 years after this was recorded. That explosion of Dave’s guitar into the solo is still spine tingling stuff. Lyrically “Prowler” is suggestive in an unserious way, vocally descriptive rather than being lurid. This album has three songs of this ‘pub band’ narrative that tie this album to the era it was recorded in a lyrical aspect. Musically, it sets its bar far higher than that explanation.
There are a few songs on this album that reach the ‘outstanding’ level, especially for a band on their debut album, and because they break the mould of the music the band is expected to play. The first is one where the band’s versatility becomes obvious, the second song on the album, “Remember Tomorrow”. You come out of the opening track with its imagery and speed and driving guitars and drums... and then you hit the moody opening of the second track, of the bass line and moody guitar slowly and softly over the top. Then the entrance of the drum beat, but more importantly the vocals of Paul Di’Anno which prove he is not a one trick pony. He might have been belligerent on that opening song, but here he proves he can soar with the best of them, and then explode out of that when it becomes necessary. The same can be said of the whole band, they show here that they can combine the slower tempo melodic style and the fast tempo heavy timings, and within the same track. The explosion into the dual lead solo breaks through the middle of the track exemplify what everyone looks for in Iron Maiden, but the bookends of the track are what raises this to the highest levels of Iron Maiden songs. Lyrically and vocally it places itself in a different category from the majority of the songs here, a path that would be better worn over the future album releases. Musically it is in the higher echelon of what the band has produced. This is one of three songs here that lifts the album above the average and surely was what made people think “this Iron Maiden isn’t your average pub band”. Try and convince me Metallica didn’t have this song in mind when they wrote “Fade to Black”. This kind of change in song orientation was to become one of the hallmarks of Iron Maiden.
“Running Free” was already the pub anthem that became the stadium anthem by the time this album was recorded. In the same way that “Prowler” has lyrics that are very stylistic of the content that bands would base their songs around as they moved their way up through the club scene, “Running Free” has similar connotations of the protagonist having “all the boys are after me, and that’s the way it’s gonna be!”. The opening of that terrific head banging-type of bass line from Harris and drum beat from Clive, followed by the ‘boy on the town’ lyrics and catchy sing-along chorus makes it a natural for the pub environment, and eventually the stadium environment. All bands need an anthem, a song that they can get the crowd involved with, and this was Maiden’s from the get-go.
What comes next is the song that no one was doing, because it was just so far in advance of what heavy metal was at that point that Iron Maiden was still inventing it. It may have the progressive tendencies of bands such as Rush and even the band’s heroes in Deep Purple and Wishbone Ash, but this was another level. “Phantom of the Opera” is a quintessential classic, a song that had no right to have been written or recorded at that time. Steve Harris wrote a bass line that began matching twin guitar riffs, played it like a guitar, but with his fingers on a bass guitar. It is one of his most extraordinary efforts. Along with Clive Burr’s superb drumming that almost began matching the guitars in the same way, and with lyrics that began a tradition in the band, written about movies and books, this song is one of the most complete heavy metal songs ever written, and it was one of this band’s first released. Most would consider this to be one of the top ten Maiden songs. I certainly do. Can you Imagine seeing this song being performed at the Ruskin Arms or the Cart and Horses in 1979. How would you have been able to process that? That a pub band was playing a song that has this amazing complexity in the composition and performing of this track?! If anything gave heavy metal the kick in the backside it needed, it was this song. Put it up against any other song from any other band of the NWOBHM era, and there is no contest. This is what set Iron Maiden apart from every other band of that era, and why they were able to spring from the pack to become the band they are. Paul’s singing on this song is amazing, he almost acts as the Phantom himself. And the solo section again, not only the melodic harmony guitars and their individual solo’s, but Steve’s bassline underneath throughout is just the pinnacle of bass guitaring. Steve has often said since this album was released that he was so disappointed with the production and mixing, and I have always wondered if it is this song he is most referring to. Because when you hear it performed live on the “Live After Death” album, and you can actually hear fully what Harry is doing on his instrument during that song, it is quite incredible. The production here doesn’t quite allow it to shine like it does on that live version. But my word it is still an amazing song.
Flip the album over, and let’s start side two and see what we have. It opens up with the wonderfully fast tempoed instrumental “Transylvania” which is another perfect example of how excellent the musicians in this band are. Making instrumentals interesting and listenable is not an easy thing, but it is something that Iron Maiden made a habit of on their first few albums. It is played at the perfect pace, given side two the opening momentum it needs to continue how side one finished up. Going back to another Metallica reference, surely, they were driven to perform their own instrumental tracks on their albums by how good the ones that Iron Maiden produced on these early albums were. It is a ripping track, even into the conclusion when it dies slowly and quietly into the ether, only to segue perfectly and almost unnoticeably into “Strange World”. And what a song this is, the third of the three ‘outstanding’ level songs on this album, the ones that showcase the extremities of this band’s talent and ability to mix full fury heavy metal metallics with the melodic and softer-spoken pieces that retain all of the energy and power in a different habitat. Like “Remember Tomorrow” it showcases Paul’s ability as a vocalist to bring this kind of performance to his artform and retain his uniqueness in vocal quality. The structure of the song itself allows Paul’s vocals to emote the passion of the track, the guitars to be a punctuating point of difference when needed, and Steve Harris’s amazing wandering bass line that is probably the highlight of the song. Clive Burr's perfect toning on the drums is also so important in drawing it all together. Not many metal bands can pull off a song like this without compromising the principles of their music. “Strange World” is an absolute triumph in that respect.
