I have never really been a metal freak and don’t really own any metal albums, but there comes a time when something catches your ear that is a bit different and something inside says buy it! This is certainly the case with Iron Maiden’s debut, released at the height of the Mod Revival, some would say the peak of commercial Punk and New Wave blossoming new romantic period this album really was a two fingered salute to any fashion fad.

Five working class London kids who probably grew up listening to their older brothers rock collections single handedly crafted probably the greatest and most ground breaking Rock/Metal album of all time. They were cool enough to acknowledge what was going on around them instead following the flared trouser, Velvet jacket brigade of early seventies outfits like Black Sabbath, Deep Purple and Led Zeppelin.

Iron Maiden took on elements of Punk with their Black leathers, extra tight jeans and a vocalist who oozed street cred and had (dare I say it) Short Hair. Iron Maiden became the front runners to what was to become known as the NWOBHM (The New Wave Of British Heavy Metal) But of course nothing ever stands the test of time unless the songs back up the stance and admittely this is a patchy album at times, however there are some timeless classics.

The album opens with 'Prowler' a powerful wah wah driven rocker followed by the single 'Sanctuary', nothing to write home about, but track 3 'Remember Tomorrow' sorts out the men from the boys, a song hard to categorise with its moody slow tempo intro using U2 style harmonics and a bassline similar to U2’s The Ocean, though this could have come first.

Singer Paul Di’Anno really puts his larynx to the test and even though he is not classed as a great singer in Metal circles. I personally love his voice and much prefer him to his replacement Bruce Dickinson, who brought a typical metal campness to the band. The debut single 'Running Free' is next and although a basic paint by numbers rock song it has enough hooks to keep the interest there. Then there is the Classic 'Phantom of the Oper'a once used in a Lucozade commercial and containing an instantly catchy guitar riff, some fine guitar duelling from Dave Murray and Dennis Stratton whose fingers must have need skin grafts after this piece of fretwork. Some frantic guitaring follows in the instrumental 'Transylvania'. Next is my personal favourite, 'Strange World' a slow melodic soft rock track with a indie edge, plenty of harmonics and interesting chord changes strung along by a beautiful melody again reminiscent of very early U2 with a touch of Marillion lead guitar over the top. Another highlight is 'Charlotte the Harlot' which fires along at tremendous pace and which surely contains the best middle eight in the history of song writing where Paul Di’Anno’s vocal really shines through. The album ends with another stomper the title track 'Iron Maiden' and closes the debut by probably the best-known and most prolific Metal act of all time. The album help secured Iron Maiden’s position as leaders of their genre.
IJ

Late 1981, four lads from Rochdale near Manchester all working in the local vinegar factory form a band and send their demo off to John Peel, he loves it so much he offers them a session on Radio 1, Static records then swoop and the Chameleons have a record deal.
After a couple of high placed singles in the indie chart and constant touring of the UK and Europe their album ‘Script of the Bridge’ is released in early 1983 to critical acclaim. It’s almost impossible to describe in words how great this album is, it is awash with swirling echoing guitar riffs, explosive drums and catchy hooks that modern Indie/Rock bands would die for. From the opening notes of ‘Don’t Fall’ with its surging almost James Bond theme guitar line the scene is set with songs of timeless beauty with a rock edge. The duelling guitars of Reg Smithies and Dave Fielding marry together a beautiful noise to be envied by any guitar band today, The Editors and Interpol must surely pay homage to The Chameleons.
Highlight tracks are hard to pick out here as there are no weak moments from start to finish, however ‘Second Skin’ is one of those songs with instant classic written all over it. Starting with a soft strings intro, the drums explode, the guitars swirl and jangle to awesome proportions till everything drops out leaving John Lever’s drums cascading along while Mark Burgess sings the lines “I realise a miracle is due, I dedicate this melody to you, if is this the stuff dreams are made, no wonder I feel like I’m floating on air”. The album ends with the moving ‘View from a Hill’ a plodding track but with plenty of melody to carry the album to a triumphant end.

