To any fan of heavy metal, Bruce Dickinson needs no introduction, being one of the best and most famous vocalists from the last forty years. Having become an Iron Maiden fan just before Seventh Son of a Seventh Son took the world by storm (read my personal retrospective journey around the release of that album here), it was inevitable that I would follow Maiden’s members and their forays into any solo career. I had thoroughly enjoyed ASaP’s Silver and Gold (which I still own and play my original vinyl copy) and the news that Bruce Dickinson was to step outside of the behemoth that was Iron Maiden was most welcome to seventeen-year-old me! Fast forward thirty-four years to 2024, and he has once again returned to his solo career with his first album in nineteen years and an accompanying tour.
Before discussing the albums, I will say that I like each of them to a greater or lesser extent. The higher placed albums are more consistent or cohesive but every album has something good to offer. Having said that, the top three (and top two in particular – I could pick a different three favourite tracks from those each day!) are some distance above the rest. Rankings are purely objective and other opinions may vary wildly. There is also the difference between favourite and best which can be influenced by a range of factors including when an album or band entered your life. Therefore remember, this is just for fun so add your comments and own rankings at the end!
7 – Tattooed Millionaire (1990)
On Tattooed Millionaire, it was as if Dickinson had traded his heavy metal armour for a leather jacket with an air of glam and hard rock. There is a cheeky swagger to much of the album; its catchy hooks and anthemic choruses displaying a lighter side of Dickinson’s songwriting with Janick Gers proving the perfect foil. Blending autobiographical introspection (Born In ’58), a swipe at the excesses of some stars who indulge a little too fully in the rock ‘n’ roll lifestyle (Tattooed Millionaire) and a criticism of the use of religious power (Son Of A Gun), his debut album allowed him the freedom to air his personal views and memories. More than thirty years later, Side One works far better than the flip side (although I still enjoy No Lies) and while some of the tracks (Dive! Dive! Dive! and Lickin’ The Gun, for example) may not have aged well and the album lacks the conceptual gravitas of later solo efforts, its raw energy and unabashed embrace of a more commercial sound provided a fascinating glimpse into the versatility of one of metal’s most dynamic voices as did the live shows at the time – I saw him at the much-missed Astoria in London in June 1990.
Three favourite tracks: Son Of A Gun, Born In ’58, Gypsy Road
6: Balls To Picasso (1994)
By the time Bruce Dickinson released his second album, he had left Iron Maiden (although there were abortive attempts with the members of Skin and also producer Keith Olsen) and the world of metal was rapidly changing. Beginning his fruitful collaboration with Roy Z, Balls To Picasso - originally due to be titled Laughing In The Hiding Bush - is a palpable exploration of various rock and heavy metal styles with a raw, unpolished edge. Cyclops mixes hard rock, grunge and progressive elements, setting the tone for an album that is unafraid to experiment. Outside of Maiden, Dickinson had complete control and this freedom allowed him to explore elements of his songwriting that would not have been welcome (and indeed previously rejected) within that environment. Tears of the Dragon is still one of the best tracks he has ever recorded; Change of Heart allowed him to opportunity to illustrate another side to his vocal range. Certain other tracks and attempts at genre-blending are less successful and the various spoken word / mock rap sections including those in Shoot All The Crowns and Sacred Cowboys (a track I otherwise enjoy) are ill-advised. Balls To Picasso feels like an album that has lots of unrealised potential in the final product.
Three favourite tracks: Cyclops, 1000 Points of Light, Tears of the Dragon
5: Skunkworks (1996)
Named after Lockheed’s secretive high-tech aviation program, Skunkworks was originally the name Dickinson intended for a new band but the record company refused to release the album under any moniker but his own. With a sonic palette that is more Soundgarden – and in places Rush - than Iron Maiden, Skunkworks kept the driving guitar riffs and Bruce’s ever energetic voice but embraced the era in which it was made. The production, handled by Jack Endino, further cements the album’s grunge and alternative credentials. I never had a problem with the sound or look of Skunkworks – the lyrics are printed backwards in the accompanying booklet and the artwork is by Storm Thorgerson - but if it has a weakness, it is not necessarily in its style but that it may be two or three tracks too long, with a slight dip in quality in the middle. I know some will balk at this being placed above Balls To Picasso and although not a complete success, it was a fresh sound but unmistakably Bruce; the musicianship is excellent and there appears to be a genuinely special level of synergy between Dickinson and his new bandmates. One wonders what direction he may have taken had this album been more successful.
