Following the Kiss tour, guitarist Dennis Stratton was dismissed for what was said to be creative and personal differences. In an interview with Jon Hinchcliffe in October 1999, Stratton gave his side of the story: “I used to listen to things like George Benson, Average White band, Eagles. Loads of Eagles, just relaxing. Little River Band, you know all interesting melodic stuff. And it got to the point we were in one Hotel and Rod Smallwood came up and started shouting at me saying I am not supposed to be listening to this type of music. And I said to him "If I listen to Motorhead 24 hours a day my brain would be gone. You can't do things like that to people" and he said, "Well you can't be into the band if you are listening to that sort of stuff.". It just got silly. It got out of hand. We weren't mixing well and it got round to Oslo I think at the end of the Kiss tour. I had "Soldier of Fortune" by Deep Purple on Stun volume because I was in the Shower. And he had heard it. And he was saying "If you are going to keep listening to all this slow soft stuff ... " and it just got a bit silly. I said something like "You're just a bully" and we just fell out. And after the Kiss tour he said "Right we're not getting on. You're not into the band." I said what do you mean "I'm not into the band?" He said "I can't fault you're playing and your singing, but you are just not into the band." I went "Oh f**king hell" and just walked out of the office and that was it”.
Stratton’s replacement was an easy choice. In 1979, Adrian Smith had been approached to join the band, but had declined as at the time he felt that his own band, Urchin, was on the verge of making their own ascension in the music business. It was something that he eventually regretted when the band folded in 1980 without have reached the success he had been hoping for. Now though, with Stratton gone, he was asked once again to join the band, and this time he jumped at the opportunity. His first gigs with the band were the conclusion of their UK headlining tour in November and December of 1980, and he appeared in the band’s live video recorded then “Live at the Rainbow”.
As a precursor to the album being release, a single was recorded as the band was unsure about any of the track they had written for the upcoming new album as being single. Their publishers suggested covering the song “Women in Uniform” by Australian band Skyhooks. This they duly did, as well as filming a promotional video for the song.
Having been disappointed with the production of their debut album, the band and manager Rod Smallwood were making no such mistake with their follow up. The call came for legendary producer Martin Birch, whose stellar career had already led to producing albums from bands such as Deep Purple, Rainbow, Whitesnake and Black Sabbath. While his name had come up when it came to discussing producers for the first album, no one thought that he would stoop so low as to agree to produce a band that no one knew. For his part, Birch himself later admitted in interviews, including for the Classic Albums episode for “The Number of the Beast”, that he was bemused as to why they hadn’t asked him to be their producer on that debut album. Birch of course remained with the band until his retirement from the industry in 1992.
Thus it came to pass that less than ten months after the release of their debut album, Iron Maiden returned to the shelves with their follow up album, one that would again showcase the many faces that the band had to offer to the growing genre of heavy metal, the album that was called “Killers”.
Coming into their new album, the band already had a lot of material available that had not been used on their debut album, some of those songs having been played live in concert for years prior to the recording of the “Killers” album. Some had been composed and were in the process of being tested in the live environment after the release of the debut album. The new album’s title track “Killers” is a case in point. This song was played often in the latter half of 1980, with different lyrics and slightly different structure to what eventually became recorded on the new album. Many versions exist of the earlier version of the song. Songs that were played on the headlining UK gigs prior to the album being recorded include “The Ides of March”, “Wrathchild”, “Killers’, “Another Life”, “Innocent Exile” and “Drifter”. “Wrathchild” of course had been recorded and appeared on the “Metal for Muthas” compilation album in 1980 and had been bypassed for the debut album as a result, but its popularity and longevity from being one of the band’s earliest songs meant that it had to get its chance on album here. Both “Wrathchild”, “Purgatory”, “Another Life”, “Drifter” and “Innocent Exile” hark back to the very earliest days of the band, appearing on set list when Dennis Wilcock fronted the band. Indeed, it is acknowledged that only two completely new songs were composed for this album as it was being recorded, those being “Murders in the Rue Morgue” and “Prodigal Son”, an interesting comparison of songs that stand on different sides of the band’s defining qualities.
