Solo album, side-project, new band, British Lion is a little bit of everything. Truthfully, the news of its release came as a surprise. Few imagined Steve Harris, a monomaniac leader of his own band if there ever was one, straying from the “brand” he so precautiously crafted since 1975. Considering this, it shouldn’t surprise anybody that this first solo adventure so dramatically differs from the sound which made the reputation, fame and fortune of its fearless leader, and waiting for anything else than “not Iron Maiden” would be the listener’s loss.

Playing these ten songs and a little over 52 minutes (a reasonable length for Harris whose main band systematically produces overlong albums nowadays), it’s obvious the goal of the whole enterprise was not to reinvent the wheel or try a bold move to surprise the masses. Harris, fifty something, more of a gentleman farmer than a misfit, just wanted to have fun, to play, just this once, something looser, lighter, something different. Actually, would it had been otherwise, one would have questioned Harris’ sanity and it’s only natural, after these 37 years dedicated to so “restrained” a sound, to feel the need of a breath of fresh air.

Musically, those who expected bits and pieces of the Iron Maiden trademark sound are in for dire disappointment and, probably, boredom. Sure, Harris “slappy” bass sound sometimes resurfaces (one can never change completely) and a certain taste for a progressive-styled songwriting unites both projects, particularly on Up Against the World which, twin-guitared and muscled-up, would have fitted nicely in one of the Iron Maiden’s recent productions (and it’s a good song with that) but that’s about all you’ll get for you hard earned money. Belonging loosely to the Hard Rock/Heavy Rock genre, the album proudly displays the influence of past glories such as Led Zeppelin, Deep Purple, Rainbow, UFO, Uriah Heep and a few others. Mind, it’s never so obvious that it ruins the fun of listening to a solid hard rocking opus where, to be perfectly honest, the first half shines a lot more than the second which appear a tad toothless in comparison, with AOR sometimes taking over (Eyes of the Young, crap crap crap).

Of course, Harris is not alone in this. Richard Taylor, singer/songwriter/co-producer, whom I had never heard of, has a good voice à la Paul Rodgers but lacks power. He certainly feels more comfortable in the lighter moments of the album where he can fully display the nice range and good sound his chords can produce (see the end of Lost Worlds, for example). In the heavier parts, we feel for him and actually can hear his throat all tensed and contracted with the effort. All in all he does a good job. The other sideman worth mentioning would be David Hawkins (co-producer, co-composer on most tracks, guitarist, keyboard-player, backing vocalist… a useful lad!), clearly the other pillar on which Harris laid some of the creative weight. Like Taylor, you won’t be over-amazed by his performance. It’s solid, skilled but never tries to outshine the songs, kinda what instrumentalists in Iron Maiden do.

Clearly, Harris and his accompanying team are having a lot of fun, and we with us with the condition of enjoying that particular sort of honest to god, down-to-earth, 70s revivalist Hard Rock with a modern, decent and not too loud production (co-handled by Harris and the aforementioned Hawkins & Taylor, Kevin Shirley mixing). Of course, this is old men’s music but, just like Wishbone Ash or Uriah Heep recent productions (and not that of Tygers of Pan Tang!), happy-to-be-here old men with strength and stamina and willing to share with whoever’s wanting to pay attention. I, for once, wasn’t expecting that much and can live with skipping the few fillers. So, if (final warning!), you’re not coming here to get your fix of “Eddie Metal”, you’ll get out of the experience all refreshed and energized and curious to see what future lays ahead of this promising British Lion which managed, despite its few obvious flaws, to leave me hungry for more.