| REVIEWS LIST | - I | ||||
I
IMPALER - IF WE HAD BRAINS... WE'D BE DANGEROUS (1986)
Impaler, the poor mans W.A.S.P. released "If we had brains... We'd be dangerous" in 1986. Impaler was all about bringing horror into their metal just like old horror metal bands as Ripper, Halloween (U.S. metal band, not german power metallers) and even a touch of punk legends Misfits.
Impaler, the poor mans W.A.S.P. released "If we had brains... We'd be dangerous" in 1986. Impaler was all about bringing horror into their metal just like old horror metal bands as Ripper, Halloween (U.S. metal band, not german power metallers) and even a touch of punk legends Misfits.
I really respect the band that brings in a theatrical imagery into metal but the main focus must always be on the music. Qualitywise this LP is on par, it's a classic in the cult field but it is still a bit behind the real metal gems. Impaler is perhaps not a thrash metal band either, it has some thrash and punk in it but it is basically a speed metal album. The idea of bringing horror themes into metal instead of focusing on satanism is nice for a change, I love those eighties band that tries to scare the listener. But there are better bands in that genre than Impaler, but if you like scary horror metal instead of political issues and stuff like that I strongly recommend you to check out Impaler.
⭐⭐⭐
........................................................................................................................................
INDESTROY - INDESTROY (1987)
Crude, muddy, unpolished, noisy and underproduced, there are many ways of describing Indestroy's self-titled debut.The music on this album is actually rather interesting but the band suffers from a real muddy low-budget production, actually it's surprisingly bad for being an album released in the US in 1987.
I can understand that fans of the genre writes off Indestroy as just another shitty band that never made it anywhere after you first hear the total mud-fest that this album is, but if you keep spinning the record it will grow on you and the band are really talented.
The music sounds like a mishmash between Killing Is My Business and Business is Good-Megadeth and their New Renaissance labelmates At War. The tone is overall sludgy so the sharp lead guitars cut right through the mix like a knife in butter a hot summers day, which is the best thing about the otherwised smeared production.
At first I thought I was going to give this album a bad review but after spinning it a few more times I changed my mind, I started to like the album more and more and production is not always everything, there are worse things in thrash than muddy production values. I would actually still chose this instead of a super crisp and lifeless 2016 production.
Tracks that stand out from this 1987 debut are the ripping riff-fiesta U.S.S.A. that has a cool shouted chorus another standout track are the somewhat pubertal and punkish Dead Girls (Don't Say No).
Indestroy from Maryland never made it as a band but the fact that the band still shows up here and there online thirty years later shows that no matter what the album and the band still is somewhat relevant for thrash fans of today.
Absolute worth hearing if you're not afraid of getting down and dirty!
........................................................................................................................................
⭐⭐⭐
........................................................................................................................................
INFERNÄL MÄJESTY - ONE WHO POINTS TO DEATH (2004)
None shall defy... What a remarkable album, it was one of the best albums of the genre when it came out in the late eighties and everything they'll ever do will just be a weak replica or tries to leave it all behind by changing their sound. But I still can't stop listening to their music in search for a new None Shall Defy, time has passed now and things have changed a bit. They released a comeback album in 1998 and this is their third album. Unfortunately this has not so much to do with that legendary None shall defy in sound at all. Sure the guitarplay is similar to what they did on NSD. Mainly because the both guitarists are still in the band.
The thing I loved the most about Infernäl Mäjestys old days is perhaps the brilliant vocals by Chris Bailey, and I'm sad to say that he doesn't sing as good as he once did. The vocals are mostly made of hardcore screams and Death metal growls, which spoils a lot of the potential for me. Not saying that he is a worthless vocalist, because he is ok. Infernäl Mäjesty keeps on releasing stuff that is quite good, owing absolutely everything to the guitarduo that keeps up what the rest of the band is missing. Still One who points to death stands up as a good release. Especially in the year 2004 when we aren't spoiled with this type of metal except a few good old acts. Still it's sad to see that your old favourites can't stand the test of time and only releasing an OK album instead of a new None shall defy. By the way the riffs in Death of heaven are identical to The Haunted - Dark intentions, I don't know if it's a rip off, or if they haven't heard that The Haunted song. I give the album three out of five stars.
