There’s something so gloriously raw about this debut. It’s scrappy, urgent, and full of that pub-gig energy where everyone’s trying to prove something. I love how rough around the edges it is. The production isn’t slick and the performances sometimes teeter on the edge of falling apart, but that’s part of the charm. You can hear the hunger in every track, like they’re kicking the doors down to let the world know they’ve arrived. Paul Di’Anno’s vocals have this punky sneer that fits the vibe perfectly. He doesn’t try to be operatic, just snarls and belts through the chaos, and it works. The twin guitars from Murray and Stratton are already a defining feature. You’ve got harmonies flying in and out, sharp little runs, and those galloping riffs that would become their signature. Phantom of the Opera is the obvious standout. It’s wild how ambitious that song is for a debut album – full of tempo shifts and ideas, and it all somehow sticks together. Running Free is a total street anthem, while Charlotte the Harlot brings a bit of cheeky character into the mix. For me, this isn’t their best record, but it’s one of their most important. It laid the groundwork. There’s a youthful grit to it that never comes back quite the same way again. Later albums got more polished and operatic, but this one punches you in the face and then buys you a pint.