Three favourite tracks: Solar Confinement, Octavia, Strange Death In Paradise
4: The Mandrake Project (2024)
Almost twenty years had passed since Tyranny of Souls when Dickinson announced the release of The Mandrake Project. Much thought had gone into the overall concept, packaging and accompanying comic books but ultimately an album lives and dies on the music. While not the first album he has been involved in since his cancer diagnosis, The Mandrake Project is as much further testament to the strength of Dickinson’s determination and character as it is to his compositions. From the dark, mystery of Afterglow of Ragnarok, to the spaghetti western tinged Resurrection Men, the driving riffage of Mistress of Mercy and the part ballad, part doom influenced Shadow of the Gods, there is enough variety here to keep the album interesting. There are moments of his traditional soaring screams but these sit happily alongside the more poignant, vulnerable vocals of tracks such as Sonata (Immortal Beloved). Having seen four of these tracks live at his recent London show (review here), I can confirm that they sound even better in the live arena and each received a rapturous reception.
Three favourite tracks: Afterglow of Ragnarok, Mistress of Mercy, Shadow of the Gods
3: Tyranny of Souls (2005)
After a seven-year hiatus (during which time he rejoined Iron Maiden), Tyranny of Souls saw Dickinson reunited with Roy Z once again and he had also benefitted from Maiden’s resurgence in the heavy metal scene. Opening with the brooding, foreboding Mars Within, Tyranny of Souls visits a range of musical territories via the rampaging fervour of Abduction, the acoustic grandeur of Navigate The Suns of the Sea, the urgent, aggressive passion of Soul Intruders and Devil On A Hog, which would not have felt out of place on his first two solo albums. Balancing the use of intimidating, ominous riffs and hook-laden choruses, Dickinson steers us through an ever-changing landscape but at no point does it lack cohesion. Lyrically, Tyranny of Souls takes a similar varied approach, his love of flight is examined on Kill Devil Hill – the North Carolina location of the Wright Brothers’ first sustained flight; the journey of life on River Of No Return and the duality of faith and scepticism on the sneeringly malevolent Believil. Some fans commented on Adrian Smith’s absence following his contributions on Accident of Birth and The Chemical Wedding but the varying elements of Tyranny Of Souls combine to make an extremely strong album.
Three favourite tracks: Soul Intruders, Kill Devil Hill, Navigate the Seas of the Sun
2: Accident of Birth (1997)
Having decided not to pursue the direction explored on Skunkworks, Accident of Birth – seen as a triumphant return to form – was released a little over a year later. It feels like a celebration of what makes metal and Bruce Dickinson so enthralling. With Adrian Smith added to his band and the collaboration with Roy Z continuing, he produced the best album that he (or Iron Maiden) had released since Seventh Son Of A Seventh Son. Throughout Accident of Birth, Smith and Roy Z combined in an exceptional variety of intricate and beguiling riffs and Dickinson’s vocal performance stands proudly with anything in his career. There is a theatricality (in the best sense of the word) to his deliver that imbues the album with a sense of grandeur, making each song not just a track but a story unto itself. The use of cello and violin on Taking The Queen, Man of Sorrows and Arc of Space add a stunning elegance to their arrangement and the quieter moments of the album are just as alluring as any of the incendiary faster paced tracks – the guitar solo on Taking The Queen is simple breathtaking. Soaring solos, perfect production values and as an album that is musically both reflective and forward looking, it still stands as one of Dickinson’s two undisputed masterpieces.
Three favourite tracks: Darkside of Aquarius, Omega, Arc of Space
1: The Chemical Wedding (1999)
That an album as strong as Accident of Birth should be at number two in this ranking shows just how formidable The Chemical Wedding truly is. Dickinson released five albums in the nineties and each one was better than the last. Steeped in alchemical lore and the esoteric symbolism of William Blake’s poetry, the album is a rich tapestry of thematic and musical complexity that stands in stark contrast to his albums of the early nineties. Like Accident of Birth, it requires multiple listens to unpack the allusions and narrative woven throughout. Dickinson’s vocal performance throughout is emotionally intense, operatic and intelligently nuanced and with Adrian Smith and Roy Z reuniting once again, the guitar work is sophisticated and commanding. Songs such as Book of Thel and The Alchemist highlight a matured artist channelling his musical and lyrical influences in a coherent, concept-driven masterpiece. It is the perfect marriage of intellectual substance and pure metal energy.
Three favourite tracks: Chemical Wedding, Book of Thel, Jerusalem
Listen to my playlist Bruce Dickinson Through The Years featuring my three favourite songs from each album (in chronological order) below.