⭐⭐⭐
........................................................................................................................................
INFERNÄL MÄJESTY - NONE SHALL DEFY (1987)
In 1987 a canadian band named Infernäl Mäjesty debuted with an album named None shall defy and it created quite a buzz at the time. And a lot of people I know who collects underground thrash metal hold None shall defy by Infernäl Mäjesty as a classic piece of work.
The vocals are rough and decisive and the basslines are also wonderful. The greatness in this album is mainly caused by the tempochanges and the outrageous guitarplay combined with some lyrical content that best can be described as dark and evil poetry and those lines are delivered by one of the best aggressive vocalists in the genre Chris Bailey. None shall defy delivers never ending crushing riffs in an impressive way. None shall defy is one of the best thrash metal albums of 1987 and a must for those who likes true and slightly satanic thrash. None Shall Defy is a classic that deserves a place in the hall of fame besides albums like Pleasure To Kill, Darkness Descends and Hell Awaits.
⭐⭐⭐⭐⭐
........................................................................................................................................
INSANE - WAIT AND PRAY (2005)
After Battle Cry Records heard Insane's demo-recordings they signed the band and flew them in to Canada to record their debut-album titled Wait and Pray.The band openly imitates Slayer's successful sound and style from their debut "Show no Mercy" and surprisingly enough, Insane imitates Slayer so well that it's hard to hear any difference between the recordings. This might just be the biggest ripoff in the history of thrash metal because of this similarity. Just look at the albums artwork and you'll see the clear Slayer-reference.
Singer Dan Montironi who also handles the bass sounds like a deadringer for Tom Araya. The guitar riffs and sound is spot on, the drumming, the lyrics, Every little detail is made to sound like Slayer did on their first record and Insane does a great job copying their idols. If you can get over the lack of originality and the theft-like situation we got here then you can really enjoy this album because it's a superb thrash metal album. Actually it's one of the best that I've heard in years. Probably the best record from a new band that I've heard during these thrash revival-years. But don't expect anything you haven't heard before. Because Slayer... eeh excuse me, Insane did a great job imitating Slayer here. And as you know; Imitation is the sincerest form of flattery.
........................................................................................................................................
Singer Dan Montironi who also handles the bass sounds like a deadringer for Tom Araya. The guitar riffs and sound is spot on, the drumming, the lyrics, Every little detail is made to sound like Slayer did on their first record and Insane does a great job copying their idols. If you can get over the lack of originality and the theft-like situation we got here then you can really enjoy this album because it's a superb thrash metal album. Actually it's one of the best that I've heard in years. Probably the best record from a new band that I've heard during these thrash revival-years. But don't expect anything you haven't heard before. Because Slayer... eeh excuse me, Insane did a great job imitating Slayer here. And as you know; Imitation is the sincerest form of flattery.
⭐⭐⭐⭐
........................................................................................................................................
INTRUDER - PSYCHO SAVANT (1991)
Psycho Savant was Intruder's last album before they called it a day. The band tried to write longer songs here, in fact all but one are over six minutes. There is also a bit more of those mid-tempo riffs and the guitar tone is beefier than before, like most were albums in the early nineties. Maybe the band had listened a lot to Metallica's Justice. It doesn't always work to go "epic" on a thrash metal album, things starts to get repetitive and uninteresting when the songs get longer.
The album is a bit slower but also more technical than their earlier releases. The music is still intricate and the guitars are flawless. Intruder delivers 90's thrash done the right way, it's no groove metal here, but I would have prefered a higher tempo. Jimmy Hamilton's vocals are similar to Forbidden's Russ Anderson but he lacks a little punch and aggression this time. Bottom line; Intruder gives us one last thrash album, it might not compare with "A Higher Form of Killing" or "Live to Die". But "Psycho Savant" is a solid album.
........................................................................................................................................
⭐⭐⭐
........................................................................................................................................
INTRUDER - ESCAPE FROM PAIN (1990)
Intruder's third release starts out with cover of the old Chicago-tune "25 or 6 to 4" which originally was some type of funky disco-rock song. Maybe not the smartest way to start off a new EP but Intruder makes the song kind of punky and catchy.