Speed returns to the album with the first of the “Charlotte the Harlot” themed Iron Maiden tracks, and therefore not surprisingly entitled “Charlotte the Harlot”. It is the only song for which guitarist Dave Murray is solely credited for as a writer, and he is adamant that it is based n a real person and real events, though not him. Ok Dave. Here is the third song on the album that is written as a boy’s pub band anthem with lyrics that have been described in certain areas as childish and inappropriate. If you want to feel that way, then by all means do so. What you have missed is the story of the song, told in scintillating style with searing guitar riff and solo, hard core drums and bass thumping, and Di’anno’s vocals joyously bounding along with fist pumping and middle finger raised. It is still catchy as hell, a great singalong song, and after a few beers while listening to the album I defy you to try and not do the same. The album then concludes with the self-titled track, one that the band must have now played a billion times. Naming your band after a medieval torture device is one thing, writing a song about it is another. History, blood and heavy metal. Is it the perfect combnation to making a great song? Iron Maiden would use this basis for proving the theory for the next 45 years and counting. It still counts as a superb Iron Maiden song, the opening dual guitar riff into the bass and drums before Di’anno begins his vocals is still fantastic.
45 years is an amazing length of time, not only to find that an album can still stand up in the modern age, and to realise what the band has done since then, but to then realise what you as an individual have done in that time, and how long this album has been a part of your life. And that people are still drawing inspiration from this album even today. That longevity is not something that you can find in every debut album released. This however is one of them.
My story of the discovery of Iron Maiden has been well documented in several different epsiodes on a couple of different podcasts, so suffice to say that the concluding months of 1985 were an exciting time for me. Having acquired the three major releases of 1982, 1983 and 1985 and devoured them to the point of assimilation, it came time to find out what came next for the band that I had become slightly obsessed over. My heavy metal music dealer was happy to come to the party (or perhaps he wasn’t, I did ask a hell of a lot of him over those couple of years) and was able to fill the C60 cassette I offered him with the debut album from the band, along with the “Maiden Japan” live EP. It was at the same or similar time that he also taped me the “Killers” album, and so for me it was my introduction to Paul Di’anno as lead vocalist, coming after I had gorged out on the first three albums that had Bruce Dickinson in the same role.
Perhaps interestingly, as much as I still enjoyed this album, it wasn’t one I went to very often at that time. This was at the beginning of my incredible discovery fest of heavy metal, and I was really trying to grab everything that came in my vicinity and check it out. Having had a gorging of Iron Maiden for 3 months or so, I guess something had to eventually take a back seat, and it ended up with this album being one of them. Like I said, it wasn’t because I didn’t enjoy it. I really did. I just didn’t go to it as often as I was other albums. I actually began to listen to the album more when I finally got my vinyl copy of the album, later on in 1986.
Despite what has been said about the production of the album, it has never bothered me and my enjoyment of the album. As I mentioned earlier, it sounds like the albums from these NWOBHM bands that were coming through at this time of the era, and the songs on this album still jump off the vinyl compared to almost every other band of that era. The sheer energy and enthusiasm of the performance, and the glittering star quality of the writing, just burns like a supernova in comparison to the competition. The ability to combine the twin guitar harmonies into the heavy focused music and yet still perform tracks that show a melodic structure without losing focus of the band they are is truly remarkable. And to do all of that on their first album is an astounding feat. And every time you watch the movie “Bill & Ted’s Excellent Adventure”, and you hear the line “Put them in the Iron Maiden”, followed up by our heroes pronouncing “Iron Maiden! Excellent!”, you know that this album has succeeded on so many levels.
I’ve had this album back on the turntable now for two weeks – and how bloody good is it?! Honestly, it sounds better on vinyl and always has. I come home from work, talk to the wife, then retreat to the Metal Cavern, and put the needle to the vinyl and away we go. And it still sounds so amazing and so fresh. Everything about it is pure. The boys at the pub songs, the contemplative melodic songs, the bombastic songs, and then just “Phantom of the Opera” towering above them all. For me this album has never gotten old. It just continues to shine in all possible ways in all possible directions. Over the course of Iron Maiden’s 17 studio albums released over 45 years, I have most recently ranked this as my tenth favourite. This is not reflective of the quality of the album; indeed, it reflects just how strong the band’s material has been since they released this album.
As amazing as this album is and was, the strength of the band was about to increase. Martin Birch was about to come on board as the band’s producer, ensuring that every album for the next decade was perfectly presented to the listening public and had the best possible performances drawn from the band’s performers. And with Dennis Stratton moving aside because his musical preferences did not match that of the rest of the band, it left the door open for the man the band originally wanted for the position to come on board and provide his excellence into the music that was beginning to bloom. That of course is a story for another episode.
