Paul Di'Anno. Anyone that had their doubts about his capability as a front-man to the greatest metal band will be blown away by just how spectacular he comes off here. Almost like he knew it was his final hour with the band, Di'Anno shows off the awesome progression of his vocal range delivery, all the while maintaining his street-wise, nasty bite from the predecessor. With the high-pitched wails at the beginning of "Killers," to the strong falsetto notes on the magnificent "Twilight Zone," Di'Anno doesn't just prove he's more than capable of stepping up to the plate, he can match the epic levels of that of future vocalist Bruce Dickinson.
The instrumentation of course is top-notch coming from these guys. Steve Harris' bass is present more than ever: laying down thick, heavy notes that keep the groove in tact. Finally we get the twin-ax guitar assault of Dave Murray and Adrian Smith, and their form is as perfect as it gets. Smith himself stands out more as a performer than previous guitarist Dennis Stratton, having more character in his playing.
And ow my god, Clive Burr. This man was never better; he lays down the foundation for the blistering, headbanging attack that many later thrash drummers would incorporate.
During this period in the band's career, when concerning their lyrics, the band hadn't really begun playing songs based on historical, literary tales.
Instead, the lyrics deal with very personal conflicts, sometimes going very foul. This is best heard on "Innocent Exile," and the as before mentioned title track. All of this only seems to add the album's overall dangerous atmosphere.
Killers has, and always will be, a misunderstood record that will leave up a lot of room for discussion among fans. Never before, or after, have Iron Maiden recorded something that sounds like it, but I guess that's the sum of all their 80's material. Although it may seem like it's unappreciated at times, nothing can take away from the unrelenting experience that Killers provides.
Absolutely all killer, no filler. Truly an album that lives up to the name. This album is too often dismissed by many as being a poor relation to its eponymous predecessor and its successor, The Number Of The Beast. Although I wouldn't agree it's not quite as good as those, because it is an immense album, being way ahead of the rest of the NWOBHM pack in most every respect, even the debut.
It is perhaps true to say though that 'Killers' has the appearance of a stopgap release, with songs which had been left over from the last album and some which were amongst the first Steve Harris had ever written. It also was the last album to feature Paul Di'Anno, soon to leave the band in a haze of drug and alcohol problems, and the first album to feature Adrian Smith.
Surprisingly then, it coheres fairly well and the production perhaps has more guts than its predecessor, thanks to veteran Martin Birch who'd worked on 70's masterworks from Deep Purple, Wishbone Ash and Rainbow. The album kicks off quite splendidly with the instrumental "The Ides Of March", characterized by some thundering twin guitar work from Dave Murray and new boy Adrian Smith, amidst some stunning percussion from Clive Burr. Instantly Killers - Iron Maiden - Rainbow Theatre 1980 Final (CD) here is the increased confidence in terms of musical ability, something which will become even more apparent later on.
This song segues into one of the band's anthems 'Wrathchild', a rip-roaring rocker with fulsome bass from Steve Harris and characteristically guttural vocals from Paul Di'Anno. The interplay in the instrumental midsection harks forth to the bludgeoning riffery that Metallica would later take even further in the thrash movement. Despite a rather odd structure, the title track is an absolute classic, with some particularly fine rumbling bass riffs from Steve Harris and a burning vocal from Di'Anno.
It has some of the finest twin guitars yet heard on a Maiden track, too. Even though heavy metal was already around at the time as bands like Judas Priest, Saxon, etc. That album along with this one really makes an impact in the scene, especially this one, as Adrian Smith was a huge factor on this album. So all in all, this is a masterpiece, and it should be an excellent addition to any self-respecting metal collection.
There are no dull or boring moments on this album, and every song stays consistent and heavy. I have a hard time deciding between this and the previous album, as both albums kick the shit out of a lot of NWOBHM albums ever done by other bands.
This is an underrated classic that, unfortunately, does not get the credit it deserves. This was one of the first metal albums that I bought, and I still listen to it quite often. It was pretty much this album that converted me. When I was very young let's say 12I bought Iron Maiden's 'Dance of Death' album, then, about a year later, I picked up 'Edward the Great', the greatest hits collection, for a minimal price. None of the songs from 'Iron Maiden' or 'Killers' appear on that compilation and 13 year old me concluded that those two early albums were lacklustre in comparison to 'The Number of the Beast' and 'Seventh Son of a Seventh Son' and so on.
