![]() ![]() And as usual, the controversy merely drew more attention to the band. Once again, the Derek Riggs artwork for the single is supposed to have ignited controversy and charges of sexism from members of the media who had not bothered to understand the meaning of 'Twilight Zone'. If this seems absurd you take a closer look in the numbers of the entrances, You will see clearly the number 22 which reminds a lot the song "22 Acacia Avenue" where actually lives the vicious girl.įrom the apartment with green curtains below you can see even a curious figure, to peek through the window.Īt the bottom window where the lights are gone you will find the signature of the artist and silhouette of a black cat which is a symbol we will not meet for the first or las time in the artworks of Riggs. Well, maybe she is busy because Charlotte is unaware of what is going on outside, and that Eddie probably killed her next customer. Maybe there lives Charlotte The Harlot herself? In the building behind Eddie you can see even a room with tightly closed red curtains. ![]() The background of the cover is familiar to us from the first Iron Maiden Album - gloomy London from the beginning of the 80's. This proves how immortal is the artwork of Derek Riggs Even today (nearly 30 years after the release of the album) the cover of Killers can be seen in stores marchandize tattoos badges and etc. According to many fans on that particular cover is the best Iron Maiden artwork Eddie looks really primal and at the same time advanced to the smallest detail. Leading to the name "Killers" Eddie is over depict victim and holding a bloody axe. Here Derek Riggs has focused all his timid attempts in to one full of anger and majesty cover which is not randomly selected for face of the album. It was up to me to interpret it.In 1981 the album Killers is released and the cover literally nails the image of Eddie making it so prestigious icon even to this day. ![]() There were kabuki masks and tattoos, Japanese water dragon. Artist Mark Wilkinson told us that Steve Harris emailed him pages of imagery for reference: “There were samurai warriors and creatures from Japanese oni mythology - ogres with one or more horns growing out of their heads, plus an extra set of fangs. Maintaining the stark black backdrop from The Book Of Souls - with an expression and posture echoing Killers, where TBOS echoed the debut sleeve - our hero manifests in terrifying Samurai form, ready to captivate a new generation of wide-eyed youth. With an extra pair of fangs poking through bloody gums, battered metallic battledress, copious bloodstaining and an arsenal of weaponry at hand, Senjutsu is Eddie at his most flat-out bloodthirsty, shit-scary. No wonder the box set also included a seventeen-inch poster of the image. However, in the Senjutsu Super Deluxe edition, the Blu-Ray cover of the epic Writing On The Wall animated video adds a giant Samurai Eddie flashing his great big sword, as well as the rest of the Biker Horsemen of the Apocalypse. There are few more metal images than the Grim Reaper on a motorbike surrounded by flying eagles. Bursting through a copy of the Mirror carrying the tragic news of the R101 disaster (the subject of the song), Eddie reaches to grab the stricken airship out of the clouds, as the vast shadow of long-time Maiden sleeve art cameo the Grim Reaper surveys his grim handiwork. His mane of neon green fibre-optic hair is pretty fetching, too.Įddie’s first head-and-shoulders cover portrait since 1980, Mark Wilkinson’s Mayan Ed for The Book Of Souls is a focused triumph, our tribal-scarred hero peering out of a jet-black background, leaving behind the cluttered tableaux of recent years to reassert the snarling menace and attitude that first made us fall in love with the mad old bastard.įor a limited Record Store Day picture disc gatefold, Maiden turned to Hervé Monjeaud, the French artist who redesigned Derek Riggs’ Maiden England video sleeve for its 2013 DVD reissue, for the Empire Of The Clouds release. Being sucked into a computer universe seemingly works wonders on our hero’s teeth, displaying a straighter and whiter set of gnashers here than we've ever seen in Eddie's 'ead before. For Speed Of Light, the first single from Maiden's sixteenth studio album, Eddie was reimagined as a digi-hopping game invader, popping up in all manner of classic era video game archetypes as he battled his way through til the bitter end. ![]()
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