The second track on this EP is a nine minute long epic thrash metal track called "Escape from Pain" and it's a great song. The last three tracks was originally recorded and released on Intruder's debut-LP "Live to Die". "Cold-Blooded Killer" was the only song that was reworked for this EP. But there is no bigger difference from the track on "Live to Die". I guess this EP mainly was made so that Metal Blade could release a few more Intruder-tracks on their label, when Intruder's debut was distributed through another label (Iron Works). Don't get me wrong though, I think that the nine-minute long track "Escape From Pain" is worth the money alone. This EP is well-produced and it's highlighted with Jimmy Hamilton's great melodic vocals. But this EP is not extremely necessary if you already own their debut-LP "Live to Die". If you don't you should absolutely pick this up.
........................................................................................................................................
The second track on this EP is a nine minute long epic thrash metal track called "Escape from Pain" and it's a great song. The last three tracks was originally recorded and released on Intruder's debut-LP "Live to Die". "Cold-Blooded Killer" was the only song that was reworked for this EP. But there is no bigger difference from the track on "Live to Die". I guess this EP mainly was made so that Metal Blade could release a few more Intruder-tracks on their label, when Intruder's debut was distributed through another label (Iron Works). Don't get me wrong though, I think that the nine-minute long track "Escape From Pain" is worth the money alone. This EP is well-produced and it's highlighted with Jimmy Hamilton's great melodic vocals. But this EP is not extremely necessary if you already own their debut-LP "Live to Die". If you don't you should absolutely pick this up.
⭐⭐⭐⭐
........................................................................................................................................
INTRUDER - A HIGHER FORM OF KILLING (1989)
After the release of "Live to Die" Intruder got signed by Metal Blade. In our interview with Intruder John Pieroni said that their style changed dramatically after hearing Slayer's Reign in Blood, but I don't think that this album sounds like Slayer.
The songs are longer and more intricate, most of them are around six minutes long. Vocalist Jimmy Hamilton sings completely different on this album, now he sounds almost like Forbidden's Russ Anderson. Jimmy is indeed a great vocalist with his rapid delivery and his high crazed screams. I didn't like the Monkees-cover (I'm not your) Stepping Stone.
It's kind of rediculous and takes away the seriousness that a good thrash metal band needs. Slayer didn't do any pop/rock-covers. Otherwise "A Higher Form of Killing" is a great thrash metal album. It has a more typical Bay Area-sound and bands like Vio-Lence, Forbidden, Laaz Rockit and perhaps even a band like Overkill comes to mind when listening to this record. Some people say that "A Higher Form of Killing" is Intruder's best work and who am I to disagree. It's rock solid!
........................................................................................................................................
⭐⭐⭐⭐
........................................................................................................................................
INTRUDER - LIVE TO DIE (1987)
Intruder started under the name Transgresser and recorded two demotapes before changing their name to Intruder and putting out this debut album on Iron Works Records. "Live to Die" hit the record stores in 1987 and the album is a brilliant mix between heavy and thrash metal.
Their music is very varied and it ranges from fast thrashers to speed- and heavy metal and even a few acoustic guitar parts are included. The guitarplay by Arthur Vinnett "Live to Die" is impressive. The album has heavy thrashing riffs, smashing drums and a vocalist who at times sounds like the old Blitzkrieg vocalist Brian Ross. But Intruder was heavier and faster than Blitzkrieg. I would say that Intruder at this point in their careers sounded like a mix between Laaz Rockit, Anthrax and Metal Church. The album is very well polished and everything about it is made with precision. "Live to Die" is a great debut from these Nashville (Thrashville) thrashers. The album has been re-issued lately so there's no excuse to not getting this one! Intruder had the potential to be a major band in the thrash metal genre but they never really realized their full potential. Maybe they debuted too late or the album wasn't violent enough to get the attention. I simply have no idea. Because it couldn't have been the music, that's for sure.
........................................................................................................................................
⭐⭐⭐⭐
........................................................................................................................................
INVOCATOR - EXCURSION DEMISE (1991)
Invocator debuted with Excursion Demise in 1991 but they were a few years too late to have the same impact on the scene as the more famous danish metal bands like Mercyful Fate, King Diamond or Artillery had on the metal community. Invocator's style was differed a bit from Artillery's, mainly due to Jacob Hansen's violent approach to singing, he sounds almost like Chris Bailey of Infernäl Mäjesty at times, which is good.
