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Iron MaidenIron Maiden

レーベル:EMI – EMC 3330, EMI – 0C 062-07 269
フォーマット:
レコード, LP, Album
:UK
リリース済み:
ジャンル:Rock
スタイル:Heavy Metal

収録曲

A1Prowler
A2Remember Tomorrow
A3Running Free
A4Phantom Of The Opera
B1Transylvania
B2Strange World
B3Charlotte The Harlot
B4Iron Maiden
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This pressing features the complete version of "Phantom Of The Opera" which is 7:20 in length. This has a short coda/reprise at the end, separated from the rest of the song by a few seconds of silence. Most other vinyl pressings have the shortened version. Only the UK Fame-edition, the Japanese pressing, the Greek pressing and the later released Czech pressings have the full length track too.

Catalogue number "EMC 3330" is printed on the rear sleeve, spine and face labels. "OC 062-07 269" is printed on the rear sleeve.

On bottom, original labels have credits on two lines and no "℗" symbol is present.
Original inner sleeve is black with flipback and plastic bag inside. The original black inner sleeve has 'PATENT No 1,125,555 printed in tiny white font in the bottom left corner of one side.
Some copies have a company inner sleeve with date code "480" or "680".

Recorded at Kingsway Studios, London.
Mixed at Morgan Studios, London.
℗ 1980 Original sound recording made by E.M.I. Records Ltd.
All titles published by Sanctuary Music.

Runout data is stamped.

バーコードとその他の識別子

  • その他 (Printer's code): G.O. 8004 G.L.
  • Matrix / Runout (Side A, label): EMC 3330 A
  • Matrix / Runout (Side B, label): EMC 3330 B
  • Matrix / Runout (A side runout. Variant 1): EMC 3330 A-1 5 C1
  • Matrix / Runout (B side runout. Variant 1): EMC 3330 B-1 8 1
  • Matrix / Runout (A side runout. Variant 2): EMC 3330 A-1
  • Matrix / Runout (B side runout. Variant 2): EMC 3330 B-1 53
  • Matrix / Runout (A side runout. Variant 3): EMC 3330 A-1 17 2
  • Matrix / Runout (B side runout. Variant 3): EMC 3330 B-1 18 2
  • Matrix / Runout (A side runout. Variant 4): EMC 3330 A-1 21 3
  • Matrix / Runout (B side runout.Variant 4): EMC 3330 B-1 44 2
  • Matrix / Runout (A side runout. Variant 5): EMC 3330 A- 1 62
  • Matrix / Runout (B side runout. Variant 5): EMC 3330 B- 1 9
  • Matrix / Runout (A side runout. Variant 6): EMC 3330 A-1 1 G
  • Matrix / Runout (B side runout. Variant 6): EMC 3330 B-1 1 G
  • Matrix / Runout (A side runout. Variant 7): EMC 3330 A-1 34
  • Matrix / Runout (B side runout. Variant 7): EMC 3330 B-1 3
  • Matrix / Runout (A side runout. Variant 8): EMC 3330 A-1 22 C1
  • Matrix / Runout (B side runout. Variant 8): EMC 3330 B-1 62 1
  • Matrix / Runout (A side runout. Variant 9): EMC 3330 A1 12 C1
  • Matrix / Runout (B side runout. Variant 9): EMC 3330 B1 21 C1
  • Matrix / Runout (A side runout. Variant 10): EMC 3330 A-1 37 C1
  • Matrix / Runout (B side runout. Variant 10): EMC 3330 B-1 16 (2scratched) 3
  • Matrix / Runout (A side runout. Variant 11): EMC 3330 A-1 3
  • Matrix / Runout (B side runout. Variant 11): EMC 3330 B-1 6 (2scratched) 3
  • Matrix / Runout (A side runout. Variant 12): EMC 3330 A-1 3 2 25
  • Matrix / Runout (B side runout.Variant 12): EMC 3330 B-1 (2scratched) 3 38
  • Matrix / Runout (A side runout. Variant 13): EMC 3330 A-1 1 2 C1
  • Matrix / Runout (B side runout. Variant 13): EMC 3330 B-1 (2scratched) 3 2 1
  • Matrix / Runout (A side runout. Variant 14): EMC 3330 A-1 27 C1
  • Matrix / Runout (B side runout. Variant 14): EMC 3330 B-1 27 !
  • Matrix / Runout (A side runout. Variant 15): EMC 3330 A-1 5 5
  • Matrix / Runout (B side runout. Variant 15): EMC 3330 B-1 5 0
  • Matrix / Runout (A side runout. Variant 16): EMC 3330 A-1 36 1
  • Matrix / Runout (B side runout. Variant 16): EMC 3330 B-1 40 C1