Like the Stone Roses, The Chameleons had massive problems with their record company and never achieved the commercial success that other bands of the period enjoyed and eventually split in 1988 shortly after signing to Geffen records to more in-house disputes. A music tabloid at the time was quoted in saying that the Chameleons were the band if given the right management and promotion would have beaten Bono and U2 to Redrocks. And could easily have been the quintessential Stadium band of the 1980s.
They released two more albums before they disbanded to form the short lived The Sun & the Moon. Like many acts of the period they have since reformed and recorded some new material, but ‘Script of the Bridge’ is their defining moment and really is the stuff dreams are made of. IJ

If you know nothing about the greatest band to emerge from Dunfermline EVER, buy this and be educated. Not many bands get better with each album release in fact most usually peak on their debut and find the next couple of albums treading water or experimenting. The reverse can be said of the Skids. OK the skids weren’t a massive household name, but back in their heyday they released some great singles including the chart busting Into The Valley and of course the now world famous U2 Green Day collaboration The Saints are Coming. But the Skids had an ace in their pack, the late great Stuart Adamson who committed suicide in 2003, arguably one of the greatest guitarists to emerge from the UK, totally original and influential, U2’s the edge being one who admittedly “ripped him off”.

With The Absolute Game The Skids’ third album released in the winter of 1980 Adamson came into his own and with a new Skids line up Mike Baillie on Drums, Russell Webb on Bass and of course founder member and future TV presenter Richard Jobson on Vocals The Skids pulled off one of the greatest albums of the 1980’s, soaring guitar epics every one and featuring the superb singles Circus Games, a Woman in Winter and Goodbye Civilian, plus a reworking of the awesome Out of Town a previous B side and finishing with anthemic Arena. Gone were the synth pop dabbling of the previous album Days in Europa and a return to guitar based anthems of which the Skids wrote in abundance. There is not one weak track here and the Mick Glossop production brings out the pure beauty of Adamsons guitar work. It’s a shame the Skids were not as appreciated as well as they should be for the songs on this album, had it been released today they would be MTV gods by now.

When it all comes down to it an album should be judged on its musical content, lyrics and all in all how good the songs are and The Absolute Game gets a 10 in every category. It’s simply a beautiful Rock album by the most underrated band of all time. Unfortunately for the Skids Stuart Adamson was already working in his next band Big Country who scored massive hits in the 80’s and probably sold ten time more records than the Skids, but even they could never match the superb musical triumph that is The Absolute Game. IJ

It’s hard to associate this album with the U2 we know today, big, pompous, overblown, well past their sell by date. It’s also hard to believe this album is almost 27 years old, but don’t let that put you off, the music on Boy is as fresh sounding as anything today and certainly fresher than anything U2 have done since. Remember 1980 was a strange time on the music front, only three years previous Punk Rock was raising its ugly head and everything that came before was washed aside as image before content seemed the order of the day. Then there was a Mod/Ska revival where Punk mixed with Jamaican Bluebeat to create what was known as the 2 Tone Movement. At the same time there was the dark and moody sounds of post punk bands like Joy Division. Another new movement was also flourishing in the style of the ‘New Romantics’, basically the music scene was changing so fast.

Amongst all of this were four kids from Dublin who were totally different from everyone else, who had their own fashion and concentrated on making beautiful melodic music. With the help of producer Steve Lilywhite together they had a sound and a bunch of songs that would win over audiences worldwide, these songs were drawn together and the 'Boy' was born. However it would take another 4 years before U2 became the International act they are today, but remember this was pre-MTV, there was no internet and only a couple of music shows on TV. The only way do get noticed was by playing live and U2 were always a fantastic live act. Boy is U2's best album bar none it’s a simple as that. Anyone who was into the band at the beginning knows this. I bought Boy after hearing it from a friend in 1980 and it blew me away and still does. It changed my tastes overnight.

The production is flawless, the playing is superb and the Edge has the greatest guitar sound around. The album is so full of life and every track runs into the next perfectly. If you only buy one U2 album, this is the one. It’s a cardinal sin that only one track is featured on the U2 18 singles album. “A Day Without Me” is better than anything U2 have done in the last 20 years or so. Trust me buy this album and enjoy an overlooked classic. IJ