A concept album inspired by the novel Seventh Son by Orson Scott Card, the record incorporates elements of progressive rock,[4] seen in the length and complex structure of the title track. It was also the first Iron Maiden album to feature keyboards, after the band had introduced non-keyboard synth effects on their previous LP, Somewhere in Time (1986).
After his contributions were rejected for Somewhere in Time, Seventh Son of a Seventh Son features several songs co-written by lead vocalist Bruce Dickinson, who states that his enthusiasm for the band was renewed during the album's production stages. It was Iron Maiden's last studio record to feature the 1982–1990 line-up, with guitarist Adrian Smith leaving the band in January 1990 after he did not approve of the direction the band were aiming for on their next album No Prayer for the Dying.
The idea to base the album around the folklore concept of the seventh son of a seventh son came to bassist Steve Harris after he read Orson Scott Card's Seventh Son.[5] Harris stated, "It was our seventh studio album and I didn't have a title for it or any ideas at all. Then I read the story of the seventh son, this mystical figure that was supposed to have all these paranormal gifts, like second sight and what have you, and it was more, at first, that it was just a good title for the seventh album, you know? But then I rang Bruce Dickinson and started talking about it and the idea just grew."[6]
After his songwriting contributions were rejected from the band's previous album, 1986's Somewhere in Time, Dickinson felt that his role within the band had diminished, as he "just became the singer",[7] but felt renewed enthusiasm when Harris explained the concept to him; "I thought, 'What a great idea! Brilliant!' And of course I was really chuffed, too, because he'd actually rung me to talk about it and ask me if I had any songs that might fit that sort of theme. I was like, 'Well, no, but give me a minute and I'll see what I can do.'"[8] Speaking about the record in later years, however, Dickinson remarked that "we almost did [something great]", explaining that, "it was only half a concept album. There was no attempt to see it all the way through, like we really should have done. Seventh Son... has no story. It's about good and evil, heaven and hell, but isn't every Iron Maiden record?"[7]
In addition to Dickinson's return to writing, the album was also notable for its number of co-written pieces, in contrast to its predecessor, with five of the eight tracks being collaborative efforts. According to Harris, this was probably because they "spent more time checking up on each other to see what everybody else was up to, just to make sure the story fitted properly and went somewhere".[9] To make sure each song fit with the record's concept, the band drew up a basic outline for the story, which Harris states "didn't make the actual writing any easier... I probably took longer over the writing I've done on this album than any I've done before. But the stuff we all started coming up with, once we'd agreed that we were definitely going for a fully fledged 'concept' album, really startled me. It was so much better than anything we'd done in ages".[9]
Stylistically, Seventh Son of a Seventh Son developed the sounds first heard on Somewhere in Time, although, on this occasion, the synth effects were created by keyboards rather than bass or guitar synthesisers. According to Dickinson, the band decided not to hire a keyboard player, with the parts being "mainly one-finger stuff from Adrian [Smith, guitarist], Steve, the engineer or whoever had a finger free at the time".[10] Harris was fond of the development, in spite of the fact that the record did not sell as well as its predecessor in the United States;[11] "I thought it was the best album we did since Piece of Mind. I loved it because it was more progressive—I thought the keyboards really fitted in brilliantly—'cause that's the influences I grew up with, and I was so pissed off with the Americans, because they didn't really seem to accept it. Everyone said afterwards that it was a European-sounding album. I'm not so sure about that. What's a European-sounding album? To me, it's just a Maiden-sounding album."[6]
Seventh Son of a Seventh Son marked the end of guitarist Adrian Smith's first stint in the band.
Seventh Son of a Seventh Son and its supporting tour marked the last appearance of Adrian Smith until he returned to the band in 1999. The guitarist left during the pre-production stages of the band's following album, 1990's No Prayer for the Dying, as he was unhappy with the more "street-level" direction the group were taking, professing that he "thought we were heading in the right direction with the last two albums" and that he "thought we needed to keep going forward, and it just didn't feel like that to me".[12]
Songs
"The Clairvoyant" was the first track written for the album. According to Steve Harris, the song's lyrics were inspired by the death of psychic Doris Stokes,[13][14] after which he wondered to himself whether "she could foresee her own death".[15] Harris then began to write the song "Seventh Son of a Seventh Son", which gave him the idea of turning the full album into a concept record given that the main character would also have the power of clairvoyance.[15]
According to Smith, the song "Can I Play with Madness" "actually started life as a ballad I had been working on called 'On the Wings of Eagles'. Then Bruce had a verse for it but wanted to change the title to 'Can I Play with Madness'. I must admit, it did sound better that way. So we took that one and Steve liked it, too. It was Steve who came up with the time change in the middle and the instrumental passage, which again gave it that lift it needed."[16] According to Dickinson, however, Harris' addition resulted in "a big row ... Adrian absolutely hated it."[17]
Of the album's remaining songs, Metal Hammer states that "Moonchild" is loosely based on the Aleister Crowleynovel of the same name, while "Infinite Dreams" is about a character who "implores a spiritualist to unlock the meaning behind his tortured dreams",[18] although Sputnikmusic state that the song also explores "themes of reality, life after death, and the meaning of life".[19] The final track, "Only the Good Die Young", closes the storyline[19] and was later featured in an episode of the 1980s' TV series Miami Vice.[20] The record opens and closes with an identical brief acoustic piece accompanied by two verses of lyrics,[9] written by Dickinson,[14] which, according to Sputnikmusic, "foreshadows doom and failure for the protagonist" and "wraps up the album".[19]
"The Evil That Men Do", "The Clairvoyant" and "Can I Play with Madness" have been played live the most frequently following the Seventh Tour of a Seventh Tour.