Breaking down this album as a study piece is an interesting project. Why were these songs, which had already been written some time beforehand, not utilised on the first album? If they were deemed surplus to requirement for the band’s first ever album, did that mean that they were second rate, and should not have been used at all? Does their use here indicate that the band had already runout of ideas and had resorted to using tracks they had ignored for their first album? Or was it simply that the band still felt these songs had plenty of strength in them, that they were indeed a part of what made the band who they were, and that they deserved tobe recorded for posterity and to allow all Iron Maiden fans the chance to enjoy them as well? Both sides of this argument have been discussed over the years, especially in discussing the strengths and weaknesses of the band’s first two albums and where they stand in the band’s catalogue as a result.
“The Ides of March” is the instrumental opening introduction to the album, inviting all listeners to get to their seats and ready themselves for the onslaught that follows. While it might be perfunctory in some fan's eyes, it does act as the perfect introduction to the song that follows, and the one everyone would consider the true opening of the album. As was spoken about on Episode 90 of this podcast that speaks about Samson’s album “Head On”, their song “Thunderburst” is basically the exact same track as this one, which is credited to the entire band along with Steve Harris. The Iron Maiden song is simply credited to Harry. Perhaps not the only time in the band’s history where correct credit to songs has not been forthcoming. And perhaps also the reason this version appeared on this album.
The arrival of “Wrathchild” and that marvellous bass and drums opening, along with Paul Di’Anno’s entry of “yeah” is still as iconic and marvellous as the day the album was released. Perhaps that is because this is the only song from the album that is regularly played live. It is also the reason many fans have fatigue over it. And yet, every time you put the album on, and Paul says ‘yeah’, you are away, dragged along back into the song and the album. Musically it's a great simple song driven by Steve’s bass guitar and Di’Anno’s vocals. The basis of the first two albums were these kinds of short sharp tracks that exude high energy and volatile lyrics and lovely guitar solos through the middle. It has been played for a thousand years, and it would certainly be nice to hear other songs from this era played live occasionally, but it doesn’t take away how important this song has been to the Maiden history, and how enjoyable it is every time it comes on.
“Murders in the Rue Morgue” is one of the two new tracks for the album, and it channels everything that made Iron Maiden the band on the rise they were at this time. The opening into the heart of the song is still such a wonderful mood setting platform, the bass harmonic, the clear guitar as the bass run builds to the entry of the drums and dual guitars, and then the burst of Clive Burr to take us hurtling into the heart of the track, with Di’Anno telling the tale based on the tale by Edgar Allen Poe. Harry’s bass guitar drums into your ears throughout this entire song, it just doesn’t rest, taking on almost lead guitar status rather than following the rhythm guitar. The driven high energy of the song explodes through the speakers. Di’Anno is at his finest here, and the combination of Murray and Smith in the middle section is still a joy to hear. Everything weaves together here to explore the best of what Iron Maiden does.
“Another Life” has the early live punchy feel that you can hear when you listen, and almost feel the sweat dripping off the wall of the pubs the band played in during their early years. The opening drum roll from Clive, the twin guitar burst, before the delayed guitar solo introduction into the heart of the song. I can see those long haired heads bobbing along at the front of the stage. The band played this live on their 2005 Eddie Rips Up the World Tour, and with three guitarists in the band, surely they could have made a better effort reproduce that delayed guitar riff solo in that instance. This blends into the instrumental “Genghis Khan”, where Clive Burr is the out and out star. His drum roll to enter the track with bass and guitar is fabulous, and then through the middle of the track the double timing he keeps is surely unplayable. Listen to the bass and guitars, they are almost struggling to keep up with him, and how he keeps that timing he plays is superhuman. Fortunately for all they all crash out of that to a more sedate turn for the second half of the song, allowing the melody of Dave and Adrian’s guitars to claim their spot to complete the song. This is a wonderful musical interlude, with all members showcasing their immense skill and creating another wonderful track.
“Innocent Exile” is a fan favourite, though has rarely been played live since the tour to promote this album. It is another song that harks back to their earliest days, and one as such that retains the kind of structure and format some of their pub days songs keep. It explodes outward in the back half of the song, picking up pace as the solo pieces from Dave and Adrian have their say, and this is where the real essence of the song comes to life, and closes out the first half of the album nicely.
