Forostar
Ancient Mariner
Killers has one of the most "in-your-face-productions" of all Maiden albums. It is a very clear and strong production in such a manner that all instrumentalists can be heard very well, and pretty up close. The rawness, the energy is recorded and preserved so well. One of Martin Birch's best jobs!
So Killers is Maiden's album on which the combination of rawness, aggression and still eager energy and hunger can be heard best.
That energy, the speed of some of these songs, and of course the bass and guitar lines, these were THE ingredients that made Maiden so special in that time. This album kicked everyone's ass. And still in this time this is acknowledged. This is a landmark album resulting in the first world tour, hitting Japan, USA and Canada for the first time. Maiden also went to Yugoslavia and were considered as top act in the metal genre.
When I heard Killers for the first time, I only knew two other Maiden studio albums: the debut album and Seventh Son. Naturally, because of that I was a bit disappointment after I heard the complete Killers album. Most tracks were not so melodic as most other music that I appreciated. Still I like side B very much. My favourite Killers-moments are "Purgatory" (great combo of speed and melody), the instrumental mid-piece in "Prodigal Son" (the only song never played live, at least not since its release) with its spineshivering solos, "Wrathchild", the cool harmonies of "Murders In The Rue Morgue", the aggressive mid-part in "Another Life".
Surprisingly, my favourite track is "Genghis Khan". The way this song changes into the groovy end, with the great melody played by Dave on the left side and the melodic harmonies makes it one of the coolest Maiden parts ever! Though this commentary seems very positive, I still like it less than the debut which made a better overall impression. So:
-Aggression
-In Your Face
-Best production for Clive's drums
-One of the best productions from the whole catalogue
= = = = = = =
01. Genghis Khan 10/10
Signature Maiden. Sublime instrumental with an outstanding last one and a half minute. That bass line, those different riffs by Dave and Adrian and on top of that that cool lead by Adrian. This groove sounds like a preview of Hallowed Be Thy Name (just some left overs Diesel? Hallowed was fucking born out of this beauty, next to some "borrowing" from another band). Clive is really shining on this. Probably my favourite ending of all Maiden songs, and by far my favourite song from Killers.
Steve Harris in the interview with John Stix, made in 1983
Interviewer John Stix: "Genghis Khan is the second instrumental on Killers. The sharp break in the B section is like shifting gears without a clutch."
Steve: "That freaked out our producer as well. It was sort of a change at right angles. We really liked that element of surprise. This was another song where there could have been a vocal melody on top, but it felt good as an instrumental. A vocal would have cluttered it up. Originally it was written to depict the feeling and sound of Genghis Khan's army going to battle".
John Stix: "There are no solos"
Steve: "It wasn't a conscious thing, but it worked out that way. It felt better not to have any guitar solos on this track."
02. The Man of Sorrows 10/10
Of course, Empire shows the band has guts because of its length, and important piano role, but The Man of Sorrows is certainly trying to hit new ground as well. Even for Maiden standards this song has some unusual changes. Also chord changes. It starts calm as Tears of a Clown and when it gets heavier, the music in a verse (if it is a verse) suddenly modulates to a lower(!) tone, a bit of a threatening twist, going to darker atmosphere. The song has, as its predecessor and its follow-up, lots of sensitive playing, lots of feel, especially at the end in which the individual guitarists can be heard so distinctly. Also in the end, Nicko plays some subtle stuff, in a more loose, almost jazzy/soul/proggy kind of style, e.g. alternating his hi-hat speed to double time.
It can be said this song is a collage of several different things but I think it works excellent. Absolutely for me a highlight of the album, because it proves that Maiden dares to hit new ground. By the way, if someone noticed that I haven't talked about Bruce's singing for a while.... don't fear! It means he's great since the title track, non-stop.
Unusual solo order as well: D / D / A / J / D
This song has a great change in mood, fitting the lyrics. I love it when Maiden tries new things. Makes them less predictable. The whole song is a pearl on the album. Such beautiful, sensible playing. Haunting solos. Dave Murray is the man. His leads are so emotional.
03. Purgatory 10/10
A very energetic and fast song (one of the fastest in the catalogue).