Naturally loving the greatest hits, I set about hunting down all of the Maiden albums one by one, starting with the two early releases that I had heard nothing of.
And, at first listen, I found them both much harder to get into than the classic 80s albums. There was something a little more bristly and awkward about them that made them feel perhaps a bit older, perhaps a bit inferior, perhaps just more willful and destructive. I still get that feeling about 'Killers'. It is certainly separated from 'The Number of the Beast' by more than just a year and a singer: the style bears marks of a more primitive, more energetic, more attacking kind of heavy metal, which does have some spikier shapes and rougher corners to it, not that they are any less thrilling than the classic sound that the band would develop with Bruce Dickinson.
The pace of 'Killers' is much faster than any other Maiden album, including the debut, and it feels vital as result, racing through its first half with nary a thought for survivors or casualties. A few of the songs have slower intros and build-ups, like 'Murders in the Rue Morgue', while 'Prodigal Son' goes all mellow and folky without being downright naff.
Importantly, these moments do not dominate the album as they would later come to do, in my opinion diluting Maiden's flowing and uplifting sound. What is strange about this band is that they never got much heavier or much softer, so 'Killers', despite giving away 30 years to their most modern album, has perhaps the most in your face and meaty songs the band ever wrote.
The main riff of the title track is both tricky to play and pushes the envelope more than we usually hear from Maiden, reminding one achronologically, of course of Mercyful Fate's 'A Dangerous Meeting'. I've heard it described as a precursor to grindcore and, while I wouldn't go that far, Clive Burr does begin to build into something resembling blastbeats in that faster-and-faster mid-section, while Steve Harris's grumbling bass does more than one might expect of traditional heavy metal.
I don't want to be guilty of adding significance after the moment has passed, but I actually hear more direct influences on other bands from the first two Maiden albums than the latter ones, and this may be due to the higher levels of energy and the faster pace of invention. This more aggressive tendency in the sound is fun to witness and may have something to do with Paul Di'Anno, whose voice wouldn't suit too many epics or slower parts.
He isn't as talented as his replacement, but he doesn't really do much wrong, occasional lack of expression aside. He sounds at least as convinced and alive as Bruce Dickinson, spitting and snarling with a street-level violence that grabs you by the throat. Just look at the cover art of 'Killers': it's the least fantastic image that the band would use, but I see it as the most iconic of all their artwork, and I don't believe their sound would ever suit that image again.
The rest of the band play it a little straighter as well, with the guitar riffs going for pure speed on occasion the verses of 'Purgatory' for examplewhile the melodies come thick and fast, sometimes as separate movements in the song, sometimes as complementary pieces. Listening to Steve Harris relentlessly swooning and plunging on his bass, you get the feeling that Maiden would have made a very good speed metal band if they had decided to head in that direction, though the lead style sounds generally more majestic when they just drop the pace a notch.
I don't have much to complain about in the songwriting department, because Maiden drop no clangers and, even though 'Prodigal Son' is my least favourite track, I fully recognise why it had to be on the album. The other songs don't quite have the classic tone of 'Run to the Hills' or 'The Trooper', but I also think that we can't compare them on the same level, since there is more here to get your face red and your neck sore than to pump your fist and scream your lungs out to.
The title track is naturally the textbook example of the serial killer song, which has been imitated countless times and rarely bettered.
There was a time when Maiden could write a five minute song with nothing missing, while now they can't even do that in eight minutes. There's also 'Purgatory', which may just be the most savage song that Maiden ever wrote: pure cut-throat intention and flawless execution makes this a wicked listen. There is a lot of dispute over Iron Maiden's various changes in style and the perfection or imperfection of each one.
I can't fully make my mind up at which point Maiden did the most for me, and in fact I think I'm just glad that they have left us with so many albums to choose from. The sound from this album has been vastly influential and is still great to listen to. First of all, there is of course the memorable close-up album cover of band mascot Eddie who looks much more charismatic than before and has since become the most popular mascot of an entire genre.
The production on here is clearer, more dynamical and tighter than on the debut that suffered from an average sound quality. The song writing has also become more consistent. The rhythm section with Steve Harris on bass and Clive Burr on drums also takes more space than on the first album. This album is much straighter, harder and dirtier than the first strike and mixes the best elements of heavy metal, punk rock and rarely but efficiently employed progressive or psychedelic rock influences.