The music itself is fast like hell and they were surely inspired by bands like Kreator, Pestilence, Dark Angel or Slayer during Reign in Blood. The songs are truly ripping, technical and brutal but unfortunately not always that memorable. But if you're like me and like thrash played at 350mph with some death metal overtones, Invocator is something you should hear. The song-titles may suggest some pseudo-intellectual bullshit, but that is really not the case, the lyrics are strong and well-written like everything on this album, everything is executed with precision by all members of the band. In conclusion, Invocator's "Excursion Demise" didn't get the same attention as Artillery's early material but I think that Excursion Demise is as good as some of Artillery's material. Excursion Demise is one of the best Scandinavian thrash metal albums of all time.
........................................................................................................................................
IRON MAIDEN - BRAVE NEW WORLD (2000)
Brave New World is the sound of a band reborn. With Bruce Dickinson and Adrian Smith returning to the fold, Maiden regain not just two key members but the creative chemistry that defined their greatest work. The album blends the melodic confidence of the ’80s with the broader, more atmospheric songwriting the band had been exploring in the ’90s. The result is a record that feels both familiar and forward‑looking. It was like a second golden era was about to begin.
........................................................................................................................................
The music itself is fast like hell and they were surely inspired by bands like Kreator, Pestilence, Dark Angel or Slayer during Reign in Blood. The songs are truly ripping, technical and brutal but unfortunately not always that memorable. But if you're like me and like thrash played at 350mph with some death metal overtones, Invocator is something you should hear. The song-titles may suggest some pseudo-intellectual bullshit, but that is really not the case, the lyrics are strong and well-written like everything on this album, everything is executed with precision by all members of the band. In conclusion, Invocator's "Excursion Demise" didn't get the same attention as Artillery's early material but I think that Excursion Demise is as good as some of Artillery's material. Excursion Demise is one of the best Scandinavian thrash metal albums of all time.
⭐⭐⭐⭐
........................................................................................................................................
IRON MAIDEN - BRAVE NEW WORLD (2000)
Brave New World is the sound of a band reborn. With Bruce Dickinson and Adrian Smith returning to the fold, Maiden regain not just two key members but the creative chemistry that defined their greatest work. The album blends the melodic confidence of the ’80s with the broader, more atmospheric songwriting the band had been exploring in the ’90s. The result is a record that feels both familiar and forward‑looking. It was like a second golden era was about to begin.
"The Wicker Man" is a perfect re‑introduction: sharp, energetic, and built on a chorus that announces Maiden’s return with absolute conviction. "Ghost of the Navigator" and "Brave New World" expand the palette with sweeping melodies and layered arrangements, showing how the three‑guitar lineup can add depth without clutter. The band leans into longer, more narrative‑driven tracks like "Blood Brothers", "Dream of Mirrors" and "The Nomad", each one balancing introspection with classic Maiden momentum.
The production is warm and expansive, giving the album a sense of scale that complements its themes of rebirth, identity, and transformation. Bruce sounds revitalized, the guitar trio(!) weaves harmonies with precision, and Steve Harris’s songwriting feels inspired again after years of strain. Brave New World is the comeback we've all waited for. I consider it a modern classic.
⭐⭐⭐⭐
........................................................................................................................................
IRON MAIDEN - VIRTUAL XI (1998)
Virtual XI is lighter in tone than its predecessor, but also one of Maiden’s least consistent albums. The production feels thin, and several tracks stretch longer than the material can support. Still, there are bright spots: "Futureal" is a sharp, energetic opener, and "The Clansman" has become a live staple for good reason. It's one of their best songs for sure. It's slow‑burn build and rallying chorus are classic Steve Harris.
Blaze Bayley delivers a committed performance despite the uneven songwriting, and the album’s warmer, more melodic approach gives it a distinct identity. While it sits near the bottom of the band’s discography, it’s not without moments of genuine strength.
I remember buying this CD when it came out and I really liked it, I just wished I bought the LP instead since it's rather valuable these days.