There's a lot going on here with the guitars and bass. On top of the both menacing and precise(!) drums we hear Steve play like his life depends on it. Dave and Adrian do different things on rhythm guitar, something which really unfolded on the Powerslave album (and we can also hear it on Die With Your Boots On).
The bridge sums it all up. It is the best part of the song where everyone is laying down their works neatly. Paul is excellent, singing a perfect melody on top of it. And did you guys notice that awesome echo of Dave's solo, which still continues when the harmony kicks in? Great choice by Birch (I guess).
04. Killers 9/10
This is one of Maiden's hardest rocking songs, with an awesome midpart. In fact, I like the part where Steve does backing vocals the best. Very hard hitting riffs, bass and drums. This is an iconic song, and a great summary of the strengths of our beloved band.
05. Empire of the Clouds 9/10
06. Tears of a Clown 9/10
07. Death or Glory 9/10
08. If Eternity Should Fail 9/10
09. The Book of Souls 9/10
10. Twilight Zone 8/10
11. Prodigal Son 8/10
Next to the special atmosphere, the solos are so beautiful. Adrian puts a lot of care and feeling in his solo, and Dave takes over with his crystal clear sound. These solos sound so different from the others on Killers, that I wonder if they were recorded on a separate session, together with Adrian's melody lead on Genghis Khan.
12. The Ides of March 8/10
13. Shadows of the Valley 8/10
14. Wrathchild 8/10
15. Murders in the Rue Morgue 7/10
16. Another Life 7/10
17. Innocent Exile 7/10
18. Speed of Light 7/10
19. The Great Unknown 7/10
20. Drifter 6/10
21. When the River Runs Deep 5/10
Cringing vocals in the beginning. Can't believe what Bruce wants to prove here. Yes, Bruce you can still sing high but here you're doing not much else than fucking up vocal chords. Compared to this, the chorus in Mother of Mercy is a blessing.
That opening and ending guitar "melody" is probably the most messy thing Adrian has ever recorded.
By the way, I clearly hear non-Bruce backing vocals in the first couplets. Could be H, but if it's Steve I believe that as well.
Adrian's solo sounds so thin (compressed?) as if it was squeezed out in a dim toilet.
This is certainly either one of the worst songs for me, from this album. And it also sits very low in the entire catalogue.
I find the vocals hard to bear and the chorus monotone: its weakness comes across after a few repetitions. In the last rounds, Nicko's loud slamming on his ride cymbal does not sit well (irritatingly dominant). I am not particularly fond of Dave's solo.
The instrumental part reminds me of Don't Look to the Eyes of a Stranger, including Muppet drums (even worse). Overall not the most imaginative song they've done (understatement).
22. The Red and the Black 4/10
People who love this song say there are so many melodies. Well, here's my answer: I also like melodies, but when they are done over lengthy frameworks (chord schemes) taking one and a half minute before it changes, it's getting too long. A different melody, solo or lyric on top sounds a bit different on the surface, but I just feel that in reality, it does not. The melodies are also simple, and a bit lengthy. It does not sound exciting.
We have this one and a half minute (more even) 6.29 - 7.14 which reminds me a lot of When the Wild Wind Blows. It has the same chord progression.
Then there is the stuff before it:
4.58 - 6.29
And after it:
7.49 - 9.09
Even though the first contains some "The Red and the Blaaaaack" lyrics, and other parts have melodies or solos, it's still all over the same chord scheme. This is, I believe, what makes the song tedious, monotone and repetitive. In total we have around four and a half minutes of samish music, which eventually becomes one big drag.
So, I find it good until 4.58. And I like some parts from 9.09 til the end. But the 4.58 - 9.09 part: the least diverse section in the history of Iron Maiden, kills it. The problem is that it even has impact on what comes after it. There's good stuff coming after 9.09, but the interest has gone down, the patience has ended. And I even get another thought of "Another part? When does it ever end?"
= = = = = = =
Everything considered...
Killers does not have such low lows as The Book of Souls has. It does have awesome highlights and the flow and sound of this record "kills".
The bright solos, the aggressive riffing and such well played drums... the album does not kill the listening pleasure.
An often heard argument is at its place here: Killers is the more consistent album. Without a single WTF are they doing this for moment.
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