In my opinion, there are also several negative points to mention. While the flow of the record is clearer and straighter than on the predecessor, the working formula gets somewhat redundant after a while.
The problem is that the song repeats itself after only one minute. In three minutes and a half, the track only includes four lines of lyrics which are repeated three times. The track is too long and repetitive for its own good and the breaks or solos after each verse are destroying the flow of the tune. The track starts with great psychedelic guitar harmonies that give the song Killers - Iron Maiden - Rainbow Theatre 1980 Final (CD) fitting mysterious atmosphere before the tune gets faster and explodes into a passionate and speedy heavy metal banger with angry bumblebee bass sounds and powerhouse drumming.
The song has this certain something which gives it an incredibly longing yet slightly occult atmosphere which could come from the greatest progressive rock bands of the late sixties or early to mid-seventies such as Pink Floyd, Genesis or even early Rush. The track sounds nothing like any other Iron Maiden ballad and is maybe the most experimental track ever written by the band. Both the dynamical production and the cohesive play of the band sound much tighter than before and the different instruments harmonize much more and complement each other better than on the predecessor.
From my point of view, the album is one step forward and one step back at the same time for these reasons and personally, both the debut album and its follow-up are pretty much on the same level. This album is recommendable for fans of the early New Wave of British Heavy Metal and those who like faster genres such as punk rock, speed metal or even thrash metal.
I can't think of another album cover that better represents the content of the music than Iron Maiden's Killers. Take one look into the beady eyes of Eddie as he lifts his bloody hatchet for a finishing blow and you'll know you're in for a lethal dose of heavy metal horror. Filled with dark and majestic imagery, Killers delivers just that, but it doesn't end there as Killers also features the best and most consistent musicianship, song-writing, and production of Iron Maiden's long and illustrious career.
After becoming local heroes, the group then hit a global audience with their debut album, the self-titled masterpiece 'Iron Maiden'. Boasting such classic metal cuts as 'Phantom of the Opera', 'Prowler', and 'Transylvania', the album perfectly captured the raw power and energy of a band on the brink of world domination. However, the album suffered from a cheap production job and, in my opinion, a few tracks that dragged on longer than they should have, 'Remember Tomorrow' for example.
Touring in support of their first album helped Iron Maiden further develop their sound and grow tighter as musicians. Following the departure of Dennis Stratton, axemaster Adrian Smith was hired as the second guitarist. It turned out to be a wise choice as Smith's heavy and rough-around-the-edges playing style perfectly accentuated Dave Murray's precise and complex riffs and solos.
Paul Di'anno serves his duty well enough, delivering a signature raspy, wailing, punk-like performance. His voice fit the tone of the songs perfectly, but its easy to hear that Iron Maiden were progressing past him as musicians. Although this is his final album with the band, the personality he gives the early Maiden songs earn him major credit for their worldwide success.
Now that we've gotten all that out of the way, let's get down to what really counts- the music. Killers hits the ground running with the thundering march of 'The Ides of March', a brilliant and powerful instrumental as heavy as it is beautiful. The track leads into what is perhaps the most well-known song off the album, 'Wrathchild'. Now considered a Maiden classic, Wrathchild is a hard-hitting rocker with a driving bass line and some incredible rhythms from drummer Clive Burr, a bonafide master of the skins.
It's worth noting that Killers-era Maiden had the greatest heavy metal rythym section in the genre's history. Although in later years the format would grow tiresome, it works very well on this track. The opening is just the right amount of time, gradually building up in intensity until a barrage of snare fills launches right into the opening verse.
The track is frantic yet melodic, a balance that defines Iron maiden's music. Perhaps the most musically accomplished track on the album, 'Another Life' begins with a hypnotic cacophony of opposing guitar solos on top of a steady driving beat. Dual guitar harmonies dominate this song, and represent the most addictingly melodic and expertly executed of the band's career.
The instrumental 'Genghis Khan' follows as a sort-of sequel to 'Transylvania'. Although not as good as its predecessor, Genghis Khan still contains Maiden's signature galloping heavy metal style that makes you want to charge into battle. It begins with an intense drum fill and doesn't let up from there. It is another quality metal song that displays a mastering of the craft. Now that's metal! Flipping the album over to the other side gives you the title track 'Killers', which follows a similar format to 'Murders of the Rue Morgue' with a slow-building into that explodes into the main driving riff.
