Metal for Muthas: a 1980 snapshot of the NWOBHM swarm
"Metal for Muthas" isn’t a “best of.” It’s a freeze-frame.
UK, 1980, a bunch of hungry bands circling the same streets, the same pubs, the same loud dream.
One compilation, one moment, and a very specific kind of electricity that doesn’t politely ask for permission.
This copy leans into that time-capsule vibe even harder because the page includes a full transcript of the original liner notes.
It’s the sort of thing that makes a compilation feel less like a playlist and more like a scene report.
Why this compilation matters
Compilations can be messy.
That’s the point.
You get the movement, not the museum label.
The sleeve notes (credited to Neal Kay) basically plant a flag: metal is here, it’s real, and it’s not going away.
Read that with a grin, because the confidence is loud.
Then drop the needle and realize the swagger actually has teeth.
The Iron Maiden headline moment
The big hook here is Iron Maiden, and the album puts it bluntly: it contains their first two recorded tracks ever, "Sanctuary" and "Wrathchild."
"Sanctuary" is noted as the original mix, recorded in November 1979, and first appearing on this compilation.
It was meant as a single-only track, and later got added to the US version of the self-titled "Iron Maiden" album.
"Wrathchild" shows up as an early version recorded in 1979.
Both tracks are credited here with producer Neal Harrison, and they sound like a band already leaning into the fast, sharp edge of what came next.
The rest of the litter: different bands, same hunger
After Maiden, the record turns into a proper scene sampler.
You get names that feel like they should be on the back of a denim jacket, because of course you do.
Some tracks come with little breadcrumb notes that make the compilation feel curated rather than random.
"Sledgehammer" by Sledge Hammer is tagged as coming from a 7" single recorded in 1979, produced by Mike Cooke.
E.F. Band’s "Fighting For Rock And Roll" is called out as only being available on this compilation LP.
Praying Mantis bring "Captured City" with producer Alan Leaming, and Ethel the Frog punch in with "Fight Back" as part of the Neal Kay Metal for Muthas universe.
Angel Witch’s "Baphomet" is framed here as their first song to hit mainstream popularity via this compilation, produced by Chris Roger.
Samson show up with "Tomorrow Or Yesterday," described as coming from their first album "Survivors," plus a neat little footnote: Bruce Dickinson is mentioned on the cover, but joined after that album was completed.
Nutz close out this chunk with "Bootliggers," summed up here as “very obscure,” which is honestly a whole aesthetic.
The oddball moment that makes compilations fun
Every good scene document has at least one curveball.
Here it’s "Blues In A" by Toad The Wet Sprocket, described as probably the only non-metal track on the album.
That kind of left-turn is either a vibe killer or a palate cleanser, depending on your mood and how much coffee you’ve had.
Quick highlights
- Iron Maiden: "Sanctuary" (original mix) + "Wrathchild" (early version), both tied here to 1979 recordings
- E.F. Band: a track noted as exclusive to this compilation LP
- That one non-metal detour: "Blues In A" as the probable outlier
Collector notes, but keep it human
The label and sleeve details are part of the charm, but they’re also practical.
This UK release is shown with no barcode, and the label text calls out (p) 1980 EMI Records Ltd and “Made in Gt Britain.”
The record label and catalog info on this version is listed as EMC 3318 / 0C 062 - 07 202.
Production credits on the page name Executive Production: Ashley Goodall.
Sound/Recording Engineer(s) are listed as Ron Hill and Dave Flower.
Design & Art Direction is credited to Rob Burt, with illustration by Peter Campbell.
It’s the kind of credit block that reminds you: scenes don’t just happen, they get built.
The liner notes energy: pure scene evangelism
The liner notes read like a mission statement.
They talk about talent surviving fashion, new bands emerging weekly, and heavy music needing exposure because it gets the least media love.
Then they land the punchline: “Metal is for Muthas” and the world should get used to the idea.
Slightly dramatic?
Yes.
Also: exactly the attitude that makes early NWOBHM feel alive on vinyl.
