Killer Deal

Iron Maiden - Killers
Iron Maiden : Killers

Released February 2, 1981

Recorded: Battery Studios, London, November 1980 – January 1981

Label: EMI

Iron Maiden

Paul Di'Anno – lead vocals

Steve Harris – bass guitar, backing vocals

Adrian Smith – guitar, backing vocals

Dave Murray – guitar

Clive Burr – drums

Martin "Headmaster" Birch - Producer, Engineer

Nigel Hewitt - Second engineer

Derek Riggs - Illustration

Dave Lights - Cover Concept
Rod Smallwood – Management

Track Listing:  1981 US Release

Side one

No. Title Writer(s) Length

1. "The Ides of March"    Harris 1:46 Instrumental

2. "Wrathchild"  Harris 2:54

3. "Murders in the Rue Morgue" Harris 4:18

4. "Another Life"  Harris 3:22

5. “Ghengis Khan” Harris 3:06 Instrumental

6. “Innocent Exile” Harris 3:53

Side two

No. Title Writer(s) Length

1. "Killers" Harris, DiAnno 5:01

2. "Twilight Zone"    Harris, Murray 2:33 Not on original UK release.

3. "Prodigal Son"  Harris 6:11

4. "Purgatory"  Harris 3:20

5. "Drifter"  Harris 4:31

Iron Maiden’s sophomore effort came quickly leaving little time for rest following the release of their Debut.  Although I believe the production quality to be better than that of the predecessor I do not believe that the album is as memorable nor packs as much raw Iron Maiden vibe.  Most of the material was written and existed prior to the release of the debut album and the bulk was pretty much written in total by Steve Harris with assistance from Di’Anno on the title piece, and by Murray on one of the singles “Twilight Zone”.  Although I feel the lions share of this album is somewhat less than what I had been conditioned to expect from “Maiden” it is a great transition piece.  The Addition of Adrian Smith on guitars provides insight into the jolting dual axe attack that is coming…and coming soon.

The Ides of March 1:46 – Nothing special or notable regarding the opening instrumental.  A cool rolling drum segment, that transitions into a rolling cadence that drops into some nice solo work. 2/5

Wrathchild 2:54 – The definitive piece on this album and a signature piece to this day.   Trademark-able sounds, a hammering bass line supported by a driving drums and some dueling guitars.  The lyrics are beautifully raucous and suitable to the title.  Overall a great Maiden showing. 4/5

Murders in the Rue Morgue 4:18 – Murders starts off with so much promise and drops it at the bridge and chorus.  The lyrical presentation is repetitive and campy to me and not a suitable match to the otherwise excellent instrumental accompaniment. 2.5/5

Another Life 3:22 – Opening with a rousing rhythm and very tight weave of guitars knitted together with perfect timing.  The vocals on this one do not disappoint and this track has an energy that the remainder of the album lacks. 3/5

Ghengis Khan 3:06 – A peek into the future of epic, historical pieces to come.  Although not epic in length, this track feels epic in stature and sound.  The riff itself is commanding and transfers to me the feel of being pursued by a horde when it breaks into more of the speed metal feel supported by the branded IM gallop.   “Charge!”  Musically, this arrangement is extremely accomplished.  3/5

Innocent Exile 3:53 – A rowdy run at some metalcraft.  Intense solos over the top of solid riffage all building to an appropriate crescendo but an abrupt abandonment of the track leaves one wanting for more. 2/5

Killers 5:01 – The intro for the title track steps in where Innocent Exile left off and teases the listener almost leaving one with little choice but to stay hungry for some vintage maiden.  The earliest vestiges of some speed or thrash metal can also be heard as undertones.  The dueling guitars never disappoint and have some complimentary conversation during the solo portion.  Supported by some appropriately haunting vocals presented appropriately provide for a perfect recipe for some main dish Maiden.  Serve it up.  3.5/5

Twilight Zone 2:33 – Di’anno's stand out performance on this album IMHO.  While being very melodic and opened with an almost anthemic sounding riff, I just struggle because I don’t like this track as much as I think I should and want to.  In the end I always end up shuffling past it. 2/5

Prodigal Son 6:11 – Don’t know where to begin with this one.  Is it even Maiden or did they kidnap the band and replace a solid hard rocking maiden staple with this bluesy pop presentation.  Although there are some interesting moments, to me it just doesn’t fit and drives me to my knees …. “help me please.” Prodigal Son is one of my least favorite Maiden efforts of all time. 1/5

Purgatory 3:20 – OK we found the band and they are back on track with Purgatory.  Opening with a hard pounding entry riff, stiff vocals, appropriate pulsing gallop and enough metal to make any metal head dizzy with pride.  Hey I forgot what was the deal with that last song?  Although a little repetitive at times with requests for rescue, I will let it pass as we are back on the right track.  3/5

Drifter 4:31 – Full on Maiden attack, “don’t leave em wanting.”  Appropriate screaming entry, signature gallop and perfectly intertwined string and skin work.  The time change at the bridge hooks me every time and sets me up perfectly for the coming speed run.  Excellent, well timed and punctuated stops keep pulling the listener back to center.  Great closer. 3.5/5

