Smith explains that Harris' guitar style lends a unique sound to Iron Maiden's multi-guitar setup and discusses the band's progressive leanings shaping their evolving sound.
The clues were evident from the get-go that Iron Maiden wasn't just another NWOBHM band.
From their bad-ass logo, the chilling presence of their undead mascot Eddie, and the keen eye for visuals, the riff-tastic band had it all - a sound that matched their look, and boy, what a sound.
Iron Maiden shared the sense of urgency with their peers, but with a crucial difference. Their self-titled debut, packed with boisterous metal anthems, also carried progressive grace notes that hinted at a radical musical evolution. From the on-the-lam metal riot of Running Free to long-form blockbuster epics like Paschendale, Blood Brothers, and the Rime Of The Ancient Mariner, this bold new band redefined the scene.
As iconic British institutions go, Iron Maiden is as recognizable as the BBC, the NHS, and Boots the chemist. But in 1980, those with keen ears would recognize that founder, bassist, and primary songwriter Steve Harris was cooking up something extraordinary.
Take the track Phantom Of The Opera - the sheer audacity of it all suggested a grander vision.
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Peering Into the Abyss What birthed under the nightmarish yellow street lamps of urban Britain would soon spawn musical masterpieces that crossed seas and continents, placing Iron Maiden on the Sphinx of Giza and, why not, Outer Space. The band's fascination with sci-fi, fantasy, and history gave them the narrative space their grandiose arrangements needed.
Harris' path to Iron Maiden was cleared by sheer ambition. He had a brilliant run in Smiler, learning the ropes with a bunch of guys who were a few years older. But Harris had outgrown his creative aspirations, finding his songs too experimental for their tastes.
"When I started writing my own stuff," Harris recalled in 2023, speaking to Classic Rock, "it was with a lot of combinations and time changes and power. I wanted to do my first real song with Smiler, but when I presented it to them, they said, 'Oh shit, this has too many time changes. We're not bloody doing this!' I couldn't handle that attitude, so I left and formed Iron Maiden."
Those rejected tracks Smiler didn't want would find a new life with Maiden. Burning Ambition, the B-side to Running Free, was the first Harris ever wrote. The opening riff to Innocent Exile, on Killers, was penned for Smiler. Harris was learning fast, and fast he went.
Many would hear Iron Maiden's debut and Killers and attribute their speed and tempo to punk's influence. Harris scoffs at that notion. Over the years, he has made it clear that punk had nothing to do with it. Harris's love was always prog, not punk.
"Everyone knows I don't like punk at all," he said, reflecting on 50 years of Iron Maiden. "So, it's not that. At that age, you're full of energy, and that's what you want to come through, but with loads of melody. That's why I wanted twin guitars."
Those guitars danced differently, thanks to Harris's nimble basslines, almost exclusively performed on a Fender Precision Bass with heavy gauge flatwound bass strings. The flash of Harris' stiletto basslines created the rapid-fire pace Maiden was known for.
Harris operates his rig loud, with only basic instruments in his monitors - kick, snare, toms, and an occasional metaphorical corner to retreat to between shows. It might be an apocryphal tale, but one about a roadie who picked up Harris' bass and attacked the strings with a pick, blowing the speakers, speaks to Harris' signature sound.
Formidable musicians have played guitar for Iron Maiden over the years - Dennis Stratton, Dave Murray, Adrian Smith, Janick Gers - but none could transcribe Harris's style perfectly. That's why Phantom Of The Opera, and countless other Maiden tracks, sound unlike anything else.
"As a bass player, I don't write or play like a guitarist would," Harris says. "And with Phantom it was obvious that my style of writing was very different to what people were used to, and what guitarists were used to. My songs were unusual, a bit quirky, but it felt natural to me."
"That's a thing that's gone all through the years," agrees Smith. "Steve is the main songwriter, and as a bass player, he has a pretty unique way of playing. So, when you translate that to the guitar, it's just something you'd not do on guitar, normally, which is a double-edged sword, because although it might not feel natural, when you translate what he does, it sounds different."
Even Harris' choice of keys is unconventional. He pitches them higher, elevating Maiden's tracks above the mundane, a deliberate use of the electric guitar as a rapier.
Most metal bands would likely have tuned down in the same situation, but Maiden stands tall in standard tuning, adaptable for the vocal range of frontman Bruce Dickinson. And with three guitars, they create a harmonious blend without cluttering the mix, allowing for melodic counterpoints that fuel Iron Maiden's redefined metal sound.
Catch Iron Maiden on their Run For Your Lives World Tour. Visit Iron Maiden for dates and ticket details.
In the world of music, Iron Maiden expanded their horizons beyond just heavy metal, infusing progressive elements that hinted at future evolutions. This innovation wasn't confined to their music; for sports enthusiasts, their approach to creativity embodies a similar spirit found in sports-betting strategies, where calculated risks and strategic moves lead to unique outcomes.