The Blaze Bayley era got some slack but overall it's very nostalgic to me because this was the time when I listened the most to Iron Maiden, even though nobody else seemed to do so at the time. But it's not only nostalgia. The Blaze era is pretty good even though I prefer The X-Factor to Virtual XI.
⭐⭐⭐
........................................................................................................................................
IRON MAIDEN - THE X-FACTOR (1995)
The X Factor is one of the most divisive albums in Maiden’s catalog, but also one of their most emotionally heavy and artistically bold. Blaze Bayley’s lower, darker vocal tone reshapes the band’s sound, and the production leans into a cold, brooding atmosphere that mirrors the bleakness of the songwriting. "Sign of the Cross" is a towering opener, a slow‑building epic that stands among Steve Harris’s finest compositions.
Tracks like "Lord of the Flies", "The Aftermath" and "Blood on the World’s Hands" explore themes of trauma, loss, and disillusionment with a seriousness the band had never attempted before. It’s a long, somber record, but its weight gives it a unique place in the Maiden canon. Not for everyone, but deeply rewarding if you meet it on its own terms. Personally I think Blaze got too much crap, simply for not being Bruce Dickinson and his darker voice can be a little out of place at moments but overall The X-Factor is a great record.
⭐⭐⭐⭐
........................................................................................................................................
IRON MAIDEN - FEAR OF THE DARK (1992)
Fear of the Dark is a transitional album, but one with undeniable highlights. The title track is a career‑defining anthem, balancing tension, melody, and atmosphere in a way few Maiden songs manage. "Be Quick or Be Dead" shows the band still capable of real aggression, while "Afraid to Shoot Strangers" delivers one of their most emotional and dynamic arrangements of the era.
The rest of the album is more uneven, with strong ideas sometimes held back by inconsistent production and a sense of creative fatigue. Still, when it hits, it hits hard, and the record captures the final moments of the first Dickinson era.
I think it was around here that I heard the band for the first time as I remember them playing Fear of the Dark on MTV. Good times!
........................................................................................................................................
IRON MAIDEN - NO PRAYER FOR THE DYING (1990)
After several increasingly more ambitious, progressive and polished records, No Prayer for the Dying is a deliberate retreat into a rawer, more stripped‑down sound. The production is drier, the guitars are harsher, and Bruce Dickinson adopts a grittier vocal style that fits the album’s back‑to‑basics attitude. "Tailgunner" and "Holy Smoke" open with a punch, but the album’s strength lies in its darker, more grounded tracks like "Public Enema Number One" (Rediculous spelling) and "Fates Warning". Even the hit single "Bring Your Daughter… to the Slaughter" carries a rough, almost garage‑metal edge.
While the songwriting is uneven compared to Maiden’s peak years, the record has a certain charm in its simplicity. On No Prayer for the Dying we saw a band intentionally stepping away from the grand concepts of the 80's in order to reconnect with their roots.
........................................................................................................................................
IRON MAIDEN - SEVENTH SON OF A SEVENT SON (1988)
Maiden’s first full concept album is also one of their most cohesive and musically adventurous. The synth textures introduced on Somewhere in Time are integrated more naturally here, supporting a blend of melody, atmosphere, and progressive structure. I really want to push the progressive in progressive structure because that is the direction Iron Maiden went with here on their seventh studio record.
⭐⭐⭐
........................................................................................................................................
IRON MAIDEN - NO PRAYER FOR THE DYING (1990)
After several increasingly more ambitious, progressive and polished records, No Prayer for the Dying is a deliberate retreat into a rawer, more stripped‑down sound. The production is drier, the guitars are harsher, and Bruce Dickinson adopts a grittier vocal style that fits the album’s back‑to‑basics attitude. "Tailgunner" and "Holy Smoke" open with a punch, but the album’s strength lies in its darker, more grounded tracks like "Public Enema Number One" (Rediculous spelling) and "Fates Warning". Even the hit single "Bring Your Daughter… to the Slaughter" carries a rough, almost garage‑metal edge.
While the songwriting is uneven compared to Maiden’s peak years, the record has a certain charm in its simplicity. On No Prayer for the Dying we saw a band intentionally stepping away from the grand concepts of the 80's in order to reconnect with their roots.
