Ranking albums by any band can be tricky. Its a purely objective exercise and I do not believe that my list is any more definitive than any other (and remember... it is just for fun!).
When considering the album rankings of Iron Maiden, one has to consider whether an album such as their debut (on which every track is strong) should be ranked above a more successful and well known album such as The Number of the Beast (which has higher highs than the debut but also a couple of weaker tracks). Rankings are also subject to our personal history with any album: when we first heard it, memories associated with that time and lyrics with which we feel a stronger or more personal link.
I'll start by saying that there are elements and tracks on every Maiden album which I enjoy. The top three and bottom six of my rankings came more easily and are pretty much set; the middle eight proved extremely difficult and on another day might well change by a place or two.
At the time of writing, Blaze Bayley is recovering from heart surgery and I wish him all the best.
17: Virtual XI (1998)
Unfortunately for Blaze Bayley, who is one of the hardest working and most likeable figures in music today, his tenure in Iron Maiden was to be short-lived. Blaze is an accomplished vocalist but the band never seemed to fully adjust to the capabilities of his voice, which are markedly different to that of Bruce Dickinson. There are some strong tracks here (not least The Clansman which the band would continue to play after Blaze's departure from the band) but overall, they did not reach the level of those from the band's 80s heyday. The Angel and the Gambler is a contender for the worst song in the Maiden catalogue with its never-ending repetition.
Dwindling album and ticket sales led to Steve Harris taking action. If the band had chosen to adapt to Blaze's baritone it might have been interesting to see where this took them but by now, Steve Harris was more than ready to welcome Bruce back with open arms. All credit goes to Blaze Bayley for never having a bad word to say about his time with the band and for ever being proud of having been a member.
Three favourite tracks: Futureal, The Clansman, Lightning Strikes Twice
16: The X Factor (1995)
It would have been the easiest decision (although not the easiest task) in the world for Iron Maiden to find a Bruce Dickinson soundalike and pretend it never happened. In many ways Maiden should be admired for not taking the simple route. Even though there was much animosity over his departure, the band knew they would have to replace one of the best metal vocalists in the world. Therefore, it could have been seen as courageous that Blaze Bayley was chosen as his successor. Within the depths of The X Factor, there is some good material to be found but Blaze found himself struggling both in the studio and on stage to match his voice to the songs, particularly those recorded before his arrival.
Proficient singer though he is, if Maiden were unable or unwilling to change their style, Blaze remains a perplexing choice of replacement. Fans stayed away from gigs and before it had even truly had chance to take hold, there were question marks over how long Blaze's tenure would last. Blaze uses the skills he has to the very best of his ability and it should not be overlooked that he contributed to the song writing of some of the stronger tracks on the album (including Judgement Day – a B’ Side that should have made the album) . Overall, the album suffers from being overlong and often too one-dimensional in terms of speed and structure.
Three favourite tracks: Sign of the Cross, Man on the Edge, The Edge of Darkness
15: The Final Frontier (2010)
As the 21st Century progressed, Iron Maiden further embraced the longer format of both albums and songs with each passing year. While it is almost as long, A Matter of Life and Death has far more vitality and in many ways, better performances than on this overblown and overlong album. The biggest crime on this album is that some tracks are simply uninteresting, overlong and uninspired. Some tracks sound like Dickinson is struggling and his performances do not compare favourably to those on the previous album. As a fan of progressive music, I have nothing against longer songs or even longer albums if the standard of material is maintained throughout but this was the point where Maiden really needed a producer who would be prepared to tell them "enough". From this point on, although they have continued to produce some fine songs, this has remained an issue with modern day Maiden.
Three favourite tracks: Satellite 15.....The Final Frontier, The Alchemist, The Talisman
14: No Prayer For the Dying (1990)
By the time the Seventh Tour of a Seventh Tour came to an end, Steve Harris was ready for a change in direction feeling the band had taken the more progressive elements of their sound as far as they could. Adrian Smith was already showing signs of restlessness, upset with the way (in his view) the band were mangling the songs by playing them too quickly in the live arena. While one of his compositions was to feature on the eighth Iron Maiden, he would not and Janick Gers, a competent enough replacement, was welcomed into the band.
