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Iron Maiden

Iron Maiden – Killers (Album Review)

Iron Maiden – Killers (Album Review)

Released in 1981, Killers solidified Iron Maiden's status as heavy metal pioneers. Building on the foundation laid by their self-titled debut album, the band pushed their boundaries and continued to evolve by delivering a record that combined adrenaline-fueled energy with thought-provoking lyrics and some of the greatest riffs you’re ever likely to hear. 

It’s also Paul Di’Anno's final album, as vocalist, with Maiden and is somewhat bittersweet for as incredible as Bruce Dickinson is on the microphone, Di’Anno’s gravelly singing style was perfect for Maiden’s musical style. That said, I can’t imagine Maiden’s albums post-Killers had Di’Anno remained a member of the band. 

What has remained consistent, throughout the years, is Maiden’s album artwork and Killers is one of their very best. Eddie’s demonic grin is captivating and if the music doesn’t grab you, the artwork certainly will. 

Speaking of the music, for that is the real reason we’re here, the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is thoroughly enjoyable. There’s a tiny bit of muddiness to be heard, but it isn’t a detraction and once Wrathchild comes in, as the second track, all is forgotten for it is quite an audible treat. Yes, some may suggest that the Apple Digital Master is overly compressed, but for Maiden’s style of music, I find it to be perfectly suitable and the latest remasters have a little more heft in the mid to low end of the audio spectrum meaning that the thin sound of the legacy CD releases, from the 1998 remastering sessions, is no longer a cause for concern; unless you enjoyed that style of reproduction, that is. 

The Ides Of March is an incredibly ominous instrumental that sets the tone for the entire album with its haunting guitar melodies and riffs that help to form a foreboding atmosphere before leading into the high-octane anthem, Wrathchild.

Wrathchild kicks things off with Steve Harris' thundering basslines and Paul Di'Anno's gritty vocals. The song’s relentless rhythm, soaring guitar work, and catchy chorus have ensured that it’s a signature tune within Maiden’s back catalogue.

Murders In The Rue Morgue initially slows the tempo considerably with a focus on the melody, before launching into the dynamic metal-driven style that showcases Maiden’s ability to craft complex compositions while staying true to their signature sound. 

Another Life is a killer tune with so much musical depth that your mind will want to connect with every musical aspect, yet you’ll need to find an element to latch onto before the pace of Another Life gets away from you. This kind of frantic song isn’t likely to appeal to everyone, but as far as I’m concerned the shifting styles, throughout, are trademark Maiden; it’s part of what makes them so compelling.

Genghis Khan is the album’s second instrumental piece and while the vocalists of Maiden have always been commanding, I love Maiden sans the vocalist for their music is so emotive and you really get a sense of their instrumental power. From Clive Burr's drumming and Harris’ bass skill to the twin guitar attack of Dave Murray and Adrian Smith, you’ll be left speechless as many aspects of Maiden’s musical accompaniment are lost when lyrics are laid atop the musical bed. The result is that Genghis Khan is one of the greatest pieces of music Maiden ever recorded; a true masterpiece in every sense of the word. 

Innocent Exile flows nicely from Genghis Khan but it’s ultimately an album-only tune. A solid one, yes, but as a song on its own, it’s somewhat unremarkable. 

Killers is a true heavy metal classic that can be best described as an unforgettable sonic experience.

Prodigal Son is a departure from the album’s heavier tracks for this acoustic-driven tune offers a moment of introspection. The folk-inspired melodies and storytelling lyrics further demonstrate Maiden's versatility and while hardcore metal rockers may feel that Prodigal Son is nothing but filler, I’d go as far as suggesting that it’s one of Maiden’s greatest songs; a hidden gem!

Purgatory is a fast-paced relentless onslaught of music; a polar opposite to Prodigal Son. If nothing else, Purgatory is indicative of Maiden’s early raw sound signature. 

Drifter closes the album with a final burst of palpable energy that will compel you to play the album again, for Killers can rarely be heard a single time. 