The lyrical content is dark as the title suggests, and Di-Anno delivers them perfectly with his rough vocals. The song is very fast once Killers - Iron Maiden - Rainbow Theatre 1980 Final (CD) starts going, and is sometimes referred to as an early influence of thrash metal.
After that is 'Twlight Zone', another quality hard-rocking track that has my personal favorite opening riff on the album. This is also perhaps the most melodic song on here, with a very catchy and fun-to-sing-along-to chorus that serves as a precursor to the song-writing that would dominate Maiden's later efforts in the 's. It is a great song that proves Paul Di'Anno can actually sing. The next one is kind of an oddball. Although it can be initially off-putting, there's still plenty here for heavy metal fans to appreciate.
Clive Burr hits just as hard here as he does on the other tracks, and the intermittent heavy chords in addition to the acoustic-sounding main riff gives the song a unique dynamic.
I believe this song represents Maiden attempting to show their mellow side in a heavier context with shaky results. I personally like the song, but it simply doesn't fit the tone of the record and disrupts the flow. Things get back to normal quick enough with the frenzied opening riff of 'Purgatory', another earlier song, previously called 'Floating', reworked for this album.
For a long time this was my favorite track on the album. It perfectly combines an exciting, fist-pounding rythym with an infectious vocal melody and brilliant harmonies during the chorus. From the very beginning it hooks you with a unique bass line and a harmonious guitar part then kicks you in the face with a manic scream from Di-anno on top of some ripping solos from Murray and Smith. It's another hard-hitting rocker my favorite type of song, in case you haven't guessed by now that breaks into a dreamy and mesmerizing mid-section that features the most melodious guitar solos yet.
For the final run the band goes full force in what definitely feels like a fitting conclusion to such a heavy album. Every member of the band shows their chops in the closing minute of 'Drifter', easily one of the most exciting songs ever recorded. With their sophomore album 'Killers', Iron Maiden had fully defined their signature sounda combination of the bluesy hard rock of Deep Purple, the metal edge of Judas Priest, and the complexity of Prog masters Yes.
Killers represents a band at the peak of their creativity and skill set, ready to conquer the world through the power of their music. Needless to say their journey has been a success, and the early albums are very much a part of that. Killers features some of the best album cover, the best songs, and the best line-up in the history of Heavy Metal. It is a masterpiece, and my personal favorite record. Although the band had a relatively firm grasp of their galloping sound since the debut, Paul Di'Anno's punkish style and image had a pretty significant impact on the way Maiden carried themselves.
Perhaps "Killers" was needed in order for the band to finally opt out of their ties with Di'Anno and move forward, but we have here a record that falls under a terminal case of 'second album syndrome'. Iron Maiden's signature sound is here, but the magic certainly isn't. Looking back on my fond memories of the debut, Maiden may not have had the degree of sophistication in their sound and lyrics as they are known for today, Killers - Iron Maiden - Rainbow Theatre 1980 Final (CD), as the towering "Phantom of the Opera" would testify, they were capable of great things, fusing raw energy with technicality and pomp likely influenced by the progressive rock of the decade past.
The idea of moving one step forwards, and two steps back seems to apply here. Although there is a slight progression towards a grittier heavy metal sound, the aggression and intelligence have been siphoned out. Steve Harris' bass licks on "Wrathchild" are some of the best of his early career, and though Di'Anno's performance throughout the album feels generally inferior to his vocals on the debut, he executes some incendiary wails.
After that, the songs begin to blur together. Iron Maiden deliver many of the same tricks each song, and though it is made a worthy listen for their consistent tightness as a band, the songwriting lacks the excitement and distinctiveness most of us have come to expect from this band. The one exception later in the album is the relatively long "Prodigal Son", which actually ends up feeling like an unwelcome change of pace for the album.
It's as if Maiden suddenly decided to toss out their metal direction in exchange for a painfully watered down prog rock style. Di'Anno's vocals notwithstanding, "Prodigal Son" sounds like something Rush could have done on "Fly By Night", then decided to toss away. The first two Maiden albums are usually seen as being apart from the rest, if only because Bruce Dickinson had not yet entered the fold.
