Released in 1980, Iron Maiden, the self-titled debut from the English Heavy Metal masters launched onto the music scene with a take-no-prisoners style that was complemented by pure talent. If nothing else, Iron Maiden offers fans a collection of songs that have become classics of the Metal genre.
Voicing classic Maiden was Paul Di’Anno, an incredible vocalist who would also go on to record their second album Killers before being exiled for extensive substance abuse. Despite that, Di’Anno set the stage for Iron Maiden as he approached these studio recordings with a sense of energy and flow that Bruce Dickinson, and later Blaze Bayley, were able to build upon; that unique Iron Maiden sound! Yes, Maiden’s unique qualities should also be attributed to the musicality of the band and Steve Harris’ ultimate vision, but metal bands are often successful as a result of their lead vocalists.
Speaking of Maiden's sound, there’s been so many variants, with regards to the mastering of their albums, that it often comes down to personal preference as to which subjectively sounds better. I’ve heard the 1998 remaster and while I didn’t think it was bad at the time, once I heard the Apple Digital Master, from the 2015 reissue program, I was blown away as it sounds how I imagine Iron Maiden should sound. You know, the sound you hear in your head when the music isn’t playing. It is subjective, but at that moment I knew that that was the way I wanted to appreciate all of Iron Maiden’s music going forward. Yes, I’ve heard grumbles about this particular mastering. The usual stuff, such as it being dynamically compressed further than it needs to be. While I may not disagree with that sentiment, I prefer to listen with my ears and they tell me that it simply sounds right.
The (Hi-Res) Lossless edition, on Apple Music, is the perfect representation of this self-titled debut and has the added bonus of being able to be heard whenever and wherever I may be. Therefore, even if the vinyl counterpart is comparable, or superior, it need not apply for it limits where and when Maiden can be appreciated.
Perhaps most notable, however, is that despite the rawer production of the debut, the mastering has been undertaken so well that it puts a little spit and polish on the album, resulting in a pleasurable listen that is largely void of the shrillness that is found on prior releases. Don’t get me wrong, the rough around the edges feel to the album is most certainly retained, it’s just a little more presentable and permits listening at ear-bleeding levels; just the way Iron Maiden should always be heard.
The only disappointment with this latest reissue is that it, again, omits Sanctuary; a simply epic Iron Maiden tune. Yes, the track listing now resembles the original release, but it also means that the studio recording of Sanctuary is unavailable to stream with the only recordings being those that were performed live. This omission is a +1 for physical media collectors. However, the most recent Studio Collection CD and Vinyl reissues also omit Sanctuary, so you’ll need to seek out a previous release to attain this tune if you don’t already own a copy.
Prowler launches the record with an iconic riff and sees Di’Anno in fine form while all other musical aspects set the tone for the entire album. The mid-song solo, and Harris’ bass lines, really take Prowler to the next level, resulting in one of their greatest recordings.
Remember Tomorrow slows the tempo a little, until the song builds that is. Nevertheless, one of the greatest aspects of Remember Tomorrow is the exquisite introduction that reappears throughout the verses. Yes, it may not be a stadium-filling tune, but Remember Tomorrow is one of my all-time favourite Maiden songs.
Running Free was Maiden’s debut single and there’s a bit of a punk vibe to it. Truth be told, I’m not sure it was lead single material. It’s a solid tune, and perhaps I’ve simply heard it too many times over the years, but despite some thoroughly enjoyable killer grooves, it doesn’t set the world on fire from my perspective.
Phantom Of The Opera has a moodiness that is incredibly addictive. Seriously, every note of this 7-minute-plus epic is a master stroke. Di’Anno‘s vocals could have been stronger, but all musical aspects are perfect as they transition throughout the various stages of the song. What an EPIC piece of music!
Transylvania has a spy-flick vibe to it with some killer rhythms and licks thrown in for good measure. A great instrumental-only tune!
Strange World flows seamlessly from Transylvania and maintains the melody-driven sonic themes of the prior track. While there’s no doubt that many Maiden fans love their heavier tunes, I, for one, adore these slower tempos as I feel they perform them with nothing less than pure perfection. Di’Anno‘s vocal on Strange World, in particular, showcases his vocal chops like no other song on the album does. He’s an absolute pleasure to listen to.
Charlotte The Harlot is one of Maiden’s most underrated tunes and has an interesting interplay between the musicians. Depending on the instrument you prefer, you’ll find a unique rhythm to attach yourself to.
Iron Maiden closes out this self-titled debut masterfully, while also encouraging repeat playing of the album, and is most certainly worthy of the title track moniker.
Overall, Iron Maiden is a musical masterstroke and is a debut that has not only stood the test of time but is as relevant to the Iron Maiden story as any other album in their extensive back catalogue. It is, without a doubt, one of the best albums released in 1980 and is amongst the greatest Metal albums of all time; a timeless classic!