Imagine discovering that some of the wild stories about your favorite band's beginnings are just plain wrong – and that the founder himself is calling them out! That's exactly what Iron Maiden's iconic bassist and leader, Steve Harris, does in this eye-opening chat about the band's early days, from debunking myths to the risky decisions that shaped their legendary sound. But here's where it gets controversial: Harris reveals how they carved out a unique identity in a sea of imitators, and it might just challenge what you thought you knew about rock history. Dive in, because this is the part most people miss – the raw, unfiltered truth behind the heavy metal giants.
Iron Maiden's frontman, bassist, and primary songwriter, Steve Harris, dives deep into the band's formative period here. He talks about crafting their unmistakable style, recording their groundbreaking first album, and the bold move to part ways with vocalist Paul Di'Anno. For newcomers to the metal scene, think of Iron Maiden as pioneers who blended melodic heaviness with storytelling depth, setting them apart from the glam rock and punk bands dominating the late 1970s.
Let's clear up a big misconception right away: You started Iron Maiden in 1975, but definitely not on Christmas Day, despite what you've heard repeatedly over the decades.
It actually happened a few months prior to the holidays. And that's just the tip of the iceberg when it comes to the wild tales from those early times. There was this one guy who popped up claiming he was in the band and even appeared on Antiques Roadshow insisting he was our original drummer. Total nonsense! He even went so far as to say we were almost named Mountain Ash or something similar. For beginners, this highlights how rock bands' histories can get twisted by outsiders, turning small ideas into exaggerated legends – a common theme in music lore.
Once the name Iron Maiden was locked in, you and the team created that instantly recognizable logo, which has become a global symbol.
One of the most valuable lessons I picked up came from one of my all-time favorite groups, the early incarnation of Genesis, featuring Peter Gabriel. I owned this denim jacket with the Foxtrot album logo from 1972 stitched on the back – you know, the curved design with the fox's head. I was absolutely devastated when they switched to a completely different, rather bland logo for their 1973 release, Selling England By The Pound. Even though that album was fantastic, the new emblem felt like a letdown. I vowed to myself, 'I'm never going to let that slide. I'll ensure we have an outstanding logo.' And that's exactly what we achieved, one that we've kept intact to this day. Sure, critics have mocked us over the years for sticking with the same logo on every album cover, but you know what? It creates a powerful continuity that ties everything together. That's a crucial takeaway I internalized early on. For those just starting out in music, this shows how branding can build a lasting identity – think of it like how a sports team keeps its mascot to foster loyalty among fans.
What insights did you gain from performing cover songs during Maiden's infancy and even before that in your previous group, Smiler?
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Way back then, every gig felt like a rerun – clubs everywhere blasting the exact same tracks. In Smiler, I churned out tons of covers to fit the bill. But with Maiden, we flipped the script by selecting lesser-known tunes that no one else was touching.
Take Montrose's debut album from 1973; it was a huge hit among musicians, with bands everywhere copying its songs. Instead, we went for their follow-up, Paper Money, specifically the track 'I Got The Fire.' People were clueless about it – some even assumed it was our original work, especially since we were already showcasing plenty of our own material. This strategy helped us stand out early, teaching bands today the value of originality over conformity, like choosing a hidden gem in a crowded playlist to surprise listeners.
From the very beginning, Maiden boasted a distinctive and innovative sound.
Absolutely, I couldn't agree more. We don't resemble any other act, and that's precisely why we amassed a dedicated fanbase so swiftly.
As the primary songwriter for Maiden, did you have a clear vision for the band's musical direction right from the start?
Folks often say that retrospectively, but in the moment, it was all about experimentation. It evolved organically. What I was certain about was wanting plenty of melody layered over heaviness, combined with top-notch songwriting.
You mentioned in a recent Classic Rock interview that 'Phantom Of The Opera' marked the first truly characteristic Maiden track.
I believe so. Writing 'Phantom' highlighted how my approach differed from the norm, especially for guitarists who were trained in all the traditional scales. I skipped that – intentionally. It wasn't intuitive for them to navigate my compositions, and that dynamic persists even now. And sure, 'Phantom' was an early showcase of that. Plus, the drumming elements I incorporated were unconventional, even in tracks that seemed simple at first glance. When Clive Burr joined us, he expected a casual jam session, but he was floored: 'Good grief! These tunes are extraordinarily unique and offbeat!' My pieces included quirky twists, even in the straightforward ones, but to me, it all felt instinctive. For metal novices, this illustrates how bending musical rules can create something fresh – imagine adding unexpected rhythms to a basic pop song to make it truly memorable.
The band saw several lineup shifts in its early stages, but a pivotal moment arrived with the addition of Paul Di'Anno.
He possessed a commanding voice, magnetic stage energy, and a cool, confident attitude. Paul was quite the personality. I think it was Geoff Barton, the former Sounds journalist and now a Classic Rock contributor, who described Paul as having a 'stable-boy charm.' That's actually a spot-on and fitting description.
Paul himself grumbled that Geoff's words made him sound like he reeked of horse manure!
Spot on!