It could be argued that aiming for a rawer, more antagonistic sound after the lush synths of Somewhere in Time and Seventh Son of a Seventh Son was to ensure the band did not endlessly pursue a similar direction but the production and song writing had the opposite impact leaving No Prayer For The Dying sounding underprepared and lacking originality. The album did spawn the band’s only Number 1 single (Bring Your Daughter… to the Slaughter), which does not totally convince in the hands of Maiden. AC/DC on the other hand, would have made it a sleazy, exciting slab of rock ‘n’ roll so there must be something in it.
Three favourite tracks: Tailgunner, No Prayer For The Dying, Fates Warning
13: Fear of the Dark (1992)
If No Prayer For The Dying was the first misstep in Maiden’s career, Fear of the Dark went some way to rectifying it but in no way fixed it entirely. It became ever more obvious on this album that the absence of Adrian Smith was making a huge impression on Maiden’s song writing power. Steve Harris had often written songs alone but Bruce Dickinson (the amazing Powerslave and Revelations notwithstanding) had produced some of his best work in combination with Adrian. His five tracks here are written in combination with Gers and Murray and it is only Be Quick or Be Dead and Judas Be My Guide (one of their most underrated tracks) that hit their mark convincingly. The title track is massively overplayed live but it is difficult not to get caught up in it once it really kicks in. Maiden would produce another two albums without Smith (and Dickinson) after this one and bringing them both back probably saved them from extinction.
Three favourite tracks: Afraid To Shoot Strangers, Judas Be My Guide, Fear of the Dark
12: Dance of Death (2003)
Brave New World and its subsequent tour had been rapturously received by both critics and fans. Maiden had to produce their “second difficult album” all over again to capitalise on the excitement surrounding the newly reunited / formed six-piece. Dance of Death (complete with the worst cover ever to grace a Maiden album or single) has some excellent material, contains the first writing credit for Nicko McBrain and shows Maiden were more than capable of holding their own with bands half their age but ultimately does not live up to the previous album. It suffers from a similar fate to Fear of the Dark. The highs are strong but only show that this is a patchy and inconsistent album with some weaker tracks that would not have made it onto albums from the 80s. Adrian Smith’s World War I epic, Paschendale, once again highlights the stunning contributions he has made to every album he has been a part of.
Three favourite tracks: Dance of Death, Paschendale, Journeyman
11: The Book of Souls (2015)
Forty years into their existence, Iron Maiden were celebrating the release of their sixteenth (and first double) album. Put back to allow for Bruce Dickinson’s cancer treatment and recovery, it is a testament to the strength of the man and the band that the album and tour even happened. It had been five years since the release of The Final Frontier and rumours of a new album had abounded for a couple of years so it was some relief when news of Dickinson’s cancer broke that the band fully intended to continue. Opening with If Eternity Should Fail (one of two tracks credited solely to Dickinson – the first time since Powerslave), The Book of Souls certainly has plenty to offer.
The band stated that as the writing and the recording of the album progressed, each track became an integral part of the album so a double album became inevitable. Fans’ opinions on the merits of the album vary and many rate The Red and the Black as one of the finest latter day Maiden tracks. However, I find this track predictable and stale, Harris rehashing many old ideas. Empire of the Clouds (their longest song) is Dickinson’s enthralling labour of love to R101, the vocalist describing it as “a very poignant story, a very human story, a story of ambition and dreams”. Dickinson learned to play the piano, wanting to play himself and while it could be argued the track would benefit from a more proficient pianist it shows the camaraderie in the band that the other five rallied round to support him in this venture.
As with many double albums, there are times when it loses a little quality and momentum and it feels that there is a superb 50-minute album in here somewhere. However, Maiden have always done thing their way and for this, they should be commended.
Three favourite tracks: If Eternity Should Fail, The Book of Souls, Empire of the Clouds
10: Senjustu (2021)
Having Iron Maiden still together, in any form, in their sixth different decade and almost 50 years after they were formed could be seen as reward enough. That they should still be releasing albums and continuing to push their own boundaries is quite extraordinary. While still in need of a good editor in some places (the final three tracks (all by Steve Harris) each exceed ten minutes and feel overindulgent – particularly The Parchment), this is one of the best sounding albums in recent times. It is also an album that improves with every listen and is undoubtedly their best since A Matter of Life and Death.