The title track opens up the second side of the album, and it remains one of their signature tracks. Probably not politically correct for our lily hearted people in the modern day, but "Killers" is a great song to sing along to, telling the story of a serial killer in the mode of the Yorkshire Ripper. Once again it is the bass line and drum core that opens up a Maiden track, almost always a sure way to indicate one of the best songs from the band. And then Paul Di’Anno - he just takes charge. His positioned screams during the opening stanza are so perfectly tuned. The whole mood of the opening of the track sets the scene again, just as it does in “Murders in the Rue Morgue”, and like that song, the burst into the heart of the track with the arrival of the guitars is where it all bursts out of the speakers. The galloping bass line keeps the song charging along, and Clive’s perpetual drumming climbing aboard as well. Di’Anno excels throughout this song, his vocal dripping with the lip curling sinister atmosphere he creates, as he unfurls himself to reveal that he is indeed the protagonist of the song, and his exposed insanity comes to the fore. The harmony vocals of the breakdown in the middle of the track is fabulous. And the charge of the solo section with both guitarists given their head to fly along, all the while as Harris and Burr continue to crank the engine underneath. Di’Anno’s ability to channel the mood of the story and adapt his vocals to match it is pure artistry. “Killers” is a true classic, and here offers the very best that all of the band members, but especially Paul Di’Anno, have to offer.
Though on the original UK release of this album we move into the second newly written track, two other versions of the album have a different song inserted before its arrival. The US version contained the song “Twilight Zone”, a song that had been released as a non-album single a month after the release of this album, while the Australian version of the album, the one I first owned, had the pre-album non-album single “Women in Uniform” added in. Both, in my opinion, are excellent songs.
“Prodigal Son”, the other new track written for the album, is another example on these first two albums of a band that was so comfortable with itself that they were willing to step out of what they may conceive as their comfort zone and create a song that steps away from everything else that appears on the album. We heard that with “Remember Tomorrow” and” Strange World” on the debut album, and here we have it with “Prodigal Son”. Lyrically it is in a different world to what is composed musically. The song tells the story of someone who has been dabbling with black magic and now finds that the power he has been messing with is overpowering him and trying to take him away. Steve has written some wonderful lyrics here, and yet the music surrounding them is of a completely almost unrelated style. Gentler than most Maiden songs, the sweet harmonies exuded by the bass and twin guitars, as well as the completely underrated ability of Paul Di’Anno to sing a song in this mood, creates the almost calming and beautifully enamoured song that it is hard to reconcile with the music of the band, and of the lyrics with the music. In many ways, “Prodigal Son” is a conundrum, but a fascinatingly brilliant conundrum. It offers the kind of storytelling and melodic encompassment that allowed the band to further develop down the road without fear of being accused of selling out as a result. It is a wonderful song.
At the other end of the scale, “Purgatory” is almost a very early style of speed metal track, and must surely be the fastest song Iron maiden ever released. From the opening burst, when you listen carefully to what is here, it is hard to believe that the band was actually able to lay this down in the studio. There is simply, surely, no possible way that Steve Harris could have played this song live. It is just over the top fast. His fingers must have bled when he recorded this. On the frets and his right hand trying the hit each string at that velocity. That bassline throughout the entire length of the song is incredible, and still amazes me every time I listen to the song today. Add to that Clive Burr’s drums. I’m sorry, but how the hell is he playing this? Hit the hi-hats or the ride cymbal, cranking that right leg on the bass tom, and then throwing in his rolls as well. Far out. And yes, then Dave and Adrian following all of that up by playing what they do. My goodness I love this song; I love the fact that we have this kind of super fast paced song along with everything else the band has done on this album. They have covered most options and areas of metal on “Killers”, and shown they are capable of playing all of them.
The album is brought to its conclusion with “Drifter”, a song that had acted as a set closer for some time before its appearance on this album. It is a rambling and rumbling track, almost giving the feeling that the band is tumbling down the side of the mountain as it plays such is the increase in momentum it appears to gather along the way. It does sound like it is an end of gig jam, which of course when played live it became, often being extended with crowd chanting and audience participation. And by having this song close out the album, it feels like the perfect way to have that closure.