他のバージョン(344件中5件)

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タイトル (フォーマット)レーベルカタログ #
最近編集された
Iron Maiden (LP, Album)EMI, EMIEMC.3330, EMC-3330Australia1980
Iron Maiden (LP, Album)EMI, EMI2C 068 07269, 2C 068-07.269France1980
Iron Maiden (LP, Album)EMI, EMI Electrola1C 064-07 269Germany1980
最近編集された
Iron Maiden (LP, Album)EMI, EMI1A 062-07269, EMC 3330Netherlands1980
Iron Maiden (LP, Album, Stereo, Winchester)HarvestST-12094US1980
  • mrhuntingtonさんのアバター
    mrhuntington
    It would be very difficult for me to list my top 10 favorite albums of all time but Iron Maiden’s debut would certainly be considered. Released in April 1980, Maiden were poised to take on the world after being one of the leading lights of an underground movement known as the New Wave of British Heavy Metal or NWOBHM for short. With the backing of a major label (EMI) and the astute management team of Rod Smallwood and Andy Taylor, the five young East End Londoners produced one of metal’s most stunning achievements and easily one of the greatest debuts ever. The songs on ‘Iron Maiden’ dated back to the early club days of the band and honed to perfection over the years between 1976- 1979 despite the numerous line-up changes that often plague baby bands. However the one constant was founder and guiding light Steve Harris who carefully shaped his vision of heavy metal through a strong ‘70s progressive rock influence. Longtime Maiden guitarist Dave Murray joined in 1977 and frontman Paul Di’anno the next year to form the nexus of Maiden’s early years.
    By the time the first album was recorded, drummer Clive Burr and guitarist Dennis Stratton completed the line-up though Stratton would only appear on this record due to musical differences that cropped up during the tour. The songs are what make ‘Iron Maiden’ so special as first single “Running Free” became an instant classic as the boys played the song live on the Top of the Pops TV show (where traditionally bands lip synched their latest hits). Maiden would have none of that and played the song in all its ferocious glory. “Prowler”, “Remember Tomorrow” and “Phantom of the Opera” all fill the first side of the original vinyl and all of them are stunners, especially “Phantom” which would be Steve Harris’ first epic (Harris wrote or co-wrote all of the songs). The time changes, pacing and immensely power riffing came to define Maiden as a force to be reckoned with as Harris progressive influences were brought to the fore. Side two features “Transylvania” (an instrumental) “Strange World” (a weird ballad type song, never played live - ever!), “Charlotte the Harlot '' (who would be a continuing character in the Maidenverse) and the song that says it all - “Iron Maiden”, as fierce and album closer as one could find.
    Harris would often bristle when critics would remark on the punk influence on many of the tracks but there was no denying that Paul Di’anno could easily have been a punk rock singer. However the musicianship of Iron Maiden outclassed anything punk could deliver or even some of their NWOBHM contemporaries. It’s funny how the band has over the years downplayed the production of the relatively unknown Will Malone as amateurish and disappointing but I don’t think fans of this album really care (supposedly the band produced most of the debut themselves). If ‘Iron Maiden’ isn’t the greatest NWOBHM album of all time (some prefer the follow-up ‘Killers’ which of course of is an awesome record in its own right) or ‘The Number of the Beast’ which I see as a step beyond the movement as Maiden was now leaving NWOBHM in the dust, but hey that’s fine. I often juggle between ‘Piece of Mind’ and the first LP as which assumes ascendency as Maiden’s greatest record but I would say more often than not, it's the album with a crazed looking ghoul with shocked punked out hair staring right at you from the neon lights of London’s East End. With the introduction of Eddie and ‘Iron Maiden’, the world of metal would never be the same. Iron Maiden’s gonna get you, wherever you are…
    • tantalustormentさんのアバター
      tantalustorment
      je ne suis pas grand fan de Di Anno mais ce premier effort est remarquable ⭐️⭐️⭐️⭐️ 𝟗/𝟏𝟎
      • IntivirusJoelさんのアバター
        IntivirusJoel
        Wasn't there also a song "Sanctuary" or was that only sold in later versions in North America?
        • winchrecordsさんのアバター
          winchrecords
          2年前に編集されました
          Iron Maiden
          Produced by Will Malone
          Released April 1980, reached #4 in the UK (mostly ignored in the US)
          1980
          Good Shit *****

          Along with punk (which most everyone in America had unfortunately ignored--much more than history would lead us to believe), this Maiden album proved that rock wasn't ready to die (as the disco crowd had been suggesting throughout the late 70s). The excess elements of this debut, with the electric-guitar based instrumental "Transylvania" and such, might have been cliche at another time, but this was when punk had just declared war on excess and had caused most rockers to reexamine their delivery. Meanwhile, Maiden didn't seem to give a rat's ass.


