(1980)
Steve, Dave, Paul, Dennis and Clive
2. Sanctuary (Harris/Di'Anno/Murray)
3. Remember Tomorrow (Harris/Di'Anno)
4. Running Free (Harris/Di'Anno)
5. Phantom of the Opera (Harris)
6. Transylvania (Harris)
7. Strange World (Harris)
8. Charlotte the Harlot (Murray)
9. Iron Maiden (Harris)
It's also very interesting to note that, comparing this album and, say, Dance of Death, it's almost like looking at two different bands. Only two members of the band from this early stage still remain, with the others exiting after one or two albums. Yet more interesting stuff, is that this is the album with the most 'classics'. However, many of these songs are far better live. As someone who was first introduced to songs like Sanctuary, Running Free and of course Iron Maiden live with Bruce, hearing the studio versions is a very strange experience indeed.
Still, as far as debut albums go, this really is exceptional. To think that, even in the earliet stages of the band, Steve was already making masterpieces like Phantom of the Opera is absolutely astounding, and really says something of the talent in this band.
Listening to the album for the first time, on the train back from Reading, where I had just bought it (along with Killers), Prowler was obviously the first thing I heard. I can say that as soon as I heard the first few seconds of the song, just enough for the opening guitar melody to kick in, I knew there and then that this song was perhaps the best album opener Maiden have ever had. Sure, every other album, except perhaps Killers, has a better song to kick-off the album, but there is simply just something about Prolwer that makes it top of the pile.
Next is Sanctuary, and it was very strange indeed. I had heard the song loads of times before in different live versions, but listening to it here was like listening to a whole new song. I must say, I never thought this song was that good. Certainly, it is a good song, but it bothered me how it was in a number of live performances. Hearing the studio version didn't really change that opinion; I still like the song, but it shouldn't really be one of the classics.
Remember Tomorrow, on the other hand, is a brilliant song. Pau's vocals are superb, and the way the song builds to the heavier guitar parts is excellent. There is a lot of emotion being conveyed throughout this song, and although the song is about Paul's Grandfather, the lyrics are wonderfully open to interpretation.
Then there's a song that is really starnge in the studio. Live, I've only ever heard Running Free when it's about six-seven minutes long and full of crowd interaction. This very short version still has all the things that mnake it such a cool live song - the great drum intro, Steve's excellent bassline and the shout into the more powerful guitars. Still, I do think it's the crowd interaction that makes this song, and the studio version just doesn't have that spark.
Live or not, the next track is without a doubt one of Maiden's best ever songs. The fact that Steve was writing things like this at such an early age simply shows hs talented he is. It's a song of truly epic proportions, with fantastic vocals andexcellent guitar solos.
Transylvania was Maiden's first instrumental track. I actually detect a small death metal vibe from this song; I think in many parts of it, if a blast beat were added and the guitars perhaps a little faster and rougher, this could easily pass as a death metal song. Which is very strange when you consider the next song, Strange World, a lagely acoustic song, with a beautiful solo by Dave in the middle. Then we have Charlotte the Harlot, the first song exclusively written by Dave., and of course, the first in a series of songs about the prostitute the song is named after.
The album closes with the concert favourite, Iron Maiden. It's not really a great song, but is never-the-less a classic, and very enjoyable. The live versions of this song are leagues above the studio version though, usuallly because the frantic energy from the crowd and Bruce combines to create utter chaos as the song closes the majority of Maiden's gigs.
All in all then, it's a very good album, and for a debut, pure genius. Maiden started excellently, and have since elevated to sheer brilliance.
2/7/04