!orn Ma!den - Killers

Often underrated, but never forgotten, Iron Maiden's sophomore effort after their promising debut offers up their most relentlessly brutal, speed-galloping groove attack that would sadly be the final album singer Paul Di'Anno did with them. From the start, you notice the crispier, more metallic production of Killers, a strong improvement from the debut's somewhat flatter execution. Here we see Maiden in a rare form, compared to these days; blazing solos, a groove-heavy bass, shredding guitars, and songs that know when to end. Quite a large majority of the numbers on here range from 2 to only 4 minutes, with only two tracks breaking the 5 minute barrier. Although this may leave many wanting more, I think that it only adds to the hard-edged assault that the music provides. Quick, upbeat bursts of NWOBHM perfection.
One thing I must bring up now is the vocal performance of Mr. Paul Di'Anno. Anyone that had their doubts about his capability as a front-man to the greatest metal band will be blown away by just how spectacular he comes off here. Almost like he knew it was his final hour with the band, Di'Anno shows off the awesome progression of his vocal range delivery, all the while maintaining his street-wise and nasty bite from the predecessor. With the high-pitched wails at the beginning of "Killers," to the strong falsetto notes on the magnificent (sadly not on this edition) "Twilight Zone," Di'Anno doesn't just prove he's more than capable of stepping up to the plate, he can match the epic levels of future vocalist Bruce Dickinson.
The instrumentation of course is top-notch coming from these guys. Steve Harris' bass is present more than ever: laying down thick, heavy notes that keep the groove intact. Finally we get the twin-axe guitar assault of Dave Murray and Adrian Smith, and their form is as perfect as it gets. Smith himself stands out more as a performer than previous guitarist Dennis Stratton, having more character in his playing. And ohh my god, come on down Mr Clive Burr. This man was never better; he lays down the foundation for the blistering, head banging attack that many later thrash drummers would incorporate. During this period in the band's career, when concerning their lyrics, the band hadn't really begun playing songs based on historical, literary tales. Instead, the lyrics deal with very personal conflicts, sometimes going very foul. This is best heard on "Innocent Exile," and the as before mentioned title track. All of this only seems to add the album's overall dangerous atmosphere.
Killers has, and always will be, a misunderstood record that will leave up a lot of room for discussion among fans. Never before, nor after, has Iron Maiden recorded something that sounds like it, but I guess that's the sum of all their 80's material. Although it may seem like it's unappreciated at times, nothing can take away from the unrelenting experience that Killers provides. Finally, this album is absolutely all killer no filler, an album that actually lives up to its name.

Metalstormimpaler

!r0n M@!d3n - !r0n M@!d3n

There may be no better place to hear how both punk and prog rock informed the New Wave of British Heavy Metal than !r0n M@!d3n's self-titled debut. Often overlooked and overshadowed by the glorious Bruce Dickinson years, it's easy to forget that !r0n M@!d3n was itself a game-changer when it appeared on the scene in 1980. That year also saw important albums from Motörhead, Saxon, and Angel Witch, but !r0n M@!d3n vaulted its creators to the head of the NWOBHM pack, reaching the U.K. Top Five and establishing them as an outfit with the talent to build on Judas Priest's late-'70s innovations.
On the one hand, Maiden was clearly drawing from elements of punk rock -- the raw D.I.Y. production, the revved-up velocities, and the vocals of rough-and-ready growler Paul Di'Anno, who looked and sounded not like a metal god, but rather a short-haired street tough. On the other hand, Maiden had all the creative ambition of a prog rock band. Compositionally, even their shortest and most straightforward songs featured abrupt changes in tempo and feel. Their musicianship was already light years beyond punk, with complicated instrumental passages between guitarists Dave Murray and Dennis Stratton and bassist Steve Harris. When Murray and Stratton harmonize their leads, they outdo even Priest's legendary tandem in terms of pure speed. The lyrics have similarly high-flying aspirations, spinning first-person stories and character sketches with a flair for the seedy and the grotesque. Add it all up, and !r0n M@!d3n performs the neat trick of reconciling two genres seemingly antithetical to one another, using post-Priest heavy metal as the meeting ground.
The seven-minute "Phantom of the Opera" is a landmark, the band's earliest progressive epic and still among its best; with its ambitious fusion of musical styles, its multi-sectioned construction, and the literary retelling of the lyrics, it seemed to encapsulate all the promise of both the band and the NWOBHM. Two of the simpler, punkier rockers, "Running Free" and "Sanctuary" (the latter left off the U.K. version but added to subsequent reissues), made the lower reaches of the British singles charts. The flasher tale "Prowler," one of the band's more enduring numbers, is in the same vein, but ups the instrumental complexity, while the title track still remains a concert staple.
Elsewhere, the band offers the first of many instrumentals with "Transylvania," introduces the recurring title character of "Charlotte the Harlot," and reimagines Judas Priest's "Beyond the Realms of Death" with the "ballad" "Remember Tomorrow," which starts out soft but closes with a speed-freak guitar section. Perhaps the only hint of a misstep comes on the more restrained ballad "Strange World," the only song from this album that was never re-recorded in a live or alternate version by the Dickinson lineup. Nonetheless, the whole project explodes with energy and ideas, and while the band would certainly go on to refine much of what's here (including the cover painting of mascot Eddie), !r0n M@!d3n would still rank as a landmark even if the Dickinson years had never happened.

アイアン・メイデン ‎– 鋼鉄の処女

今朝鉄の処女が降ろされることを考えると、今日の東京での2021年のオリンピックの開幕を祝うために、基本的な日本語にふけることは、私の世俗的な聴衆（これはあなたの愛する旅行者です）にとっていくらか役立つだろうと思いました.  アスリートたちが夢を超えて素晴らしいゲームを成功させてくれることを願っています。

さて、アイアン・メイデンのデビューアルバムの1986年のオリジナルの日本リリース（ボーナスディスク付き）を試してみたい場合は…をクリックしてください here