IRON MAIDEN — Iron Maiden (review)

IRON MAIDEN — Iron Maiden album cover Album · 1980 · NWoBHM Buy this album from MMA partners
4/5 ·
bonnek
Before rising to international fame, Maiden recorded two albums with vocalist Paul Di'Anno. Maiden weren't at their songwriting peak yet and their playing wasn't as tight and dashing as it would become, but still, Paul Di’Anno had so much attitude and soul that I prefer the first two albums to much of their later successes.

Even though this music sounds rather dated now, the punch and energy can still be felt. So it’s no surprise that tracks like Prowler, Running Free, Charlotte the Harlot and Iron Maiden took the mellowed-out hard-rock scene of the end of the 70’s by storm. The straightforward power, no-nonsense attitude and raw dynamism are simply irresistible.

But it’s not those tracks that would be defining for Maiden’s future music. This band had more tricks up their sleeve then fast punk-rock anthems. Remember Tomorrow for example is an excellent take on the prog-metal of Judas Priest’s Beyond The Realms of Death epic. Phantom of the Opera is the most progressive and most amazing track of the album, sounding like a Jethro Tull song from Benefit that is taken by storm; rapid, metalized and brutal. It also feature some Uriah Heep alike vocal harmonies and a fine balance between slow and reflective parts and fast galloping riffs. Also the instrumental Transylvania is fun. A personal favourite is the delightful ballad Strange World, again highly in debt to Judas Priest’s balladry.

This is Maiden's rawest album, combining elements of the old-school metal from Priest and Rainbow with the rough energy and harsh sound of punk. Together with some hints at their future prog-metal, it’s a combination that results in pure gold on this album.
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