Paul Di'Anno is a great frontman with a charismatic delivery, but his vocal work on "Killers" lacks the precision and ballsy guts it sported on the debut. His performance is decent, but he favours the 'charismatic' angle of his inflections far too much over the more melodic aspects here. As a result, DiAnno's vocals still feel larger-than-life, but there's not a single vocal melody on the album that really sticks, even after several listens.
In short, the worst thing that ever happened to "Killers" was the fact that it was being expected to follow one of the best heavy metal debuts ever. There is still much potential in Iron Maiden's style- which remains powerful and exciting- but it's a tough sell to say that the album is really worth checking out for anything more than the fact that it's Iron Maiden.
Luckily, it wouldn't be long before the excellent "Number of the Beast" was released under the vocal guidance of Brucey, but considering the sort of artistic success Maiden had with Di'Anno with their first record, it's pretty difficult not to feel disappointed.
Iron Maiden's sophomore effort Killers is such a good ole gem that I often dream of what the band's career would have been like had they held on to Paul Di'Anno and Clive Burr forever. Perhaps there may never have been a Powerslave or Piece of Mind that was quite the same as those that front Dickinson's powerful pipes, but it's not hard to understand why some of Maiden's fans have eventually divided into two camps: those that prefer the 80s Dickinson streak of genius, and those that believe the first two albums represent the band at its most vital.
Although I clearly belong to the former camp, with almost all of my favorite albums involving Bruce's vocals, I have grown very fond of the first two albums with age.
There is just no denying it It's also the first album by the band that I actually got into as a kid And it is one badass album. Where later Maiden efforts howl at you through the winds of history, the realms of the imagination or the shimmering neon streets of the future, Killers takes you from the shadows of the back alley of the sprawling 80s metropolis, lunging at you with a rusted cleaver, cackling with glee. That's not to infer that it ignores the band's old penchant for lyrics based in science fiction, horror and history.
But compared to an album Somewhere in Time, Killers is just low down, dirty and mean, without totally lacking that melodic kick in the pants that made this band a household name on planet Earth.
I can't blame Di'Anno for any of the drug problems he may have succumbed to while helping to conceive or tour off this album, because I honestly feel like taking a snort or two myself and tracing it with a draft of something dark and lethal proof when I listen to these songs. Don't let the short-lived majesty of "The Ides of March" deceive you, because "Wrathchild" comes storming out like Jack the Ripper posteuring as a Hendrix or Page.
The riffs groove and stomp while Di'Anno weaves his old catlike sorcery like a dirty man that knows he's about to score with every whore in the pub. Mind you, I mean this only with the sincerest of compliments, because if anything, Killers is the most 'sexy' Iron Maiden album. Denim and leather, spikes and booze, this is heavy metal music and it is not ashamed.
I'd almost call the fast paced verse of the song 'uplifting', considering the Edgar Allen Poe story it was based on, but regardless, it is one of the best fucking songs this band has ever played, and I've got a lawn that wants you to kindly step off if you don't agree! Flighty, fun solos and an unflinching, dark boogie to the chorus assure that this is likely a standard on every Jukebox in Hell.
Do you seriously think the Devil listens to Deicide or Akercocke? Because he doesn't. He listens to this. Reminding you that metal is in fact just a more abusive form of rock and roll is the wailing bluesy taint that intros "Another Life", a hammering joint that features a nice echoing spin to Di'anno' vocals, and a stream of bleeding melodies over the plunking pumpkin bass of 'Arry.
I was only about seven years when this damn thing came out, but even then I was jealous of what high schoolers must have done with their sweeties behind closed doors when this thing was playing, because it's hot like melted wax. Combined with the badass, on the run from the law lyrics, I cannot help but envy the outlaw, the trucker, the motorcycle man, or any other marginalized stereotype the song evokes within me.
And lo, though the album had by this point long since earned its keep, it is far from finished with you. This functions better than "Eye of the Tiger" by Survivor as a psyche-up for a fight, sportlike or to the death. After this, "Prodigal Son" surprises with its river rolling, homely clean guitar tones and Di'Anno vocals that cut through the night like a a radio in a lone trucker's cab beneath some twilight, open desert.
Might not be as heavy as the rest of the album, but it still kicks a severe amount of tail. Killers is certainly a strong case for the original Maiden being every bit the contender that its next incarnation would prove to be. Proof that this is one of the few bands to easily weather periods of two distinct, excellent vocalists but not three, sadly.
