In the darkest margins of heavy metal’s birth, where official history barely scratches the surface, the name Iron Claw emerges as one of the most enigmatic pieces of British proto-metal. Formed in Scotland in the late 1960s, their raw, heavy, and ahead-of-its-time sound makes them a fundamental band for understanding the evolution of hard rock into more extreme forms. However, their legacy was not built on official albums from their golden era, but on lost recordings, recovered tapes, and a legendary bootleg known as *Clawstrophobia*, which over the years became a cult object. Their story is also deeply tied to the early influence of Black Sabbath and to a scene that still did not understand the impact of what was being born. In this interview, we explore their journey, the material that was left forgotten, their breakup, and the rediscovery of their legacy decades later, through the voices of the protagonists themselves.
How was the band originally formed, and what musical influences shaped your early sound at that time?
The idea to start a band originated when I reached my 21st birthday … I wanted to make a record and have it released! This was in the summer of 1969, in those days there was no internet, no “do it yourself” methods to bring a recording out, you had to have a band of sufficient quality playing wise to hopefully get a record contract. At the time I was assisting in managing a local band called “Amplified Heat” who were the only band in the Dumfries, Scotland area playing blues-rock covers… I was also regularly recording “Amplified Heat” at the time, which influenced my decision to start a band of a sufficiently high standard to gain a recording contract... I’d heard some local teenagers over some months that summer (who had asked to “have a shot with real equipment”) at Amplified Heat local gigs who had impressed me with their ability and I’d taken a mental note of them. So the origins of what ended up as “Iron Claw” began in the summer of 1969 when I recruited Jimmy Ronnie (gtr)(15) and Iain McDougall (drums) (15). It doesn’t take a genius to work out who was in charge of everything, (financially, equipment supply and music style) I was 21 and working and they were still at school! So we worked hard as a 3 piece at the start doing covers of harder, more challenging blues rock numbers … I also recorded the rehearsals in order to eliminate errors during the learning of covers (a hard task-master I suppose but I’d already learned the lesson that bands that make mistakes don’t advance their ambitions). I’d seen Led Zeppelin on their first tour of the UK in July 1969 playing blues/hard rock and was blown away by their professionalism… (you could still buy tickets on the night for Zeppelin, they were just starting off!)… Then I saw Black Sabbath in Dumfries in November 1969 and (after speaking to them and learning that they were writing their own songs) the penny dropped and I started to focus on doing original material as well as covers...
To begin with, how do you remember the early years of Iron Claw and the Scottish music scene in the late 1960s and early 1970s?
The Scottish music scene was run by agencies in the late 60’s/early 70’s who were only interested in pop/soul music, certainly no one who played rock or original music, so it was a hard struggle to keep Iron Claw going, (again, no internet to build a fan following, no radio or tv exposure unless you played pop/soul) so any support had to be gained by playing live (if a venue put you on!) or hiring your own venues. Financially, it fell down to me to keep the band going.
Much of Iron Claw’s early material was never officially released during your active years. What was the recording process like, and why were those songs left archived?
Our first recording was in Edinburgh on a four track machine with two originals (“Sabotage” and “Mist Eye”) in late summer of 1970, we had won a 3 hour recording session as a prize in a local contest held in Dumfries. This whetted my appetite so I splashed out a month’s wages to record in London in December 1970 in a 4 track studio, recording 8 originals in an 8 hour session (recording and mixing!). Of course, getting it signed up and released at the time was a whole different problem! So the material remained unreleased back then. The bootleg
“Dismorphophobia” became
a cult item among collectors. How do you feel about that “unofficial”
material eventually circulating and gaining recognition?
When
Iron Claw split up in 1974, the band members scattered to various parts
of the UK and I was left with the debts of the band to clear up which
took me approx 4 years… in order to help raise some funds for this debt
clearance I made some home made cassette tapes , only approx 60 tapes
(Remains To Be Heard” which had 14 original Iron Claw tracks) and sold
them to local Dumfries fans. One of the cassettes was obtained by some
German bootleggers. I’ve never found out how they got it or who from)
and it was the bootleggers who released “Dismorphophobia” on CD… the
sound quality was pretty bad though as it must have been about the third
generation recording from a cassette. Needless to say I was astonished
when the bootleg CD appeared in the late 90’s!… Later, the bootleggers
brought out another bootleg CD called “Buried Alive” which combined some
of the same recordings of Iron Claw with some recordings of the “Flying
Hat Band” (Glenn Tipton of Judas Priest fame). To add to the
subterfuge, the bootleggers pretended that the Iron Claw songs were from
a new band called “Antrobus”… totally fake name and back-story...
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| IRON CLAW LIVE |
What do you remember about the recording sessions included in “Dismorphophobia”, and how faithful are they to the band’s original vision?
