I first became a die-hard Iron Maiden fan during the Piece of Mind era. So my preference has always been for the stretch of albums that included The Number of the Beast, Piece of Mind, and Powerslave. Recently however, I’ve been going back to rediscover the Paul Di’anno era, especially the Killers album which is pretty damn stellar in terms of songs and musicianship. Part of my recent return to this time in Maiden’s career has to do with how hungry the band was — they were starting to build a reputation as a great live act and the songs at this time were still tough, punky, hi-energy barnstormers. Also, the Killers era marks the first appearance of Adrian Smith who would finally give Maiden that signature twin-guitar attack that makes them so notable. Listening to the Maiden Japan EP — recorded right before vocalist Paul Di’anno left the band — I’m still blown away at the band’s over-the-top playing. Both Dave Murray and Adrian Smith make the record. Their guitar playing — with the tone having a great thickness and punch not found on some of the later records — has the swagger of two young guys just going for it. And yet, they’re locked in step perfectly. Listen to the version of “Remember Tomorrow” and you’ll hear what I’m talking about.

It is interesting to note that Maiden Japan wasn’t produced by Martin Birch. Instead, longtime sound engineer Doug Hall mixed and produced the album with the band. This actually gives the EP a unique sound when compared to most Maiden discs. The guitars have more thickness and Steve Harris’ bass has more bottom end (and less of his signature click clacky sound).

A few things I never knew:

• Apparently there was a limited edition cover produced in Venezuela that had mascot Eddie holding up the decapitated head of singer Paul Di’Anno. Manager Rod Smallwood rejected the cover because Maiden were looking for a new lead singer at that time. But 25,00 or so were still produced and you can find them on eBay if you’re lucky.
• The live version of “Remember Tomorrow” on Maiden Japan is the same recording included on the B-side of “The Number of the Beast” single, except with Bruce Dickinson’s vocals overdubbed over Paul Di’anno’s original performance (in spite of the band claiming that the later B-side was recorded in Milan, Italy during 1981).