But beyond that, it is one of the very best of the early 80s heavy metal offerings, with songs and production that have survived, intact, through almost three decades. I don't appreciate every waking second of the album with equivocal lust, but it's fantastic, and easily one of the band's better efforts. If by some anomaly you have yet to avail yourself of its charms, I suggest you make it so, lest you feel the burn of eternal shame as the rest of us avert our eyes from you, avoiding you like a bearer of plague.
Highlights: Perhaps the heaviest album of all time to feature the word 'cuddle'? Why is this album so underrated? It's really strange that this album is so often passed up in favour of albums like Number Of The Beast and Powerslave, especially as the primary reason for that is often the perception that they have less filler songs.
The irony is that the opposite is true - a couple of exceptions aside, almost every song on this album just plain works, period. And even the weaker ones are pretty good in their own ways. Like the self titled debut, Killers is a deeply atmospheric album with a great deal of the same rawness and grittiness and real, down to earth urban feeling that also characterised its predecessor, although the former of those two is somewhat reduced due to the much more polished production.
While not as clean or as well produced as Number Of The Beast this is certainly less obviously raw than the debut. There's nothing wrong with that per se, and the heavier and stronger guitar tone actually helps for obvious reasons, but it does mean that the atmosphere, while still very strong in the same way as the debut, is a little less potent. Nevertheless, this is an extremely well done album.
The first song, The Ides Of March, is absolutely perfect and sets the mood brilliantly. Quite dark, almost menacing in a way, and very similar to what came before, but the improved production really accentuates the guitars. The riffs, while simple, are excellent, and it's such a truly heavy metal opening. The solo is also fairly simple, but again there's nothing wrong with that.
It doesn't rely on a cheesy or poppy melody at all, which is another thing I love, and that I wish Maiden had kept on doing rather than just adding melodic riffs that you can't even headbang to right in the middle of their songs in order to make them more accessible to weak people, often not even genuine metalheads but hard rock fans and the like, who couldn't sit through real consistent heavy fucking metal riffs.
This is something they unfortunately did do later, and it became so overdone that it often felt like they were just trying to become more popular and gain fans outside of the metal community in order to make more money - which is exactly what they did do, except they got away with it because they managed to keep a respectable image and still be fairly heavy, and were never accused of selling out, even when they should have been, because they hardly ever wrote love songs or anything that genuinely sounded too hard- rockish except to really trained ears.
So they got away with writing pathetically stupid songs infested with horribly cheesy melodies designed to appeal to dumb and easily impressed people that somehow managed to become "metal" classics such as Aces High in case any of you are thinking I'm off my rocker around now, I'm not, and I'm not joking eitherTwo Minutes To Midnight not kidding here eitherBring Your Daughter To The Slaughter, Run To The Hills, and Holy Smoke.
Predictable, simplistic songs with pop-influenced melodies designed to appeal to people too stupid to look past their insipidity. Killers has none of this shit. Even the two singles Purgatory and Twilight Zone, and the latter wasn't on the original have pretty much nothing along those lines. The former does have a melodic clean sounding break that does seem like a prelude to the kind of poppy bullshit they'd overuse later, but this isn't a major problem as it isn't overdone here.
Anyway, long rant aside, that this manages to keep a consistent level of genuine heaviness along with excellent songwriting and great use of more subtle melodies and a respectable amount of grittiness with a dark atmosphere and NOT be too commercial is a testament to the band's skills and abilities and, at this point at least, their lack of any real pretentiousness. After the brilliant opener, Wrathchild kicks in, and this is a great song, a true classic and still played in Maiden's concerts to this day, for a bloody good reason: it's fucking great, real heavy metal despite its popularity.
Di'Anno's voice here fits it perfectly; while Bruce sings it ok, I'd say Paul is much better suited for the atmosphere. It's a little short, but in a way this is more of a strength than a weakness. Rather punky in its own way, which is an interesting point that's often overlooked; yeah, we all know that Maiden's first two albums are punk influenced to one degree or the other, but the way they combined punk, rock, and metal together is what's so incredible.
It's an element they sadly lost with Number Of The Beast for the most part, and after that record - well, just forget it, because it was then that they began their epic proto-power metal style, which was still good but lacking something essential that these two records have in abundance: real grittiness, urban atmosphere, and no fucking pretentious bullshit.