Killers marked a significant step forward for Iron Maiden, both in terms of musical complexity and thematic depth; even though I consider their self-titled debut to be a masterpiece. Regardless, when you combine the band, Steve Harris’ driving basslines, and Paul Di'Anno's raw vocals, you get a sound that has not only influenced generations of metal bands but stands as an influential chapter in Iron Maiden’s legacy. 

Iron Maiden – Iron Maiden (Self-Titled Album Review)

Iron Maiden – Iron Maiden (Self-Titled Album Review)

Released in 1980, Iron Maiden, the self-titled debut from the English Heavy Metal masters launched onto the music scene with a take-no-prisoners style that was complemented by pure talent. If nothing else, Iron Maiden offers fans a collection of songs that have become classics of the Metal genre. 

Voicing classic Maiden was Paul Di’Anno, an incredible vocalist who would also go on to record their second album Killers before being exiled for extensive substance abuse. Despite that, Di’Anno set the stage for Iron Maiden as he approached these studio recordings with a sense of energy and flow that Bruce Dickinson, and later Blaze Bayley, were able to build upon; that unique Iron Maiden sound! Yes, Maiden’s unique qualities should also be attributed to the musicality of the band and Steve Harris’ ultimate vision, but metal bands are often successful as a result of their lead vocalists.

Speaking of Maiden's sound, there’s been so many variants, with regards to the mastering of their albums, that it often comes down to personal preference as to which subjectively sounds better. I’ve heard the 1998 remaster and while I didn’t think it was bad at the time, once I heard the Apple Digital Master, from the 2015 reissue program, I was blown away as it sounds how I imagine Iron Maiden should sound. You know, the sound you hear in your head when the music isn’t playing. It is subjective, but at that moment I knew that that was the way I wanted to appreciate all of Iron Maiden’s music going forward. Yes, I’ve heard grumbles about this particular mastering. The usual stuff, such as it being dynamically compressed further than it needs to be. While I may not disagree with that sentiment, I prefer to listen with my ears and they tell me that it simply sounds right. 

The (Hi-Res) Lossless edition, on Apple Music, is the perfect representation of this self-titled debut and has the added bonus of being able to be heard whenever and wherever I may be. Therefore, even if the vinyl counterpart is comparable, or superior, it need not apply for it limits where and when Maiden can be appreciated. 

Perhaps most notable, however, is that despite the rawer production of the debut, the mastering has been undertaken so well that it puts a little spit and polish on the album, resulting in a pleasurable listen that is largely void of the shrillness that is found on prior releases. Don’t get me wrong, the rough around the edges feel to the album is most certainly retained, it’s just a little more presentable and permits listening at ear-bleeding levels; just the way Iron Maiden should always be heard. 

The only disappointment with this latest reissue is that it, again, omits Sanctuary; a simply epic Iron Maiden tune. Yes, the track listing now resembles the original release, but it also means that the studio recording of Sanctuary is unavailable to stream with the only recordings being those that were performed live. This omission is a +1 for physical media collectors. However, the most recent Studio Collection CD and Vinyl reissues also omit Sanctuary, so you’ll need to seek out a previous release to attain this tune if you don’t already own a copy.

Prowler launches the record with an iconic riff and sees Di’Anno in fine form while all other musical aspects set the tone for the entire album. The mid-song solo, and Harris’ bass lines, really take Prowler to the next level, resulting in one of their greatest recordings. 

Remember Tomorrow slows the tempo a little, until the song builds that is. Nevertheless, one of the greatest aspects of Remember Tomorrow is the exquisite introduction that reappears throughout the verses. Yes, it may not be a stadium-filling tune, but Remember Tomorrow is one of my all-time favourite Maiden songs. 

Running Free was Maiden’s debut single and there’s a bit of a punk vibe to it. Truth be told, I’m not sure it was lead single material. It’s a solid tune, and perhaps I’ve simply heard it too many times over the years, but despite some thoroughly enjoyable killer grooves, it doesn’t set the world on fire from my perspective. 