The Writing on the Wall’s southern rock-tinged feel shows the band are still willing to experiment with their sound and that modern day Maiden can go wherever they want. Stratego recaptures some of the Maiden galloping of old (although there is a version on YouTube of the song at 1.25 speed and it sounds even better), Nicko McBrain puts in one of his best performances on any album and the band show they can still be expressively absorbing.
Three favourite tracks: The Writing on the Wall , Darkest Hour, Hell On Earth
9: Killers (1981)
While Killers is often (unfairly) judged by the standards of the albums either side of it, it is a strong albeit not flawless album. There’s a punk-type attitude throughout most of Killers and it serves the material well. Paul Di’Anno was the ideal vocalist for the band during this early period and his infectious style of delivery chimed with the material the band were writing at the time. There is certainly plenty to enjoy but the album does not flow quite as well as the debut. The band had been playing many of the songs from Killers long before they were recorded but it is fair to say that the bulk of the strongest material ended upon on the debut album.
Three favourite tracks: Killers, Prodigal Son, Purgatory
8: Brave New World (2000)
By the tail end of the Virtual XI tour , it became apparent, even to outsiders, that all was not well in Maiden camp. Rumours of Bruce Dickinson returning had followed the band almost from the moment of his departure but it probably came as more of a (welcome) surprise that when he re-joined, a certain Mr Smith would also return to the fold. With a six-piece line-up now in place, much was expected from the newly reenergised band. Steve Harris proclaimed the album to be the most progressive piece of work they had ever produced and much anticipation surrounded the release.
Lead single The Wicker Man deliciously whetted the appetite and as positive reviews rolled in the world prepared for the second coming. Brave New World did not disappoint and although the album loses its way a little towards the end (The Nomad and the largely forgettable Out of the Silent Planet), there is a high percentage of strong tracks and a collective band energy that had largely deserted the band during the 90s. It's hard to believe that Brave New World was released more than 20 years ago; it has lost none of its urgency and it reminded the world just how spectacular Maiden could be.
Three favourite tracks: The Ghost of the Navigator, Brave New Word, Blood Brothers
7: A Matter of Life and Death (2006)
It may seem strange for someone who has commented on the longer albums and some of the longer songs losing their way to have this album ranked so highly. The simple explanation is that the quality of the song writing never wavers and Bruce’s performance is truly Herculean. At the time, this was the longest album the band had released but every song works well; none of the songs feel stretched or padded. Dickinson has often stated how easily the album came together and how much fun it was to make.
There is a feeling of freedom to have the time to take the songs where they wanted but they are never overblown or pompous. However, I will admit that playing the whole album live on the tour (even though the band made no secret of the fact that they intended to do this), came across as a little self-indulgent. It is interesting to note that this is the third consecutive album to feature only one track by Harris alone – a trend that would continue with The Final Frontier and The Book of Souls. Perhaps this shows Harris’s willingness to continue to fully open the doors to every member of the band as the six-piece set their sights on world domination once again.
Three favourite tracks: These Colours Don’t Run, For The Greater Good of God, Lord of Light
6: Piece of Mind (1983)
For the fourth consecutive album, the band found themselves with a new line-up, one that would bring them their most consistent period of success – both creatively and commercially. As far as introductions to bands go, Nicko McBrain’s raining avalanche of drums at the beginning of Where Eagles Dare was vivid and spectacular. Maiden had dabbled with more epic style songs on The Number of the Beast, and Revelations follows a similar path. Various sources claim the studio version is too slow and while the version on Live After Death is a touch faster and more intense, I have no issue with the original version.
If you asked pretty much any fan to choose five songs (maybe even three) that define what the band are about, there is a good chance that The Trooper would be among them. It is a track that sums up the galloping riffs of the band and would work anywhere in a live set. Not every track reaches the same heights but hidden gems such as Still Life make Piece of Mind a solid entry.
