Iron Maiden's 10 Best Songs

The Book of Souls is a dense offering of late-career Maiden, clocking in at 90-plus minutes. Eighteen minutes of that runtime belong to the closing track, “Empire of the Clouds” — Iron Maiden’s longest song ever and arguably their most ambitious. It was entirely composed by Bruce Dickinson, who spent about a month working out the track on his own while holed up in a recording booth. Dickinson had previously won a keyboard in a raffle, prompting him to learn the instrument and write with it, and his keyboard track would make up the skeletal structure of “Empire of the Clouds.” The rest of Iron Maiden faced the challenge of playing along to Dickinson’s part — a reversal of the normal recording procedure — with the band essentially constructing the song from the top down. In the end, the song never feels or sounds as if it’s piecemealed together — a testament to Iron Maiden’s veteran-level craftsmanship at this juncture in their career. — J. Hadusek

This is the lead single from what’s debatably the group’s masterpiece, and over 40 years later, it rightly remains a signature Iron Maiden song and a staple of the genre (not to mention a great introductory to then-new singer Bruce Dickinson). Centered around the clash between European colonizers and Native Americans, its dramatic percussion lead-in paves the way for both one of the band’s sleekest riffs and one of their most anthemic choruses. As such, “Run to the Hills” embodies Iron Maiden’s trademark gutsiness, catchiness, and historical depth. — J. Blum

Aviation has been a recurring theme throughout Iron Maiden’s career, culminating with Bruce Dickinson becoming a professional pilot and literally flying the band around the world on its own private plane. So, in a sense, “Aces High” is a defacto theme song — a narrative tune written from the POV of a British RAF pilot fighting during the Battle of Britain in 1940 (the first military engagement to be fought entirely with aircraft). Powerslave-era Iron Maiden were masters of balancing historical/literary aspirations (the lyrics) with joyous melody (that lead riff) and lean-mean power metal (the verses) — “Aces High” being the prime example. — J. Hadusek

Another essential part of Iron Maiden’s third album, the Damien: Omen II-inspired “The Number of the Beast” is fittingly grand and ominous. Kicking off with Barry Clayton’s spoken-word recital of Revelation 12:12 and 13:18, it builds tension brilliantly thanks to the combination of playfully foreboding instrumentation and Dickinson’s sinister whispers and soaring screams. Afterward, it’s impossible not to get sucked into the track’s diabolically cool momentum, textures, and lyrics. It’s little wonder, then, why “The Number of the Beast” appears in so many pop culture properties (including this year’s Rebel Ridge). — J. Blum

“Wasted Years” is Iron Maiden’s pop metal song, or the closest thing to it: The sound of the band synthesizing the metal of 1986 through its own NWOBHM style. The chorus hook stands as one of the catchiest and most radio-friendly in Maiden’s catalog, while the lyrics touch a level of personal introspection that’s disarmingly real, especially in contrast to the band’s typically more fantastical or historical themes. If it sounds like an outlier, that might be because it was the first Iron Maiden song solely penned by guitarist Adrian Smith. The multiple cooperating songwriting voices within the band remains one of its ever-lasting traits. — J. Hadusek

Iron Maiden’s 1980s run was nearly unbeatable, as almost every album could be crowned their magnum opus. 1984’s Powerslave – which cemented their classic lineup – is no exception, and lead single “2 Minutes to Minute” is a huge reason why. Penned by Dickinson and Adrian Smith, its anti-nuclear war mantra lends itself wonderfully to the then-quintet’s penchant for dynamically imposing arrangements, tight harmonies, and infectiously heroic singing. In fact, the band’s playing and Dickinson’s performance are perfectly matched, making it the ideal example of Iron Maiden dominating the scene as a united force. — J. Blum

The best riff in Iron Maiden’s discography belongs to “The Trooper.” Its triumphant gallop conjures the image of the titular soldier running into battle, a rising action that perfectly builds to the musical halt before Bruce Dickingson’s first verse: “You'll take my life, but I'll take yours too!” This leads to the wordless “woah-oh” refrain that many-a-metalhead hath shouted in chorus with their fellow denim-and-leather clad brethren. A perfectly compact power metal anthem, “The Trooper” was also one of Iron Maiden’s more appropriate songs for the radio format, cementing its iconic status in Maiden’s catalog and heavy metal history in general. — J. Hadusek

Just because it’s the most obvious pick doesn’t mean it’s the wrong pick, and we’re confident in declaring that “Hallowed Be Thy Name” is Iron Maiden’s greatest composition. After all, it concludes The Number of the Beast with a superb synthesis of epic music and poignant songwriting (courtesy of Steve Harris) that can’t help but leave you simultaneously energized and emotional. The lyrics detail the impending execution of a prisoner with sobering insights (“When the priest comes to read me the last rites / Take a look through the bars at the last sights / Of a world that has gone very wrong for me”). Of course, Dickinson brings Harris’ tale to life with one-of-a-kind theatricality; meanwhile, his bandmates match him with equal parts speedy outrage and mournful eloquence, yielding a multifaceted ride that gets your blood pumping while also pulling on your heartstrings. — J. Blum