Everybody who knows me knows that Iron Maiden are my number one metal band, the band who first introduced me to Heavy Metal, and in addition everyone knows that I prefer Bruce Dickinson-era Maiden over Di'Anno. But I'm not one of those people who refuse to listen to the older stuff. I don't say “Oh yeah I love Maiden but only from “Number of the Beast” on: the rest is crap.” I wouldn't do that, and I don't, because apart from the change in vocalist pretty much all of the main band are still there in the early days, and though the music style was a little rawer, with more of an edge to it --- punkier, if you prefer, and as has been said before, by me and by others --- it's still Iron Maiden. I also recognise that the first two albums, though not huge hits by any means, are where it all began and where Maiden began to build their massive fanbase. After all, even now they still perform tracks like their signature tune, “Wrathchild”, “Murders in the Rue Morgue” and of course “Phantom of the opera”, as well as others from that era. Maiden have not forgotten where they came from, nor should or do I.
And I don't. I featured thier debut album in my series “Maiden voyages” and I gushed over “Killers” (Sorry about that; I tried to clean it off later!) in last year's Metal Month. But I tend to steer a little away from the first two albums even when discussing Maiden. So I thought it might be fun to pick my top ten --- got other members to do their lists, why not mine? --- early Maiden tracks. So here they are.
Prowler (Iron Maiden)
This had to be in the countdown. Although the first actual Maiden song I heard ever was “Run to the hills” --- instilling in me an immediate desire to buy the album and play it to death --- this is essentially the very first Iron Maiden song ever played, if you discount The Soundhouse Tapes. It introduces an album that is flawed, yes, but still kicks ass with the best of them. Sure, Di'Anno sounds like he's been smoking fifty a day and has been awoken suddenly --- he's in a REAL bad mood! --- but it's got the raw power, energy and aggression that, although Maiden retained it, was slightly subsumed among clever lyrics, stupendous light shows and intricate songwriting as the years went on. Of course, that's normal in a band developing, especially a band developing into a world-conquering one.
But it's nice to hear the almost innocent (?) anger and fire that drove the first Maiden album. It suffers from the absence of Adrian Smith --- Dennis Stratton was not the guitarist he is --- and the production of course is, to be entirely fair and not nasty, s
hitty, leading to Steve Harris's famous comments that if he ever got Will Malone he'd punch him, or something. He was not happy, anyway. The song, though, will always for millions of kids be the first they experienced of Maiden, and led to greater things, so is deserving of a place here on my top ten, even if it is right at the bottom end. Elements of the main melody would later find their way into the title track of their second album, although the lyric leaves a lot to be desired ---
”Got me feelin' myself and reelin' around” --- um, yeah. It also has the first of what would become tradmark solos from Dave Murray, leading to the proper Iron Maiden sound once he found his axe partner in Smith the following year.
Iron Maiden (Iron Maiden)
It would be just as churlish to discount the signature tune of the band, even though I don't really consider it one of my favourites. It's certainly raw, but for me it's just a little too manic. Di'Anno's voice on it is certainly the archetypal unhinged serial killer, and I think not even Dickinson can sing this with the same maniacal passion as he does, but again it's almost a little too close to punk for my tastes. It does have that iconic opening salvo on the guitar, and the chorus would definitely go on to energise crowds right up to this day as Di'Anno, and later Dickinson (and probably even Bayley, during his time with the band) roared
”Come out! Come out! Wherever you are! Iron Maiden gonna get ya!”
Another great solo and perhaps one of the best endings to an early Maiden song ensure the title track to their debut must be included in my list, but it's low down because there are so many other tracks that are so much better than it, as we will see.
Purgatory (Killers)
There are a lot of things that distinguish this track from the two I've selected below it. First, Di'Anno at this point, with the release of their second album --- the last on which he would sing of course --- seems to finally be finding his voice. His raspy, almost screeching delivery on the debut can't in fairness all be put down to bad production, though some of it certainly can, and he's obviously honed it to a much better pitch here, as when he begins singing there's little trace of the raw, scratchy tone that characterised his singing on “Iron Maiden”. He still has that good scream that he lets go once in a while --- as he does here --- and which Dickinson would improve on a year later, but mostly his voice is much more controlled.
The song is also better constructed. I know people get sick of me using the “M” word, but neither of the two previous songs had a terrible amount of melody, whereas here the structure of the song is so much better, or at least I think so. The energy and passion that would be, and still is, forever associated with Iron Maiden is still there, but it's more controlled and less directionless than it was on the first album. There are the first real signs of discipline coming in to the music, and that may be in part due to the recruiting of Adrian Smith to replace Stratton, and also due to the first appearance of a man whose name would become synonymous with Iron Maiden, Martin Birch, taking the reins of production. The production on “Killers” bears no resemblance to “Iron Maiden”, which at times sounds like it's been recorded in someone's garage.
Transylvania (Iron Maiden)
I had to pick this because throughout their career Maiden have played few if any instrumentals, and this is the only one on the debut. From the start, the guitars kick your face in and they really don't stop till the final note. The signature sound that would become that of the band runs right through this piece, and I always like to see a band able to play without a singer. Also, it means we don't have to listen to Di'Anno's voice! In the middle it winds up into a real fretfest and just goes for it. You can almost feel the sweat dripping off the band as they fire this baby up. Also, it ends on a really eerie, moaning sound that almost presages “Powerslave”, four years later, and runs into “Strange world”, one of their few ballads. It's also quite long for an instrumental, clocking in at just over the four minute mark, yet every second is necessary and it never seems too long.