Of course one could just as easily make the argument that their later style was simply different, and in its own way actually better due to the somewhat more complex songwriting, greater epicness, and more creative use of melody.
That's Killers - Iron Maiden - Rainbow Theatre 1980 Final (CD) fair point and not one I entirely disagree with, but I still feel that they lost something after this record.
The most incredible thing here is the lack of filler. Remember how I said that earlier? Well, it's absolutely true; after the awesome Wrathchild, the equally brilliant Murders In The Rue Morgue kicks in, and it's another aggressive, almost brutal ass-kicker with a beautiful and atmospheric intro, which is then followed up with what at the time must have been some of the fastest riffing ever.
That punk like aggression and power was an essential element of early Maiden, and one of their most overlooked strong points, I would say. But it doesn't stop here, because then we have Another Life, which, if one chooses to nitpick, is not quite up to the level of the preceding three songs, but is still really good. Then comes Genghis Khan, a great and fucking heavy instrumental metal attack showcasing the band's skills without being too flashy.
Innocent Exile follows, and it's another very atmospheric and well done song. Truth be told, these are less good songs than the best songs on Number Of The Beast, but they're also less good songs than the best songs on this same album, and you can't have everything. Then comes the title track, which is amazingly awesome in every way imaginable. The bass dominated intro is one bone of contention I do have, because it goes on a bit too long, and Paul's screams actually aren't all that brilliant.
But when it gets heavy at around the 1. From then on it's several minutes of heavy metal at its best. The almost clean sounding melodic riff from to is unfortunately very obviously a precursor to the all of the overused melodic and not at all headbangable riffs that would virtually ruin the heaviness of some of their later albums at least for mebut here it works, Killers - Iron Maiden - Rainbow Theatre 1980 Final (CD), for two reasons: it only lasts 10 seconds, and it's a prelude to one of the most classically heavy fucking metal riffs in the whole of heavy fucking metal ever.
Seriously, that riff from to is just The rest of the song is brilliant too, and also features one of Paul Di'Anno's best performances ever. He's really genuinely menacing here, and he should be: he's taking the perspective of a demented serial killer. This song must have influenced many thrash and later even death metal acts out there due to its subject matter, heaviness, speed, and aggressiveness.
An absolute masterpiece, no doubt about it. Hell, if this was the only good song on the album it'd be worth buying for this song alone. But it isn't - in fact, every other song up to this point has been either good or great too. I think not. After this work of brilliance, however, is when things, to some extent at least briefly go downhill with the weird and not all that metal "Prodigal Son". It's supremely atmospheric, I'll give it that But that song was the weakest song on the debut in my eyes along with Sanctuary, and the debut was so amazingly filled with such an atmosphere on every single one of its songs that one completely unheavy song didn't matter - everything else was so good that I didn't care.
Here, though, Maiden try something more along the lines of a power ballad like Remember Tomorrow, except unlike that fantastic song, this isn't a typical power ballad at all. It's dominated by acoustic guitars which are interspersed with heavy distorted riffs every now and then, and has several sections where the guitars are completely clean, most notably the first verse.
It picks up a little later, but it's just so It just doesn't sound very much like anything they'd done before, or would try again for that matter, and that makes me think it was the product of an idea they had: they wanted to try something different, and in that respect they certainly succeeded. But did they execute it well? I'm not sure I don't hold anything against it per se, and there are some good moments on it, but I don't really care for it all that much either, and the preceding seven songs were all far better.
Anyway, moving on, we then have "Purgatory", the only original single from the album, which unlike a lot of future Maiden singles which, despite their commercial status, are often beloved by almost all Maiden fans for some reason, who seem to be incapable of seeing their often fundamental flaws and lack of much real metalness is actually a pretty good song.
Its use of melody is neither cheesy nor overdone, and creates that same intensely powerful atmosphere, very urban and gritty and harsh and not clean at allthat made early Maiden so great. The lyrics are as far as I can tell, don't quote me on this one something about a ghost, and all of his memories, and also something about love, although I'm not sure what the exact meaning of the song is.
Nice, and I mean that seriously, because here it really works. It's dark, quite cold almost, and even the clean melodic riffs don't ruin the song - in fact, they help it as they make the atmosphere even more potent. I'm not sure what it's about exactly but again it's very potent and real, completely down to earth, and quite similar to Purgatory in a lot of ways, but there's nothing wrong with that.