We recorded the whole set between 10am and 6pm on 5th December 1970… we had rehearsed heavily previous to that date so that we could do the material more or less in one take without mistakes… I remember the engineer saying he couldn’t tell one song from another on playback, so to me that was a good thing because it meant we had our own identifiable sound! We also played at full stage volume in the studio so it was really a faithful recording of the band then. Because it was an vinyl album’s worth of material I wanted one side really “heavy” with extended songs and the other side with shorter songs (hoping to use for a single would you believe!)
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| THIS IS IRON CLAW MOTHERTRUCKERS |
The influence of Black Sabbath is constantly mentioned in relation to Iron Claw. How direct was that influence on your sound and songwriting?
No denying they were very influential, but as I said earlier it was the fact that they told me they were writing their own stuff that was the real main influence… Also, unlike Led Zeppelin who were obviously “superstars” already when I first saw them in 1969, the Sabbath lads (they were all younger than me!) were real polite down-to -earth guys (just like normal folks!) that you could identify with. If they could write their own music then I could!
It is even said that you were among the first bands to perform Black Sabbath songs live. What was your early connection with their music like?
I decided to cover some Black Sabbath songs in December 1969… they were so popular in Dumfries it seemed like a smart move to put some of their songs in our early sets! I then figured why don’t we do the whole album at the start of 1970 and it was a good way to start thinking of album writing...
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| IRON CLAW... In color! |
When the material was rediscovered and officially released decades later, how did you experience that late “rebirth” of Iron Claw?
Because I still had the original tapes with a good sound quality, when Rockadrome approached me to release the early stuff I was happy to do that to get a better quality recording released. That would be in the early 2000’s… I was very pleased that more people could hear it properly then.
Why did the band originally split? And how was the comback en 2010?
The band split primarily because we’d been playing together for 5 years and in the process af “growing up” and maturing (ie the youngest members were 21 and wanting social lives, girlfriends, marriages) combined with the 1974 oil crisis (which meant petrol costs went up literally overnight from 15 pence a gallon to 100 pence a gallon) meant that I was losing money trying to keep the band going (I was still the only one with a regular job)… As regards the comeback in 2010, it was beset with problems from the start. It wasn’t easy to start again and expect to sound the same, there wasn’t the same relationships and it was more of a “can this be really happening?” feeling...
Let’s talk about what became your first official full-length album, A Different Game (2011), released by Ripple Music. Coming 40 years later, it’s naturally a very different record—more direct, less psychedelic, and more structured within hard rock and heavy metal. What do you personally take away or value most from that album?
Personally, I was disappointed with the musical content… Ripple had said they wanted a “heavy” album and I was up for that but, as you say, it’s a very different album than the one I envisaged. My home studio was used for a whole year (and I was listening to the songs for a whole year engineering it!) so my perspective is a bit more critical… Also, it transpired it was NOT a good record deal I’m sorry to say, but I had nothing to do with that side of things (apart from closing down the contract). There was also a clash of personalities between some band members that didn’t help either… as usual I was left to sort out the difficulties (some things never change even after 45 years)...
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| Los dioses escoceses del Proto-Metal |
What motivated the idea of releasing a Black Sabbath covers project, and how did that creative process come together?
Thanks to the internet there is still some interest in the Iron Claw, so when Yunque Records asked if there were live recordings of Iron Claw from 1970 playing Black Sabbath covers, I still have the recordings from that era and had no problem in agreeing to it… As an aside, it amuses me that 56 years later, even local Dumfries bands are adding a Sabbath song to their set (56 years too late right enough) thinking they’re “cool” for covering a Sabbath song… 30 year ago they were slagging them to death!
From your perspective, which bands do you consider true pioneers of so-called “proto-metal” aside from yourselves?
Difficult to pin that one down… Classical music has some brilliant “heavy” riffs, for example “Mars, The Bringer Of War”, the end of the “1812 Overture”… I like all kinds of music so I’ll bow to the knowledge of the cognoscenti of “proto-metal” I think… I’ll go for Holst and Tchaikovsky (amongst others) for starting it off!
Looking back, how would you like Iron Claw’s legacy to be remembered within the history of heavy metal and hard rock?
It’s amazing to me to hear young bands playing Iron Claw songs from the early era (eg Blood Ceremony, Sacri Monti, etc) which proves to me there was something good about Iron Claw… hopefully youngsters still hear it occasionally and appreciate it… If I may use a quote I wrote in the Rockadrome booklet that’s with the first CD… “Times were hard, money was always tight, but sometimes the music was transcendental”...
Any final comments to the readers and long time fans of Iron Claw?
I’ll be 80 years old at the end of next year (2027) and I don’t play live anymore (or have the desire to) but I embrace new technology which has enabled me to breath life into lyrics I wrote between 1971 and 1985 which I envisaged as possible Iron Claw songs (even after we’d split up in 1974)… The majority were too heavy to use in the 2010 reincarnation and certainly didn’t make the “cut” in the early 70’s, some are quite autobiographical, so I kept them back hoping to use them one day… I intend to release them in some format soon, I’m very happy to be still hammering out songs!
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| Mr. Alex Wilson... Soon to be 80! We salute you SIR! |