Those who have followed my journey with heavy metal music and Iron Maiden in particular will probably be familiar with my indoctrination with the band at the end of Year 10 in 1985, and the explosion of what one might call obsession with said band into 1986. Because my first experience with the band came through the albums “Powerslave”, “Piece of Mind” and “The Number of the Beast”, the exposure to “Killers” a couple of months after having devoured those three albums a hundred times over was of course a little confronting, because the singer on this album sounded different to how he had on those other albums. Oh, Iron Maiden had a different singer originally? OK, good to know.
The transition back from those three albums to what is contained on “Killers” is a truly interesting experience. Not only is the singer different, but the songs and their structure are also different. What “Killers” provides is the compilation of the rest of Maiden’s early years, the years where they were scraping together under constantly revised band lineups, but still playing the soundtrack created by Steve Harris, until he could find a line up and a means to get them all onto vinyl. So because these songs all came from that early era of 1975 through to 1980, they differed from what was written beyond this album, with a new singer and a whole different range that the band was able to explore. Whichever era you listened to first, there is an obvious divide between what came with “Killers” and before, and what came after. That for me when I first got the album was something that had to be traversed.
And I did. Quite comfortably as it turned out. Because most of the songs here are still incredible, and must have been even more so for those that heard this album on its release. For me, there are four outstanding songs on this album, and the remainder are only a notch below that. “Murders in the Rue Morgue”, “Killers”, “Prodigal Son” and “Purgatory” are those four tracks. Why do they stand out for me? It is the perfect combination that this line up of the band provides. Steve Harris and his bass guitar working overtime. On all four of these songs, he offers what made –and makes – him so different from almost every other bass guitarist. The way he writes the songs on his bass guitar to make that instrument so prominant, so integral to the greatness of the tracks. On all four of these songs he is front and centre, and in different ways. Melodically on Murders and Prodigal Son, belligerently on Killers and Purgatory. Clive Burr’s drumming is the other key. The way he and Harry lock in on those songs in particular, driving the tracks when necessary, and holding the fort when it isn’t. Clive is outstanding on this album particularly because he is able to play at the tempo that is required OF him by Harry, and that could not always be an easy thing to do. Dave Murray and Adrian Smith are terrific together, for the first time on a Maiden album. What I discovered listeneing to this album again this week though is that their presence is the least noticeable thing for me on this album. I’m not saying that what they play is not significant, because it is. And they are both excellent here, especially Dave who really shows his clout on the guitar on this album. But these songs for me are dominated by the rhythm of the bass and drums, and the vocals of Paul Di’Anno. And yes, Di’Anno is a star on this album, and these four songs in particular. Each so different from the other, and yet Di’Anno morphs to exactly what is required of each track. The storytelling of each story, each in the tone that the mood has been designated. He soars in Murders, he is sweetly beautiful in Prodigal Son, he is aggressively insane in Killers, and powerfully fast and iconic in Purgatory. The other tracks on the album are all terrific as well, and each member of the band is great on those as well, but for me these are the ones that create the grandeur of this album.
Not a year has passed in the last 40 where I haven’t listened to this album at least a few times. And 2026 is now no different, because I have been hammering it at work, and my vinyl copy still sits on my turntable in the Metal Cavern. And the undying love I have for this album remains undimmed. And why? If for nothing else, the ability to go from a song like “Killers” to a song like “Prodigal Son” and then to a song like “Purgatory”, and not miss a beat, and not lose a listener, and not lose any integrity in the work. And like I have already said, perhaps this IS just an album that draws together the remainder of the band’s song catalogue from the past, to ensure they all got their opportunity to be on an album. But thank goodness for that.
It of course also acts as Paul Di’Anno’s swansong, something that despite the years that passed he was never quite able to get over or get away from. Because when you listen to him sing on this album and its predecessor, you cannot imagine that he would not go on to be a force beyond this time, that his voice and charisma had to be an asset in reviving his music career. What it also probably proves is that in Iron Maiden he had a songwriter who was beyond compare, who gave him material that not only suited his character, but that he could also put a part of himself in to give it an attitude that helped make it what it was. In the years following, it always felt that it was the songwriting that let him down, and not his vocals. Despite this. Di’Anno’s legacy would always remain these two albums, for better or for worse.
As for Iron Maiden, their world was about to expand exponentially, with a success none of them could have imagined. The fact that “Killers” is a part of that springboard should not be forgotten. It should be celebrated.
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