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Worth hearing for Dickinson's knowingly preposterous mid-song voiceover alone. Partly due to the immense success that the album itself enjoyed on its release, but also due to the fact that Maiden have never quite improved upon its grandiloquent blend of metallic bluster and prog-rock ingenuity, this 10-minute behemoth remains one of the most cherished epics in the band's vast canon. When Iron Maiden reintroduced the title track from their revered 1988 album to their set list a couple of years back, the sound of grown men and women shrieking with joy could be heard all over the planet. Reading on mobile? Listen to this playlist on Spotify here 6 Seventh Son of a Seventh Son
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And, on a slightly more superficial level, it rocks like a bastard. Sea of Madness has been somewhat overshadowed by anthemic single Wasted Years and perennial live favourite Heaven Can Wait, but this is one of the great unsung gems in the Maiden catalogue: a dark, brooding and brutish song with an impossibly grandiose chorus, it could easily have added to the band's impressive list of top 10 singles. In 1986, Somewhere in Time heralded an increased level of creative input for Maiden guitarist Smith, resulting in a broadening of the band's musical palate that has almost certainly contributed to their subsequent longevity.
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The gloriously intricate middle section contains more ideas in three minutes than most bands muster in their entire careers, and guitarist Murray's sublime solo must surely rank as one of the most magical moments in metal history. Powerslave conjures the eerie atmospheres of cobwebbed Pharaohs' tombs and oppressive shadows cast by ancient gods, but it also showcases a band at the height of their songwriting powers. Maiden purists may tend to favour the 13-minute sprawl of the band's reading of Coleridge's Rime of the Ancient Mariner that brought 1984's Powerslave to an epic conclusion, but the album's title track is the true connoisseur's choice. Instead, a wordless "woah oh oh" refrain and a generous helping of those unmistakable guitar harmonies, coupled with Harris and drummer Nicko McBrain's irresistibly synchronised momentum, gave birth to one of many Maiden songs to deftly evoke the sights, sounds, smells and horrors of the battlefield.
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3 The TrooperĪnother ageless classic that is permanently etched into the minds and hearts of all diehard metal fans, The Trooper, from 1983's Piece of Mind, is a textbook example of Iron Maiden's legendary "gallop", and one of the few classic rock anthems to eschew the need for a proper chorus. Soaring vocal melodies courtesy of then new recruit Bruce Dickinson, a taut and precise but effortlessly groove-driven rhythmic undercarriage, sublime twin-lead guitar harmonies from Dave Murray and Adrian Smith, and an unfussy but poetic lyric recounting the final musings of an accused man contemplating his date with the gallows, Hallowed is one of heavy metal's undisputed masterpieces. Perhaps the ultimate Iron Maiden song, not least because it provided them with a dramatic set-closer for the best part of three decades after its first appearance on 1982's seminal The Number of the Beast, Hallowed Be Thy Name brilliantly encapsulates everything that the metal legends do best. Lean, lithe, smart and inventive, Phantom screamed Maiden's uniqueness from the rooftops. Inextricably linked with visions of Daley Thompson thundering down a track while advertising Lucozade, Phantom of the Opera was the first Maiden song to hint at Harris's love of 70s prog, but its clattering rhythms and agile tempo shifts were anything but self-indulgent. Honed to furious perfection through years of slog on the London pub circuit, the songs on Iron Maiden's self-titled 1980 debut album ushered in a new and more pointedly aggressive era for heavy metal, with bassist and de facto leader Steve Harris's fearsome determination and idiosyncratic playing style driving everything breathlessly forward.