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Metal For Muthas

Metal For Muthas

15th February 1980

 

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This compilation album contained only the second released recording of Iron Maiden's material. It received mixed reviews by the media, but all agreed that Iron Maiden's two songs were by far the best of the album. Some even commented that the album could easily be viewed as merely a tool to promote Iron Maiden. In any case, it was a chance for Maiden to receive some exposure – there was even a Metal For Muthas Tour. The songs were recorded at EMI Manchester Square in November 1979, during which time Tony Parsons was a member of the band. However I'm not 100% sure if he is on these recordings since I haven't been able to find him mentioned anywhere regarding Metal For Muthas.

It is interesting to note that this compilation has a rather strange title for a British release. The word "muthas" is a strange spelling of the word "mothers", as in "mother fuckers". This particular expression is however hardly used in British English, whereas the Americans seem to use it much more often.

The sleeve notes were composed by Neil Kay, the Soundhouse D.J. who is partly responsible for igniting Iron Maiden's rise with his fanatical devotion furthering the New Wave Of British Heavy Metal.

Metal For Muthas the title of this L.P. virtually speaks for itself. Metal for all the real Muthas that have been loyal to the cause, and who helped support it through the recent two-year crisis and, also Metal for all the other Muthas that together, contrived to bury it over the last few years.

However, real talent cannot be ignored forever. Fashion is a five-minute wonder and when the rush of commercialism is over, real talent is left – exposed for all to see. I have been given the honour of adding sleeve notes to this L.P. which is a collection of talent (in many cases, the seeds of which were sown in the very hardest of times) currently leading the field in what has now become known as, the new wave of heavy metal. I believe that the artists featured on this album are amongst the finest in their class, and, having opened the way, more are emerging, almost weekly, to add their stamp of originality on hard rock music. All new talent needs a break if it is going to be allowed to mature, and metal is no different. It merely needs more exposure than other music forms because it enjoys the least amount of media publicity and promotion. That is one of the main reasons for this L.P. being put together. Hard rock is an expression of emotion, heart-felt and sincerely delivered this album is the proof. Metal is for Muthas – it is here to stay so the whole world had better get used to the idea! The L.P. tracks are not stagnant, dated or jaded, but fresh, original and dramatically hard.

Honest and accurate in content, with all the talent and energy that will carry it into the eighties and beyond, this is an album that is a unique collectors' item today, and a recorded legacy for the rising fans and musicians of tomorrow.

Sleeve Notes: Neal Kay

While Metal For Muthas was not earth-shattering in its effect on the music industry of that time, it was still an important stepping-stone for Iron Maiden. At the end of the Metal For Muthas tour, Maiden released their first self-titled studio album, which went straight to number four and sold over 50,000 copies. Metal For Muthas may have had a significant impact in preparing the way for the new album.

In March 2000 a digitally remastered version of Metal For Muthas was re-released by Sanctuary Records, the first time it has ever been available on CD. Since I had never played my original LP, this was also the first time I really listened to the non-Maiden songs on the album and I was pleasantly surprised at how good they are. Iron Maiden is still the best of the lot, but several of the other bands including Praying Mantis, E.F.Band, and Samson make this a very worthy purchase, not only for its historical significance but also for the music itself!


 

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  Sanctuary [Iron Maiden] (Harris, Di'Anno, Murray) Commentary Lyrics

This is the earliest recorded version of "Sanctuary", and is full of the rough energy that characterises Maiden's earliest recordings. The production seems noticably worse than the version that was later released as a single, but otherwise the sound is quite similar. The mid-song police siren had not yet been added and Stratton's guitar solo is a bit different.

 


 

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  Sledgehammer [Sledgehammer] (Cooke) Commentary No lyrics available

No commentary.

 


 

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  Fighting For Rock And Roll [E.F.Band] (Dufort, Fischer) Commentary No lyrics available

No commentary.

 


 

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  Blues In A [Toad The Wet Sprocket] (Ridout, Mustafa) Commentary No lyrics available

No commentary.

 


 

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  Captured City [Praying Mantis] (Praying Mantis) Commentary No lyrics available

No commentary.

 


 

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  Fight Back [Ethel The Frog] (Sheppard) Commentary No lyrics available

No commentary.

 


 

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  Baphomet [Angelwitch] (Heybourne) Commentary No lyrics available

No commentary.

 


 

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  Wrathchild [Iron Maiden] (Harris) Commentary Lyrics

This is the earliest avaliable recording of "Wrathchild", and like "Sanctuary" it is full of Maiden's early energy and rough-edged sound. However, this version of "Wrathchild" is a little unpolished compared to the version that was later released on the Killers album.The tempo almost seems to drag in a few spots, but that might simply be because the entire tempo is somewhat slower than we are accustomed to.

 


 

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  Tomorrow Or Yesterday [Samson] (Samson, Mcoy) Commentary No lyrics available

No commentary.

 


 

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  Bootliggers [Nutz] (Davenport) Commentary No lyrics available

No commentary.

 


 

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