Iron Maiden
Iron Maiden

Active for almost half a century, Iron represents a band that has become iconic, and over all these years they have made numerous changes within their line-up. The true soul of the group has always been bassist Steve Harris, who founded the band in 1975 and has been present ever since. With this review, I am going to comment on their first album, which bears the same name as the band, released in 1980 after no small economic and organizational difficulties in an era when the UK reality chiefly rewarded the punk movement. EMI record label decided one fine day to produce this record, and it can be said that no choice was more fitting; in my humble opinion, it remains the highest point ever reached by the Maiden, despite being a band with an extraordinary career, which has achieved boundless popularity in every corner of the globe. Yet, in my opinion, despite authentic milestones released in the following years (for example "The number of the beast," "Somewhere in time," plus many other masterpieces), the highest level these British guys reached was precisely at their debut. It's true that in the following years, vocalist Bruce Dickinson (who replaced Paul Di'Anno, perhaps not completely functional to the Maiden's project sound) and guitarist Adrian Smith would take on major roles. This first effort of theirs, however, perfectly suits Di'Anno's softer and classier vocal tone compared to Dickinson's, and it would prove to be an authentic bomb detonated on the international metal scene. I have somewhat the sensation of energy held captive for 5 long years and then finally released in this "Iron Maiden."
These brief 40 minutes should be devoured in one go, savoring melodies, rhythm changes, pure energy, the skillful direction of Harris on bass pulls the strings and makes itself heard, the various tracks flow with pleasure... the first (there will be 8 in Europe, 9 in America thanks to the bonus track "Sanctuary") is "Prowler," with an intro in a guitar solo that leads into a captivating and well-sustained rhythm, followed by "Remember Tomorrow," a poignant ballad that changes rhythm (as will often happen throughout the entire album) speeding up and leading to the emotional conclusion; "Running Free," an anthem of freedom, features an intro by drummer Clive Burr, who from the fourth album onwards will be replaced by friend Nicko McBrain, initially only temporarily, then permanently. Burr would face a tragic fate, finding death at just 56, after a long illness, with the cruel coincidence of the same age at which his father died. The fourth song of this exciting album is "Phantom of the Opera," perhaps the most beautiful song ever to come out of Maiden's mind, inspired by the film of the same name, notable in this song beyond the wonderful melody is the truly sublime guitar solo; exciting, endless, you would wish it would never end. Next is the instrumental "Transylvanya," the only piece perhaps not entirely on par with the great level of the rest of the album, then comes "Strange World," an ingenious ballad written by Harris, very engaging, in which Steve himself envisions an imaginary world. It rockets off again with "Charlotte the Harlot," performed flawlessly and very appealingly at a fairly fast pace, with always sharp and punctual guitar solos perfectly accompanying Di'Anno's melodies; finally, the title track which the Maiden will never abandon throughout their endless career in every live performance, becoming one of the most representative songs of their glorious history. In conclusion, this album in my opinion is a must-have for all metal enthusiasts, and not only; personally, I would like to dedicate this review to Paul Di'Anno, who just today left us, RIP great Paul, and may you run free as you yourself have sung thousands of times.