Phantom Of The Opera has a moodiness that is incredibly addictive. Seriously, every note of this 7-minute-plus epic is a master stroke. Di’Anno‘s vocals could have been stronger, but all musical aspects are perfect as they transition throughout the various stages of the song. What an EPIC piece of music!

Transylvania has a spy-flick vibe to it with some killer rhythms and licks thrown in for good measure. A great instrumental-only tune!

Strange World flows seamlessly from Transylvania and maintains the melody-driven sonic themes of the prior track. While there’s no doubt that many Maiden fans love their heavier tunes, I, for one, adore these slower tempos as I feel they perform them with nothing less than pure perfection. Di’Anno‘s vocal on Strange World, in particular, showcases his vocal chops like no other song on the album does. He’s an absolute pleasure to listen to. 

Charlotte The Harlot is one of Maiden’s most underrated tunes and has an interesting interplay between the musicians. Depending on the instrument you prefer, you’ll find a unique rhythm to attach yourself to.  

Iron Maiden closes out this self-titled debut masterfully, while also encouraging repeat playing of the album, and is most certainly worthy of the title track moniker. 

Overall, Iron Maiden is a musical masterstroke and is a debut that has not only stood the test of time but is as relevant to the Iron Maiden story as any other album in their extensive back catalogue. It is, without a doubt, one of the best albums released in 1980 and is amongst the greatest Metal albums of all time; a timeless classic!

Iron Maiden – Seventh Son Of A Seventh Son (Album Review On Limited Edition Picture Disc & Apple Music)

Iron Maiden – Seventh Son Of A Seventh Son (Album Review On Limited Edition Picture Disc & Apple Music)

Few album titles invoke as much mystery in the listener’s mind as Iron Maiden’s Seventh Son Of A Seventh Son. Seriously, I can’t be the only one to ponder that title and the associated mystic folklore. Of course, further philosophical interpretation may be for nil as Seventh Son Of A Seventh Son was Iron Maiden’s seventh album; hence the naming is somewhat logical. Still, that won’t dissuade me from folklorish thoughts as I marvel at the artwork and musical masterpiece that is, arguably, Iron Maiden’s greatest album. 

The Limited Edition Picture Disc release, from 2013, is one such marvel but it is one picture disc that simply has too much background noise (a result of the picture pressing process) to be consistently enjoyable. Yes, there are those who would suggest that picture discs are only to be displayed, never played, but that is not how I enjoy my music collection, nor have I found that to be consistent across all picture disc releases. Aerosmith’s Pump sounds fantastic, as does Katy Perry’s Prism. Don’t get me wrong, I’m not suggesting that picture discs are superior or even match the sonic quality of a standard black vinyl record, but some are done well. That said, if you know that you dislike surface noise, don’t buy them. As much as I love Seventh Son Of A Seventh Son, I have no desire to collect other Iron Maiden picture discs moving forward as the punch that I want to hear from them is sadly missing. Think early CD quality, with all the harshness and next-to-no low end. Yes, it could be argued that Iron Maiden has never had the heaviest sound in the low end, but the sound is really thin on this particular picture disc release meaning you’ll be riding the tone controls to get the very best out of this record.

Comparing this vinyl release to the Apple Music stream, you immediately notice a sonic improvement, across the entire album and soundstage. It is how Iron Maiden should sound. While we could point to this as being further evidence of how poor the sound quality is on picture discs, one must note that the Apple Music stream is an Apple Digital Master, derived from the 2015 remastering sessions, and in my opinion offers some of the greatest remasterings I’ve ever come across. Remastering is not always an improvement, but in this case, I feel it is as it also bests the 1998 Enhanced editions that I’m also familiar with. With that in mind, I must also acknowledge that the Iron Maiden catalogue has been reissued and remastered so many times that it is difficult to consider every possible edition and therefore while I consider the 2015 remasters to be perfect, your opinion may differ based on your own experiences.