⭐⭐⭐
........................................................................................................................................
IRON MAIDEN - SEVENTH SON OF A SEVENT SON (1988)
Maiden’s first full concept album is also one of their most cohesive and musically adventurous. The synth textures introduced on Somewhere in Time are integrated more naturally here, supporting a blend of melody, atmosphere, and progressive structure. I really want to push the progressive in progressive structure because that is the direction Iron Maiden went with here on their seventh studio record.
"Moonchild" and "Infinite Dreams" set the tone with dynamic shifts and emotional depth, while "Can I Play With Madness" and "The Evil That Men Do" deliver some of the band’s most memorable hooks. Even though I don't love the rather cheesy Can I Play with Madness chorus.
The title track is a sprawling centerpiece, weaving together narrative, tension, and instrumental interplay with remarkable clarity. The album flows seamlessly from start to finish, each track reinforcing the overarching theme without feeling constrained by it. Seventh Son stands as a high point of Maiden’s ’80s run, ambitious, polished, and remarkably consistent.
........................................................................................................................................
IRON MAIDEN - SOMEWHERE IN TIME (1986)
With Somewhere in Time, Maiden shift into a more futuristic, melodic direction, embracing guitar synths and a sleeker production style. The change isn’t just cosmetic. It reshapes the band’s songwriting, giving tracks like "Caught Somewhere in Time" and "Wasted Years" a sense of forward momentum and emotional weight.
Adrian Smith shines here, contributing some of his strongest material and most expressive solos. The album leans into atmosphere more than aggression, with songs like “Sea of Madness” and “Stranger in a Strange Land” exploring darker, more introspective moods.
⭐⭐⭐⭐⭐
........................................................................................................................................
IRON MAIDEN - SOMEWHERE IN TIME (1986)
With Somewhere in Time, Maiden shift into a more futuristic, melodic direction, embracing guitar synths and a sleeker production style. The change isn’t just cosmetic. It reshapes the band’s songwriting, giving tracks like "Caught Somewhere in Time" and "Wasted Years" a sense of forward momentum and emotional weight.
Adrian Smith shines here, contributing some of his strongest material and most expressive solos. The album leans into atmosphere more than aggression, with songs like “Sea of Madness” and “Stranger in a Strange Land” exploring darker, more introspective moods.
On Somewhere in Time we're also hear a slightly more progressive Iron Maiden. It's also one of their most consistent albums with no real fillers to talk about.
Despite the new textures, the core Maiden identity remains intact: galloping rhythms, layered harmonies, and Bruce Dickinson delivering with full dramatic force. Somewhere in Time is a bold evolution, expanding the band’s palette without losing their essence. I also ranked this as my favourite Maiden-record when I did my Iron Maiden-Rank 'em All video.
........................................................................................................................................
IRON MAIDEN - POWERSLAVE (1984)
Powerslave is Maiden at their most confident and commanding, a record that blends high‑energy metal with ambitious, theatrical storytelling. The opening one‑two punch of "Aces High" and "2 Minutes to Midnight" is pure adrenaline, showcasing the band’s ability to write hooks without sacrificing intensity.
The Egyptian‑themed title track adds a sense of scale and drama, while the album’s production gives everything a crisp, powerful edge. But the defining moment is "Rime of the Ancient Mariner", a 13‑minute epic that pushes the band into progressive territory without ever losing an inch of momentum. The interplay between Murray and Smith is at its peak, and Steve Harris’s songwriting reaches a new level of narrative depth. I've claimed for a long time that Powerslave is my favourite Maiden record. It's the one I grew up with and listened the most to even though I ranked it as my number two in my Iron Maiden Rank 'Em All-video. Powerslave stands as one of the strongest statements of Maiden’s classic era.bold, cohesive, and executed with absolute conviction.
........................................................................................................................................
IRON MAIDEN - PIECE OF MIND (1983)
Piece of Mind is the album where Iron Maiden fully lock into their classic lineup and sound. With Nicko McBrain joining on drums, the band gains a tighter rhythmic backbone and a more confident sense of swing, giving the songs a sharper, more dynamic feel. "Where Eagles Dare" immediately showcases this shifft. A barrage of technical drumming and melodic guitar interplay that sets the tone for the entire record. The album balances aggression and atmosphere with ease: "Revelations" unfolds with layered melodies and a sense of grandeur, while "The Trooper" delivers one of the most iconic riffs in metal history.