Three favourite tracks: Where Eagles Dare, Revelations, The Trooper
5: Iron Maiden (1980)
As the summation of five years of paying their dues, the debut album had been long in the making and although the albums with Bruce Dickinson would take Maiden to more critical and commercial acclaim, some fans think this is best work the band have ever produced. Whatever your view on the album, it would be foolish to dismiss its importance and the eight songs featured here are still amongst the strongest the band have ever produced. While Steve Harris bemoans the production on the album, it crackles, spits and entices throughout – a band taking their first shot at wider success.
Evident from the earliest days, Steve Harris’s love for progressive elements give the album varied shade, hue and emotion. Phantom of the Opera shows the type of song he wanted to write (and would write many more of in the future) and can claim to be the first Maiden epic. While the line-up of the band would change for each of their first four albums, each member here contributes fully to this thrilling and vibrant opus.
Three favourite tracks: Remember Tomorrow, Phantom of the Opera, Strange World
4: The Number of the Beast (1982)
Long regarded as one of the seminal albums of heavy metal, The Number of the Beast heralded the arrival of Bruce Dickinson, who was to become one of the most revered vocalists in the world. Alongside this, Adrian Smith had the first chance to share his song writing muscle and Steve Harris contributed four unquestionable classics (Children of the Damned, Run To The Hills , The Number of the Beast and Hallowed Be Thy Name). Invaders and Gangland, while not totally without merit, pale in comparison to the other six songs and it is for those that this album sits so high in my rankings.
Derek Riggs produced his best album cover to date and the album gave Maiden there first UK number 1. The Number of the Beast was more theatrical than anything the band have previously recorded but with this flair came excellence and charisma. This was to be the start of an exponential growth that was to last the rest of the decade.
Three favourite tracks: Children of the Damned, The Number of the Beast, Hallowed Be Thy Name
3: Powerslave (1984)
For many fans, this is their favourite Maiden album and it is easy to understand why. Every song is powerful, commanding and immaculately produced. Martin Birch (now producing his fourth album with the band) knew exactly how to get what he wanted from every member of the band and as this was the first album in the career of Maiden that had the same line-up as the previous album, there was no new member to induct. I love every track and Powerslave might well have topped this list if my introduction to the band had come slightly earlier.
Its often said that there is a difference between a fan’s favourite album and the one they acknowledge as the best and I have no qualms in saying that about this masterpiece. The song writing is immaculate and live these songs become even more truly formidable.
Three favourite tracks: 2 Minutes to Midnight, Powerslave, Rime of the Ancient Mariner
2: Somewhere in Time (1986)
It has been well documented that after the epic World Slavery Tour and the bombast of the incredible Powerslave, that Bruce Dickinson (who considered leaving the band after the tour) wanted the band to take a more acoustic approach to their next album; however, his ideas were roundly rejected. Steve Harris knew what he wanted for Maiden and while the synth-based sound of Somewhere In Time was a departure, there was more than enough recognisable Maiden within the mix. Adrian Smith once again contributed some amazing songs including one of his best from any album – Sea of Madness. A heavy, almost brutal track but with a beautiful, quieter section just before the three-minute mark. Dave Murray does not write many songs but almost everyone he has a hand in is exceptional and Déjà Vu is no exception.
Three favourite tracks: Caught Somewhere in Time, Sea of Madness, Deja Vu
1: Seventh Son of a Seventh Son (1988)
My number one choice was a straightforward decision. It's the first new Maiden album that I bought as a fan and it holds a special place for me. It's still the most cohesive album the band have ever produced. I wrote about it at length earlier this year (https://shorturl.at/bFKM5) looking back for its 35th anniversary. Perfectly timed in my musical journey and the culmination of the direction taken by the classic line-up during the late 80s, Seventh Son showcases a band at the peak of their powers. Every track is classic Maiden, the concept is sound and it is just a shame that they have never played the album in its entirety.
Three favourite tracks: Infinite Dreams, Seventh Son of a Seventh Son, The Prophecy
Written: May 2023
Listen to my Iron Maiden Through the Years playlist featuring my three favourite songs from each album in chronological order.