Iron Maiden - Killers
#77
By Rob Haneisen
February 2 1981
Iron Maiden
Killers
Genre:
Allen’s Rating: 4 out of 5
Rob’s Rating: 4 out of 5
Highlights:
Murders in the Rue Morgue
Killers
Prodigal Son
Drifter
Wrathchild
If you think you don’t like metal or Iron Maiden, listen to “Prodigal Son” on the album “Killers” and then shut the hell up.
“Prodigal Son” breaks a lot of preconceived notions about the band and metal and hints at some of the song-writing greatness in store for the band in the years ahead. It’s not the best song on the album but it is one that breaks out of a comfortable space and lets the band expand its horizons. Yes, it sounds very much like Deep Purple, maybe with some elements of Rush, and it’s not the full-bore attack that other songs on “Killers” employ, but it shows that the band is no one-trick pony. And it features some downright elegant guitar solo-ing.
Full disclosure: I am a huge Iron Maiden fan, but I much prefer Bruce Dickinson as the lead singer instead the original Paul Di’Anno who appears on this record as well as Maiden’s first album.
That said, this whole album sees the band embracing the horror-themed New Wave of British Heavy Metal and moving away from the vaguely punkish-roots of the first album and veering more toward Deep Purple-ish territory.
The consistent link in this album and every other Maiden album is the insane, galloping bass from Steve Harris. His driving bass propels every song, even on “Prodigal Son” when the pace slows for a change.
Nearly 50 years later and the band still plays “Wrathchild” live and Dickinson’s rendition shows how much better the band is with him singing. It’s not that Di’Anno is bad. His voice is more of a raw, raspy snarl. Dickinson’s voice is dynamic, precise and rightly hailed as one of the best in all of rock and metal. Knowing his range and sheer vocal strength exposes Di’Anno’s limitations.
But let’s look closer at what’s on this album and try to evaluate it in its own right. First, two instrumental tracks – “The Ides of March” and “Genghis Khan” seem unnecessary other than showing off some fantastic guitar riffing. “Ides of March” basically serves as a short intro for “Wrathchild” as the next track. You get some great guitar work from Dave Murray and Adrian Smith here. “Murders in the Rue Morgue” sets into a frenetic beat and pace only beaten by the ridiculously fast “Purgatory.”
We get into Deep Purple territory with the extended drum intro for “Another Life” and more fantastic guitar riffing. “Innocent Exile” and the title track both open with a bass guitar intros, the later song – “Killers” - is the strongest on the album.
“Drifter” is great, rocking album closer.
As good as this album is, it’s somewhat shocking to listen to this and then the band’s next album (and some would argue their best and maybe the best metal album of all-time) “The Number of the Beast.” If ever a band exploded, it is on that album.
But taking “Killers” at face value, it sounds quite unlike any other metal from 1981. Maiden’s two-guitar attack, Harris’s bass virtuosity, and Clive Burr’s fantastic drumming lay the foundations for what Maiden will become. It’s Di’Anno that holds them back here and prevents this very good album from being great.
That’s OK, greatness was waiting for Maiden next year.
https://open.spotify.com/album/0ICtvzBaaupE4LifaYbFAj?si=Bt3D1MQBQsqOcA4O3sE2mQ
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