Even the deeper cuts, "Still Life", "Flight of Icarus" and "Die With Your Boots On" shows a band excelling in their field. Piece of Mind isn’t just a continuation of The Number of the Beast; it’s a refinement, a tightening and expanding of their sound.
........................................................................................................................................
IRON MAIDEN - THE NUMBER OF THE BEAST (1982)
Exit Paul Di'Anno, Enter Samson's Bruce Bruce, or Bruce Dickinson as he is better known as today. The Number of the Beast is the album where Iron Maiden become the Iron Maiden that we all know and love. Bruce Dickinson's arrival transforms the band instantly.
The album wastes no time making its intentions clear. "Invaders" bursts out with frantic energy, but it's "Children of the Damned" that truly showcases the new dynamic:
........................................................................................................................................
IRON MAIDEN - KILLERS (1981)
Killers is the sound of Iron Maiden tightening every screw. The addition of Adrian Smith elevates the guitar work, giving the band a more melodic and disciplined edge. While the debut was a burst of raw energy, Killers is more focused, more confident, and more musically mature. Martin Birch's production brings clarity and punch, allowing the band’s growing technical skill to shine.
IRON MAIDEN - IRON MAIDEN (1980)
⭐⭐⭐⭐⭐
........................................................................................................................................
IRON MAIDEN - POWERSLAVE (1984)
Powerslave is Maiden at their most confident and commanding, a record that blends high‑energy metal with ambitious, theatrical storytelling. The opening one‑two punch of "Aces High" and "2 Minutes to Midnight" is pure adrenaline, showcasing the band’s ability to write hooks without sacrificing intensity.
The Egyptian‑themed title track adds a sense of scale and drama, while the album’s production gives everything a crisp, powerful edge. But the defining moment is "Rime of the Ancient Mariner", a 13‑minute epic that pushes the band into progressive territory without ever losing an inch of momentum. The interplay between Murray and Smith is at its peak, and Steve Harris’s songwriting reaches a new level of narrative depth. I've claimed for a long time that Powerslave is my favourite Maiden record. It's the one I grew up with and listened the most to even though I ranked it as my number two in my Iron Maiden Rank 'Em All-video. Powerslave stands as one of the strongest statements of Maiden’s classic era.bold, cohesive, and executed with absolute conviction.
⭐⭐⭐⭐⭐
........................................................................................................................................
IRON MAIDEN - PIECE OF MIND (1983)
Piece of Mind is the album where Iron Maiden fully lock into their classic lineup and sound. With Nicko McBrain joining on drums, the band gains a tighter rhythmic backbone and a more confident sense of swing, giving the songs a sharper, more dynamic feel. "Where Eagles Dare" immediately showcases this shifft. A barrage of technical drumming and melodic guitar interplay that sets the tone for the entire record. The album balances aggression and atmosphere with ease: "Revelations" unfolds with layered melodies and a sense of grandeur, while "The Trooper" delivers one of the most iconic riffs in metal history.
Even the deeper cuts, "Still Life", "Flight of Icarus" and "Die With Your Boots On" shows a band excelling in their field. Piece of Mind isn’t just a continuation of The Number of the Beast; it’s a refinement, a tightening and expanding of their sound.
⭐⭐⭐⭐⭐
........................................................................................................................................
IRON MAIDEN - THE NUMBER OF THE BEAST (1982)
Exit Paul Di'Anno, Enter Samson's Bruce Bruce, or Bruce Dickinson as he is better known as today. The Number of the Beast is the album where Iron Maiden become the Iron Maiden that we all know and love. Bruce Dickinson's arrival transforms the band instantly.
His vocal range, power, and dramatic presence open creative doors that simply didn't exist before. The songwriting becomes more ambitious, the melodies more pronounced, and the overall sound more theatrical.
a slow‑building, emotionally charged track that highlights Dickinson's ability to shift from soft,
controlled phrasing to soaring, operatic peaks, He is the Air-Raid siren after all.