Review: Iron Maiden - Iron Maiden s/t debut

US Issue Cover

Iron Maiden : Iron Maiden

Released April 14, 1980

Recorded: February 1980, at Kingsway Studios, London

Label: EMI

Iron Maiden

Paul Di'Anno – lead vocals

Steve Harris – bass guitar, backing vocals

Dennis Stratton – guitar, backing vocals

Dave Murray – guitar

Clive Burr – drums

Will Malone – producer

Martin Levan – engineer

Derek Riggs – sleeve illustration

Rod Smallwood – management

Track Listing:  1980 US Release

Side one

No. Title Writer(s) Length

1. "Prowler"    Harris 3:56

Original UK Issue Cover

2. "Remember Tomorrow"  Harris, Di'Anno 5:29

3. "Running Free"  Harris, Di'Anno 3:17

4. "Phantom of the Opera"  Harris 7:08

Side two

No. Title Writer(s) Length

1. "Transylvania" (instrumental) Harris 4:17

2. "Strange World"    Harris 5:32

3. "Sanctuary"  Iron Maiden Harris 3:14

4. "Charlotte the Harlot"  Murray 4:10

5. "Iron Maiden"  Harris 3:31

1980, what a year to release your debut, nothing but good company (competition) here.  Also released in 1980 were AC/DC's Back in Black, Judas Priest's British Steel, Black Sabbath were also trying out a new front man, Ronnie James Dio and released Heaven and Hell, while their wild and crazy front man Ozzy Osbourne was releasing his freshman debut Blizzard of Ozz.  Kiss was taking off their makeup and the year saw us saying goodbye to Bon Scott of AC/DC and John Bonham from Led Zeppelin, RIP Bon and John.  Iron Maidens self-titled effort was released April 14 1980 with a debut at number 4 on the UK charts, was a powerhouse and began the definition for NWOBHM (New Wave of British Heavy Metal).  Hard, Edgy, Fast, at times melodic and paced, with a strong punk undercurrent, this freshman effort provides glimpses of the Metal powerhouse they will become in only a couple short years.  However, this work stands on its own and is truly Heavy Metal at it's finest.

Prowler 3:56 - You don't have to wait long to see where the album is going.  A nice peek into the future of maiden with a nice gallop and fast tempo it truly represents an appropriate debut opener.  Edgy and Gritty, I have heard it said "well it is a bit to punk," and with lyrics that could use some improved depth it also represents a freshman effort.  Dave Murray’s virtuoso skills are showcased and we get another glimpse of what the future holds with the solo beginning at 1:59.  Overall a great Maiden classic that was generally given little original fanfare.  4/5

Remember Tomorrow 5:29 – A surprising cut leaving this Maiden fan with his jaw on the floor, so Un-Maiden like, but one of their best works.  Paul Di’anno showcases his vocal range and ability.  Actually surprised that this is one of my favorite cuts from the album.  4/5

Running Free 3:17 – This is an overly repetitive disappointment the riff, if forgettable and wears thin in little time.    2/5

Phantom of the Opera 7:08 - Yet another look into the future of Iron Maiden with this epic and unforgettable masterpiece forging the way for truly memorable epics.  The timing and key changes communicate the mood of the piece and the canonical Iron Maiden riffage beginning at 4:20 and continuing through the piece are the undeniably the definition of “Epic”.  3.5/5

Transylvania 4:17 – A gritty, hard edged instrumental that is 100% maiden all the way, dual attack synchronized strings that provide energy and a little bit of a growl.  There is more of a punk overtone present here in places that remind me of the opening cut prowler.  However an overall win.  3/5

Strange World 5:32 – Another pursuit into the strange indeed, although their departure during remember tomorrow earlier in the album was definitely memorable, this piece always leaves me wondering what strange substance did they ingest.  Almost having me at the entry, I get a pink floyd-ish, dark side of the moon vibe that is a little more guttural.  However all forward progress is lost when the vocals kick in about 1:40.  They regain a small amount of ground during the solo, but overall just a disappointing exercise.  2/5

Sanctuary 3:14 - Although this track has the potential of being another repetitive chugga-chugga riff rant, it actually surprises with swings and sways and some top shelf Dave Murray rips and runs.  Not part of the original UK release, but included on the US release of the album it is catchy, memorable and reminiscent of the Iron Maiden standard.   3/5

Charlotte the Harlot 4:10 – Although I want to like this track as it is Maiden to the core from the beginning, I just don’t.  I think that the mellow bridge beginning about 1:36 just takes all the energy that was building and dumps it in an abrupt pile.  Some good chops via Murray again, but falls short as a whole.  2.5/5

Iron Maiden 3:31 – At the outset I feel a little bit punk, a little thrashy and feel a little speed metal in the cadence.  Meant to the their self-titled anthem, I feel it falls a bit short, however, it remains a staple in their live shows for years to come and for the record I don’t feel that anyone can capture Di’Anno’s vibe regarding this track. Although I have criticized it, the track is original and memorable and I believe it was the only proper way to close the deal on their opening effort.  3/5