The Poseur Cave

Isbjørn · 01-01-2015, 06:31 AM

Devil's Dancefloor

Artist: Iron Maiden
Album: Iron Maiden
Year: 1980
Genre: NWOBHM

Justin announced in his journal that he would kick this off with Iron Maiden's debut, which I'm totally okay with. Maiden is one of my favourite metal bands, and the first one I actually got into, so for me this is a great album to start with. It's from Maiden's NWOBHM period, and is regarded as one of the best examples of the style. The album is, however, a bit different from the work the band is most famous for, since it's rawer and a bit more punky, and Bruce Dickinson had yet to join the band.

“Prowler” kicks off the album and sets the theme. It's a simple song, but gets the job done. Alright opening track. “Sanctuary” is the most punky song on the album, on which Iron Maiden proves that they know how to play energetically. A standout track for sure. On the next track, they lay off the speed almost completely (almost, there's always a place for rippin' guitar solos). “Remember Tomorrow” is a ballad, with a psychedelic tinge reminding me of Black Sabbath's space rock songs (“Planet Caravan” and “Solitude”). A standout, if only for the variety it provides. After “Running Free”, a filler-ish song in the general style of the first track, we get to “Phantom of the Opera”, the standout, probably a huge influence on progressive metal bands, and some of Iron Maiden's best work overall. The next one is an instrumental, “Transilvania”, and a good one for sure. Iron Maiden doesn't need vocals, guitars are enough. Then we are treated to another ballad, this one more ballady than the previous one, as it doesn't enter full speed metal mode halfway through. “Charlotte the Harlot” comes on, and we're back to raw metal again. This is the first song in the “Charlotte Saga”, about the lifes and times of a prostitute named Charlotte. Instead of objectifying women, as many other metal bands did and would keep doing, Maiden focused on the dangers and downsides of prostitution (this is better displayed on the song “22 Acacia Avenue”), helping Iron Maiden gain their reputation as a “thinking man's metal band” (I'm pretty sure Trollheart said something similar once). The last song on the album is named “Iron Maiden”, and it's a killer closing track. I once saw a bull**** internet slideshow featuring “wisdom in Iron Maiden lyrics” or something, and one of the entries was “Iron Maiden's gonna get you no matter how far”. Heh, that was pretty stupid. Anyway, it's a good song.

This album is a classic. It's not Iron Maiden's best work, though. Paul Di'Anno might be a badass, but Bruce Dickinson is a better vocalist, hands down. Actually, “hands down” isn't necessary, since I'm pretty sure just about everyone agrees. Still, great album etc.

4/5

01-01-2015, 06:31 AM	#11 (permalink)
Isbjørn cooler commie than elph Join Date: Sep 2012 Location: In a hole, help Posts: 2,811	Devil's Dancefloor Artist: Iron Maiden Album: Iron Maiden Year: 1980 Genre: NWOBHM Justin announced in his journal that he would kick this off with Iron Maiden's debut, which I'm totally okay with. Maiden is one of my favourite metal bands, and the first one I actually got into, so for me this is a great album to start with. It's from Maiden's NWOBHM period, and is regarded as one of the best examples of the style. The album is, however, a bit different from the work the band is most famous for, since it's rawer and a bit more punky, and Bruce Dickinson had yet to join the band. “Prowler” kicks off the album and sets the theme. It's a simple song, but gets the job done. Alright opening track. “Sanctuary” is the most punky song on the album, on which Iron Maiden proves that they know how to play energetically. A standout track for sure. On the next track, they lay off the speed almost completely (almost, there's always a place for rippin' guitar solos). “Remember Tomorrow” is a ballad, with a psychedelic tinge reminding me of Black Sabbath's space rock songs (“Planet Caravan” and “Solitude”). A standout, if only for the variety it provides. After “Running Free”, a filler-ish song in the general style of the first track, we get to “Phantom of the Opera”, the standout, probably a huge influence on progressive metal bands, and some of Iron Maiden's best work overall. The next one is an instrumental, “Transilvania”, and a good one for sure. Iron Maiden doesn't need vocals, guitars are enough. Then we are treated to another ballad, this one more ballady than the previous one, as it doesn't enter full speed metal mode halfway through. “Charlotte the Harlot” comes on, and we're back to raw metal again. This is the first song in the “Charlotte Saga”, about the lifes and times of a prostitute named Charlotte. Instead of objectifying women, as many other metal bands did and would keep doing, Maiden focused on the dangers and downsides of prostitution (this is better displayed on the song “22 Acacia Avenue”), helping Iron Maiden gain their reputation as a “thinking man's metal band” (I'm pretty sure Trollheart said something similar once). The last song on the album is named “Iron Maiden”, and it's a killer closing track. I once saw a bull** internet slideshow featuring “wisdom in Iron Maiden lyrics” or something, and one of the entries was “Iron Maiden's gonna get you no matter how far”. Heh, that was pretty stupid. Anyway, it's a good song. This album is a classic. It's not Iron Maiden's best work, though. Paul Di'Anno might be a badass, but Bruce Dickinson is a better vocalist, hands down. Actually, “hands down” isn't necessary, since I'm pretty sure just about everyone agrees. Still, great album etc. 4/5** __________________ fast(ml) Hear me play the guitar Look, mom! I got a journal