"The Prisoner" and "22 Acacia Avenue" continue the band's growing interest in narrative‑driven songwriting. The title track is pure heavy metal iconography. A perfect blend of menace, melody, and momentum.
"Run to the Hills" is one of the most recognizable songs in the genre, driven by Harris's gallop and Dickinson's commanding delivery. But the album's crown jewel is "Hallowed Be Thy Name", a masterclass in pacing, atmosphere and emotional weight. It remains one of the greatest moments in their career.
Clive Burr's drumming is a major asset here, giving the album a loose, energetic feel that contrasts with the more rigid precision Nicko McBrain would bring later. The guitar work is sharper and more confident, with Murray and Smith delivering harmonies and solos that feel both melodic and aggressive.
The Number of the Beast is a turning point not just for Iron Maiden, but for heavy metal as a whole. It’s the moment the band stepped into the global spotlight and never looked back.
⭐⭐⭐⭐⭐
........................................................................................................................................
IRON MAIDEN - KILLERS (1981)
Killers is the sound of Iron Maiden tightening every screw. The addition of Adrian Smith elevates the guitar work, giving the band a more melodic and disciplined edge. While the debut was a burst of raw energy, Killers is more focused, more confident, and more musically mature. Martin Birch's production brings clarity and punch, allowing the band’s growing technical skill to shine.
The album opens with "The Ides of March" a short instrumental that sets a darker, more cinematic tone. "Wrathchild" follows with one of Maiden's most iconic bass‑driven riffs
a perfect example of how Steve Harris could anchor a song with both rhythm and melody. Tracks like "Murders in the Rue Morgue" and "Purgatory" show the band experimenting with pacing, dynamics, and more intricate arrangements.
Di'Anno's vocals are grittier than ever, fitting the album's street‑level themes of violence,
desperation, and urban decay. His voice gives Killers a unique identity within the Maiden catalog, it’s the last time the band would sound this tough, this grounded, this close to the pavement.
The guitar work is a major step up from the debut. Murray and Smith lock into harmonies with precision, and the solos are more fluid and expressive. Even the deep cuts "Genghis Khan", "Innocent Exile", "Prodigal Son" show a band exploring different moods and textures.
Killers is often overshadowed by the Dickinson era, Bruce might be the better vocalist but I also find his style a bit tiring when he so often goes into the falsetto singing. But this isn't about Bruce. No, Di'Anno is the man and Killers stands as one of the strongest albums of their discography. It's the bridge between Maiden’s raw beginnings and the more ambitious
direction they were about to take.
........................................................................................................................................
⭐⭐⭐⭐⭐
........................................................................................................................................
IRON MAIDEN - IRON MAIDEN (1980)
Iron Maiden first made their mark with The Soundhouse Tapes in 1979,
a raw three‑track vinyl that captured the band's early speed, grit, and ambition.
Circulating through Neal Kay’s Soundhouse club, it built a cult following almost
instantly and proved Maiden were already operating on a different level than most NWOBHM acts. That underground buzz set the stage perfectly for their explosive 1980 debut.
The production is rough, the edges are jagged and the energy is restless on Maiden's full-length debut. Paul Di’Anno’s vocals bring a street‑level toughness that gives the album a punk‑infused swagger, something Maiden would never fully revisit once Bruce Dickinson arrived, some 18 months from now.
The songwriting is surprisingly ambitious for such an early debut. "Prowler" and "Sanctuary" hit with immediate force, driven by Steve Harris's galloping bass lines, a signature that would define the band's identity. "Phantom of the Opera" is the real revelation: a multi‑section epic that shows Maiden already thinking in terms of long‑form storytelling and dynamic shifts.
Dave Murray's lead work is fluid and expressive, and the twin‑guitar interplay (with Dennis Stratton) hints at the melodic sophistication that would soon become a trademark. Even the instrumental "Transylvania" feels purposeful. In my opinion, the album's rough production actually enhances its urgency. It sounds like a band fighting for its life, determined to break out of the underground.
Iron Maiden is not yet the polished version of the band that would dominate the '80s, but it’s the foundation everything else stands on. Raw, hungry, and full of ideas, it remains one of the strongest debuts in metal history.
⭐⭐⭐⭐⭐
........................................................................................................................................
No comments:
Post a Comment