Maiden's inaugural album stands among the landmark releases of 1980. It's widely noted that you weren't thrilled with its production by Wil Malone, yet it captures the group's youthful vigor perfectly. Tracks like 'Phantom Of The Opera,' 'Running Free,' 'Remember Tomorrow,' and the title track 'Iron Maiden' remain some of the band's finest works.
I was a bit let down that the guitar tones didn't pack the punch they deserved. Still, the record has an undeniable charm. We knocked out the entire thing in just thirteen days, mixing included. Since we'd been performing those songs live beforehand, we recorded them on the spot, often in one or two takes.
There's a palpable spirit in that debut album – not exactly rage, but pure enthusiasm. We were thrilled to enter a real studio for our first proper album; we'd only done a demo tape before, which doesn't compare. For any emerging band, this underscores the excitement of that milestone moment, like graduating from garage practices to a professional setup.
I think that's what gives the first album its adrenaline-pumping vibe. And set against the music landscape of the era, it's undeniably distinctive.
The album's artwork also set it apart, featuring the fierce, intimidating Eddie character, illustrated by Derek Riggs.
Eddie wasn't planned from the outset. We simply knew we needed striking visuals, and it evolved into something incredible. He's the embodiment of Iron Maiden, freeing us from needing to appear on the covers. Countless fans, particularly in the U.S., have shared stories with me: they'd flip through vinyl racks, spot the sleeve, think 'Whoa, check that out!' and buy it sight unseen. Mission accomplished. For those unfamiliar, Eddie is like a mascot that tells a story without words, much like how comic book heroes draw in readers.
Did you ever buy albums based on their covers back when you were a teen obsessed with prog rock?
I wasn't typically swayed by artwork alone. But I adored purchasing records – the thrill of bringing one home, poring over the lyrics and credits before even spinning it. That's something that's sadly faded away. On our first, second, and third albums, we were featured on the back covers, but never the front. I always figured, if we had a future, that would be a smart choice.
In 1980, Maiden was still gracing smaller stages – cramped spots like the Redford Porterhouse.
I recall that venue vividly, especially since Def Leppard showed up for the show, and we had a blast with them. They're a fantastic group of guys, and we still get along splendidly. They haven't changed much in terms of being great mates.
Later that year, you landed your first big tour, supporting Kiss across Europe.
It was fantastic. Kiss treated us kindly, and performing for European crowds was exhilarating. In a way, timing played a role – we were in the right spot for that opportunity. But credit goes to our manager, Rod Smallwood, for making it happen. As a former booking agent, he had the connections to pull strings that others might not. We put in the hard work, and it paid off. And naturally, we hustled tirelessly.
So, after that, you release another album and embark on more tours, and the momentum keeps building.
That's the dream for every band – the chance to perform live consistently.
For the second album, Killers, you enlisted Martin Birch as producer, who had previously collaborated with Deep Purple and Black Sabbath.
I feel Killers better reflected our state at that point. With Martin aboard, the production delivered a much stronger, more impactful sound.
You penned every track on that album, with only two co-writes. Did the pressure weigh on you?
Not at all. I've been fortunate with my songwriting; I've always been highly productive, so it was never an issue.
Killers marked the final album featuring Paul Di'Anno. How tough was the decision to let him go?
It was genuinely difficult, and truth be told, those situations are always challenging. That said, he had opportunities to sort things out. It's just one of those inevitable realities.
Swapping out a lead singer is always a massive risk for a band. Was that period stressful for you?
You can never be entirely certain with such changes; it might succeed or flop. But I remember sitting in EMI during the second album, wondering if we'd ever turn this into a sustainable career – a real job, if you will. Up until the third album, we weren't profiting; every penny from earnings, publishing, you name it, went back into touring. We avoided piling up debt to the label, which could have trapped us forever.
So, for you, giving up wasn't an option?
It's like any investment: if you're aiming for long-term success, you have to commit. No assurances, of course. We just crossed our fingers and pushed forward.
But here's where it gets controversial: Some fans argue that firing Paul was a turning point that elevated Maiden to superstardom, while others claim it diluted their raw edge. What do you think – did the band lose something irreplaceable with Paul, or was it a necessary evolution? And this is the part most people miss: In a genre full of one-hit wonders, Maiden's gamble paid off spectacularly. Share your thoughts in the comments – did they make the right call, or should they have stuck with the original lineup?
The Run For Your Lives tour is making a triumphant return to the UK, with Iron Maiden headlining a special weekend event at Knebworth Park on July 11, 2026. For more details, visit the official Iron Maiden website.
As a freelance contributor to Classic Rock since 2005, Paul Elliott has penned pieces for top music outlets like Sounds, Kerrang!, MOJO, and Q since 1985. He's authored books such as the initial Guns N' Roses biography and the memoir of celebrity bodyguard Danny Francis. Paul has also crafted liner notes for reissues by acts including Def Leppard, Thin Lizzy, and Kiss, and currently serves as content editor for Total Guitar. He resides in Bath – a place David Coverdale once quipped was 'How very Roman of you!'
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