IRON MAIDEN (UK) - Killers (LP, EMI, 1981)

RATING: ****

To say that people were paying attention to Iron Maiden by the time "Killers" hit the shops in February 1981 would be quite an understatement. In fact, after the very positive response to the eponymous LP, everyone who had a say in the hard/heavy multiverse seemed convinced that those lads from the East End of London were destined to take on the world, and wanted to make business with them if at all possible. Such was the next-big-thing feeling around Maiden at the time that none other that Gene Simmons (c'mon, we all know who he is) took personal effort to make the opening act feel welcome during a tour they made together in late 1980 - and you know, when Gene fuckin Simmons thinks you're a serious contender to worldwide stardom, you better fasten your seatbelts, because it's going to be one hell of a ride. Similarly, famed producer Martin Birch (a man that, let's say, would never have a problem finding a job at all) pretty much offered himself to produce the band's second album, making room in his very busy schedule to accomodate the hopefuls. There was little question if Iron Maiden were going to make it: the matter of doubt was about when it was going to happen, and no one wanted to look the wrong way and miss the takeoff.

As we all know by now, it didn't happen with "Killers". The album was undeniably successful, and there was no losing ground for the band by any stretch - but it was more of a step in the right direction rather than a giant leap forward, a strong move but nothing to give the household names any sleepless nights just yet. In fact, after their collective dissatisfaction with the sound results of the "Women in Uniform" 7'' (a cover from the Skyhooks, and easily one of the most accessible tunes in Maiden's entire repertoire), the lads decided to pick the next singles all by themselves, and both "Twilight Zone" and "Purgatory" failed to cause a strong impression in the charts, the latter actually being their least successful single ever (it made it to number 52 in the UK Singles Chart, which would be quite a good mark for nearly all metal bands out there, but you know what I mean). No one was disappointed or scratching their heads in doubt, that's for sure, but fact is it didn't match the success of the band's debut, plain and simple. And these slightly unimpressive results somehow reflect in the status it holds today: nearly everybody likes it, many actually love it to death (myself included), but those who consider this to be Maiden's best LP are but a tiny minority - most of all because, well, it isn't. 

A very important change in the line-up happened in the final months of 1980, when Adrian Smith (who was out in the cold after his beloved Urchin had bitten the dust a few weeks previously) assumed his now legendary place alongside Dave Murray; it seems that Dennis Stratton's inclination towards a overtly melodic sound (summarized by his role in a scrapped, reportedly too-radio-friendly-for-Maiden mix of "Women in Uniform") turned out to be the kiss of death for the unlucky guitarist, a notion that is not at odds with the sound he would later pursue with Lionheart and in his tenure with Praying Mantis. Highly influenced by the more bluesy end of the heavy rock spectrum, the new axeman was still perfectly capable to rock as hard and fast as required, offering Iron Maiden a dynamic edge while keeping a much needed ear for melody - an approach that perfectly complements Murray's instinctive, force-of-nature style. It was a great choice, and his contribution to the group's sound and songwriting can never be overstated.

The production values sure do wonders to enhance the album's merits, with a beefed up, punchy sound that gives the five-piece a more confident, even menacing sonic presence in comparison with their rough-edged debut. The musicianship is sharp and powerful, with the twin-guitar attack we would soon learn to love and a busy, very driving rhythm section - but perhaps Paul Di'Anno manages to shine even brighter than the rest, with a vocal delivery that is no less than superb. There's little doubt in my mind that this one is the performance of his live: every bit as intense as in the debut, but with remarkable levels of confidence and control, not to mention an impressive sense of interpretation. Just listen to his singing on "Murders in the Rue Morgue", the acoustically-driven ballad "Prodigal Son" or the aggressive title-track to know what I mean - and if you still don't get it, well, I'm afraid this whole metal thing is really not for you. Improbable a metal frontman as he arguably was, Di'Anno was at the top of his game here, and I can only wonder what the metal world would look like today if he had kept himself together for a while longer. No wonder Bruce Dickinson always had a hard time making these songs justice.

That said, we need to face the truth: this particular batch of songs is not as impressive as the previous LP, or at least the five studio records that would come out next. Most of the tunes here featured were in Maiden's repertoire for years, repeatedly tried and tested in the live environment - some, such as "Drifter" and "Another Life", being fan favorites even before the outfit had recorded their first demo. While undeniably strong, these tunes have the disadvantage of having been written in a time when the lads were still learning their trade, being slightly unrepresentative when compared to their more contemporary cuts; when you listen to the recently-penned "Murders in the Rue Morgue" and compare it to "Innocent Exile" (a song Steve Harris wrote even before Iron Maiden was born in late 1975), the different levels in songwriting are too clear to be ignored. And I don't mean to say "Innocent Exile" is a bad track, mind you (it's one of my personal favorites around here): it's just that Iron Maiden was evolving real fast at the time, and many songs on "Killers", although very good, were already a thing of the past for them.

But let's not blow this minor criticism out of proportion: "Killers" is still a bombastic album, with a sheer sense of purpose to put nearly all competition to shame. The opening salvo of "The Ides of March" and "Wrathchild" easily rank among the strongest ever recorded by the band, "Genghis Khan" is an instrumental piece that is as mind-blowing as it is powerful, and "Purgatory" is one of the fastest cuts ever recorded by Maiden, with exhilarating guitar work and a singalong chorus to die for. Despite the fluctuations in songwriting prowess, there's surely not a stinker in sight, and even old songs like "Innocent Exile" have a lot to say to any self-respecting headbanger. Subsequent reissues include "Twilight Zone" as an extra track, and it's a bloody good song that pretty much epitomises the NWOBHM urgency and spirit, making the album even better as a result. If you still don't own a copy (you probably do, but who knows?), it's a mistake you should fix ASAP, and your life will be all the better because of it, believe me on that.

For some, the departure of Paul Di'Anno in the later months of 1981 was no less than a tragedy, and some still consider this to be the definitive incarnation of the band - a notion that is not as absurd as it may seem at first, once you consider that the rawness and the punk-infused elements of the whole venture would disappear almost completely from this point onwards. Still, I personally think that it just had to be: Di'Anno was (and still is) a tough guy from the streets, for good and bad, and Iron Maiden would probably never reach their sold-out-arena destiny with such an unruly frontman. Besides, the singer's unprofessional behavior had become something of a cross to bear for the rest of the group, getting as far as the band cancelling gigs due to Di'Anno's being arrested or simply too inebriated to perform. But still there was a final release with his voice to come out, and that is the "Maiden Japan" mini-LP, so let's swiftly move on to the next instalment...

Paul Di'Anno (V), Dave Murray (G), Adrian Smith (G), Steve Harris (B), Clive Burr (D). All songs written by Harris, except 07 by Harris/Di'Anno.

01. The Ides of March 1:48
02. Wrathchild 2:54
03. Murders in the Rue Morgue 4:14
04. Another Life 3:22
05. Genghis Khan 3:02
06. Innocent Exile 3:50
07. Killers 4:58
08. Prodigal Son 6:05
09. Purgatory 3:18
10. Drifter 4:47

Have you been involved with any of the bands mentioned here? Have any extra info and/or corrections? Please e-mail me (drequon@gmail.com) and let me know!