Finally, we get "Drifter", which unfortunately is the only song on here that, like Prodigal Son, never really clicked with me. It's about a cowboy going from place to place and singing to help people's spirits, or something along those lines, and while it works as a closing song, it just isn't all that interesting. There are hardly any really memorable riffs here, and it's quite predictable and repetitive.
It's a bit of a shame as almost every other song on here is either good, great, or fantastic, but considering that's true I suppose it doesn't matter all that much. Still, I would have liked the last song on the album to be a good one at least. So there we have it, a highly underrated album that is still quite definitely a piece of metal history. While not as important or as revolutionary as the debut, as most of the greatness on here comes from taking the same excellent formula that worked brilliantly there and doing it again, it's still a great metal record to say the least, and the number of consistently good songs on here that work without being either too commercial or remotely cheesy is amazing.
Download as PDF Printable version. Tour by Iron Maiden. Gaumont Hall. University of East Anglia. Gaumont Theatre.
St George's Hall. Middlesbrough Town Hall. Bracknell Sports Centre. Hammersmith Odeon. Stadthalle Bremen. Concertgebouw de Vereeniging.
Nakano Sun Plaza. Aladdin Hotel. Arizona Veterans Memorial Coliseum. El Paso County Coliseum. Lubbock Municipal Coliseum. Charlot The Harlot 6. Killers 7. Another Life incl. Drum Solo 8. Transylvania 9. Strange World. Disc 2 1. Prowler 2. Innocent Exile 3.
Phantom Of The Opera 4.
CD: IRON MAIDEN - RAINBOW THEATRE LIMITED / NUMBERED RARE JAPANESE IMPORT CD. No ratings. Rate the Price of this item. End price GBP ( USD) Start price GBP. End date 19 Sep Start date 19 Sep Bids Best Offer. Seller Id qwgPyB0tEwq2. Seller feedback Buyer feedback Iron Maiden – European Killers (1Single DVDR) Non Label Nakano Sunplaza, Tokyo, Japan 24th May Evening Show. Iron Maiden – Rainbow Theatre Final (2CD) Zodiac. Feb 02, · Killers by Iron Maiden. Side 1; 1: The Ides of March (Instrumental) Harris: 2: Wrathchild: Harris: 3. Killers is Iron Maiden's second offering, and is solid throughout. While I like the debut album a tad better, this album still resonates with me. The musicianship on the album is probably a little better and more complex than it's predecessor, but I prefer the songs on the first album/5(). May 03, · iron maiden playing killers one of their best songs exellent video with paul di anno and clive burr. Tracks 1, 2 and 3 are from the album "Killers" Tracks 4, 5, 6 and 7 are from the album "Iron Maiden" This video is currently out of print, but is included on the DVD "The History of Iron Maiden, Part I: The Early Days". Recording information: Recorded live on December 21st, the Rainbow Theatre in London, United Kingdom. Killers je druhé studiové album heavy metalové kapely Iron climdetitidilo.stefebdicompsagriadergfoundtalawsafet.co to první album kapely s kytaristou Adrianem Smithem a zároveň poslední studiové album se zpěvákem Paulem Di'Annem, který díky problémům s alkoholem a drogami kapelu climdetitidilo.stefebdicompsagriadergfoundtalawsafet.coatně vyšly singly Wrathchild a Twilight Zone (Tato skladba se objevuje pouze na americkém vydání alba). このプロショットは「rainbow theatre final（zodiac ）」のボーナスdvdr「european killers 」でお楽しみいただけますので、ぜひ）。 続くディスク2が「6月26日ミルウォーキー公演」。アメリカのフェスティバル“summerfest ”に出演した際のライヴです。. The year-old vocalist, who fronted Iron Maiden from to and performed on their first two album ‘Iron Maiden’ and ‘Killers’, will headline the Beermageddon Festival with Ides of March on Sunday 30th August Named after the instrumental opening track on ‘Killers’, Ides of March also features fellow early Iron Maiden members Terry Wapram (guitar), Terry Rance (guitar. Rainbow Theatre, London, UK 21st December [Taken from the original 2LP "Killers"(EXTRA VAGANZA UD A/B, UD A/B)] First Edition Comes With A Free Bonus DVD-R Tracks Beat Club Bremen Germany 29th April Tracks Rolling 5/5(1).
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