SIDE ONE

Moonchild opens to a euphonic wonderland that envelops you in sound. That entrance, against the acoustic guitar, that bookends the album is superb. Moonchild is classic Iron Maiden and while I wouldn’t call it a standout song, I couldn’t imagine Seventh Son Of A Seventh Son without it. If there is one complaint, however, it would be in the decay and compression of the drums. Even on the Apple Digital Master, the drum track is lacklustre in my opinion. Yes, it allows the bass guitar to flourish, but the drums sound distant in the mix and I would have preferred greater focus on the drums, such as heard in Infinite Dreams.

Infinite Dreams flows beautifully from Moonchild and thankfully the drum track is much improved. The shifting style throughout particularly appeals to me as it shouldn’t work but does incredibly well. Other bands have tried, many have failed, Iron Maiden mastered the song within a song approach and I feel Infinite Dreams is the greatest example of this. Plus, that guitar solo, is incredible. Infinite Dreams is, without a doubt, one of the best songs Iron Maiden ever recorded and while it was later released as a single from Maiden England, I have always felt that this song was strong enough to be a leading single from Seventh Son Of A Seventh Son.

Can I Play With Madness is a great tune, but the chorus becomes tiresome and has subsequently aged the song badly in my opinion; sounding campy at this stage.

The Evil That Men Do is utterly brilliant. The guitar interplay is off-the-charts and while the drums form the backbeat of the track, it is the guitar element that ultimately drives this song. This is one song that you can’t dance to, but if you’re like me you’ll be singing along at the top of your lungs and shredding that air guitar. 

SIDE TWO

Seventh Son Of A Seventh Son is a masterpiece. If you haven’t turned the volume up to 11, you’re missing out! If there is one criticism to note, it is the sibilance in Bruce Dickinson’s vocal. Sibilance is, unfortunately, one element of the human vocal that can be distracting for this music lover, and to be completely honest, it is often outside of the control of the vocalist, but while I notice it when listening to Seventh Son Of A Seventh Son, I have to acknowledge just how exceptional Dickinson has sung the lyric for I don’t know many that could have sung it with such precision. Yes, dear reader, my comment is both a complaint and a compliment but regardless on which side of the fence you find yourself on, I suggest you listen to yourself singing the lyric ‘seventh son of a seventh son’ and you’ll see just how much sibilance there is in that catchy, yet difficult phrase. 

The Prophecy has an incredible entrance and is stunning from start to finish! I particularly love the vocal mix, especially when listening via headphones, as the soundstage opens up and the disconnected vocals can be easily heard in the separate channels and spaces within the soundstage. 

The Clairvoyant is a great tune but I’m a little surprised that it was considered to be single-worthy, especially when Infinite Dreams was overlooked during the immediate album cycle. It isn’t that I dislike The Clairvoyant, I just don’t feel it is one of the strongest songs off Seventh Son Of A Seventh Son. Yes, I acknowledge the groove-driven rhythm that is ultra appealing, but I still feel there were better songs that could have been released such as the closing track, Only The Good Die Young.  

Only The Good Die Young is a great closer. I’ve said it many times before, but I adore shorter albums that leaves you wanting more. It encourages me to play the album again and explore an artist’s catalogue further. 

Overall, Seventh Son Of A Seventh Son is not only one of the best Iron Maiden albums ever recorded, but it is one of the greatest Heavy Metal albums to ever see the light of day. There isn’t a bad song to be heard and while I know each and every Maiden fan will have their own preferred favourite album, I have to say that Seventh Son Of A Seventh Son would be mine.

Sadly, however, I can’t recommend the Limited Edition Picture Disc release, unless you simply want it for display purposes. It really is stunning to hold and Derek Riggs’ artwork really pops. It is, however, a poor sounding pressing, that only becomes marginally better with adjustment of EQ and tone controls via your receiver. If I were to pick up another vinyl copy, I’d likely consider the 2014 re-issues on black vinyl that have been rather well-received. That said, it may be a case of once bitten, twice shy, and given how good the Apple Digital Master sounds, I may just stick with that.