          Unlike much of their output, this also understands that all great rock has a raw delivery and at least a bit of the sloppy. The pounding rhythms and imperfect vocals of Di'Anno helped give this set some grit and a connection with the roots of rock. These elements also helped ground the set, both resonating with and contrasting the excesses of the axe-grinding.


          Obviously inspired by the cream of the UK hard rock outfits of the 70s (Rainbow, Scorpions, Judas Priest, Hawkwind, Motorhead, UFO, a bit of Sweet's Desolation Boulevard on "Running Free" and perhaps Curved Air's Air Conditioning on "Phantom of the Opera"), as well perhaps some American influences (Montrose, Nugent, and even Chuck Berry) and showing early heavy metal influences on some cuts, this band might have been dismissed as derivative, but with Harris's booming bass and song-writing, they not only matched the power of their 70s forefathers but delivered their own blistering hard-rock sound.

          The opening cut "Prowler" grabs you by the throat, sounding like a nod to all of Priest's -er suffix songs; the set then slows down for "Remember Tomorrow," which shows a Uriah Heep and Deep Purple influence. If it sounds like it's going to be a bit overblown and derivative, they get into the basic and give everyone a run for the money with "Running Free." That song alone should get their name in the books.

          If the beginning of the flip side sounds like a bit much too much with the instrumental "Transylvania," and another moody number called "Strange World," they bring it back to earth and return to the juvenile outlaw theme, launching into "Sanctuary" before offering the hip-shaking classic "Charlotte the Harlot."


          To conclude the set, they return to the horror rock established with the sleeve art/mascot and at the beginning of the set with "Prowler." This horror rock hints back to Alice Cooper (who also had a mascot and focused on horror rock). The delivery, outlaw and violent crime themes, and the fact that the bass player is obviously the leader of this group, perhaps reveals a Thin Lizzy influence. In fact, how could a hard rock UK outfit that formed in the late 70s not be influenced by Thin Lizzy, UFO, and Alice Cooper.

          While they sport their influences on their tattered sleeves, they deliver the goods. They made some noteworthy music in the years that followed, but they never matched this debut.

          -- winch (Winch Records: only the good ones...the good, the odd, and the wonderful)
          • supernaut2309さんのアバター
            supernaut2309
            I have the same pressing with the £3.99 Limited Edition Label. I’m thinking that if you have this along with the black inner plus the credits on two lines of text instead of three then you have the first issue of this album. Would like to know for sure though! A1, B1 on the runout is misleading as many subsequent pressings have the same.
            • sotos_prince_20さんのアバター
              sotos_prince_20
              Really poweful version! One of my favorite albums ever!
              • DaveOOOOさんのアバター
                DaveOOOO
                Was this album originally released as a limited edition pressing? I have a genuine copy of the EMC3330 first edition with a “Limited Edition, £3.99 RRP only” sticker. I k ie it’s original, had since 1980.
                • Bourbonmanさんのアバター
                  Bourbonman
                  Paul Di´anno was a brilliant vocalist. He was the Bon Scott of Maiden until Dickinson took over. Great fucking album !!!
                  • dean_schmitzさんのアバター
                    dean_schmitz
                    A truly impressive debut - 4th place in the British charts! Music Maiden has always been commercial, but it does not spoil the music. There is not a single weak track on the album. Of course, the band had a lot of time - some of the songs were written five years before the release, and all this time these songs are proved their quality on live shows of the band. So here are not just a songs, but in fact it is a hits compilation, and it's no wonder that it's hard to choose the best!
                    • TheMetalVinylistさんのアバター
                      TheMetalVinylist
                      Just wandering, just listened to this album for the first time. With my copy on side A on the most inner run out groove I can clearly hear: Back at you lair. Anyone else have this?? Could it be a mispressing??

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