Promotion
To promote the album, the band hosted an evening of television, radio and press interviews at Castle Schnellenberg in Attendorn, Germany prior to the record's release,[21] before holding a small number of "secret" club shows, under the name "Charlotte and the Harlots", at Empire, Cologne and L'Amour, New York.[22] In May, the group set out on a supporting tour which saw them perform to more than two million people worldwide over seven months.[21] In August, the band headlined the Monsters of Rock festival at Donington Park for the first time before a crowd of 107,000, the largest in Donington's history,[23] and recorded a concert video, entitled Maiden England at the NEC, Birmingham in November.[24] To recreate the album's keyboards onstage, the group recruited Michael Kenney, Steve Harris' bass technician, to play the keys throughout the tour, during which he would perform the song "Seventh Son of a Seventh Son" on a forklift truck under the alias of "The Count" (for which he would wear a black cape and mask).[16][25][26] Iron Maiden was apparently included in the Guinness Book Of World Records Museum in Las Vegas, NV. According to The Guinness book of Records (1990 ed. p. 155): "Largest PA system: On Aug 20th 1988 at the Castle Donington 'Monsters of Rock' Festival a total of 360 Turbosound cabinets offering a potential 523kW of programme power, formed the largest front-of-house PA. The average Sound Pressure Level at the mixing tower was 118dB, peaking at a maximum of 124dB during Iron Maiden's set. It took five days to set up the system."[27]
Cover artwork
According to Rod Smallwood, the band's manager, the brief given to Derek Riggs (the group's then regular artist) was, unlike with previous albums, to create "simply something surreal and bloody weird".[28] Riggs confirms that "they said they wanted one of my surreal things. 'It's about prophecy and seeing into the future, and we want one of your surreal things.' That was the brief ... I had a limited time to do the picture, and I thought it was pretty weird their concept, so I just went with that."[28]
According to Dickinson, his revitalised enthusiasm, brought about by Harris's idea to make a concept album, carried forward into the cover artwork, saying, "I was probably responsible in a large part for the cover, with Derek."[29] Dickinson states that the idea to set the painting in a polar landscape may have originated from when he showed Riggs a Gustave Doré piece, depicting traitors frozen in a lake of ice in the ninth circle of Dante'sInferno.[30] In contradiction of this, Riggs states that the setting was because he "might have just seen a documentary about the North Pole or something ... I wanted something that was a departure from all the cityscapes and things. It was about prophecy and seeing the future, and so I just wanted something distant. And then they said, on the back, 'Could you stick all the other Eddies in the ice?' So I did."[29]
Speaking about the depiction of the band's mascot, Eddie, Riggs states that "I thought, you know, I don't feel like painting all of Eddie, so I'll get rid of him. I'll chop him off, and make it look kind of non-pleasant."[29] In addition to the lobotomy and cyborg enhancements, left over from the Piece of Mind and Somewhere in Time album covers respectively, this incarnation also comes with an in utero baby in his left hand and an apple, inspired by the Garden of Eden and featuring a red and green yin and yang.[29] On top of this, Eddie's head is on fire, which Riggs states is "a symbol for inspiration", an idea which he "stole" from Arthur Brown.[29]
The album has received consistent critical praise since its release, with AllMusic rating it 4.5 out of 5, saying that the addition of keyboards "restores the crunch that was sometimes lacking in the shinier production of the previous album" and that it "ranks among their best work".[31] Sputnikmusic scored the album 4 out of 5, and, while they state that "the band has better releases, such as Powerslave and Somewhere in Time", they argue that it is "lyrically... one of Maiden's finest efforts".[19] In 2005, the album was ranked No. 305 in Rock Hard magazine's book of The 500 Greatest Rock & Metal Albums of All Time.[35] In his biography of the band, Paul Stenning stated, "this line-up of the group hit its peak in 1988".[36] It also ranked No. 11 in Loudwire's list of the "Top 25 Progressive Metal Albums of All Time".[2]
Although Geoff Barton states that contemporary reviews contained "a definite reaction against Maiden emphasising their prog-rock pretensions", and that "one critic... slammed Maiden for Seventh Son... and accused them of having regressed into Genesis-style prog rockers from the 70s",[10]Kerrang! were extremely positive upon the album's release, awarding full marks and stating that "[with Seventh Son of a Seventh Son] Iron Maiden have given rock music back its direction and its pride" and that the record "will eventually be hailed alongside such past milestones as Tommy, Tubular Bells and [The] Dark Side of the Moon."[33]
Commercial performance
The album debuted at No.1 in the UK Albums Chart (their first since The Number of the Beast) as well as No.12 in the US, while the singles "Can I Play with Madness", "The Evil That Men Do" and "The Clairvoyant (live)" reached No.3, No.5 and No.6 positions respectively in the UK Singles Chart. Smith highlights "Can I Play with Madness" as "our first proper hit single."[16]
The Number of the Beast is the third studio album by English heavy metal band Iron Maiden. It was released on 22 March 1982 in the US by Harvest and Capitol Records, and on 29 March 1982 in the UK by EMI Records. The album was their first to feature vocalist Bruce Dickinson and their last with drummer Clive Burr.
Dance of Death is the thirteenth studio album by English heavy metal band Iron Maiden, released first in Japan on 2 September and then 8 September 2003 in the rest of the world excluding North America. The album was an analogue recording.
The X Factor is the tenth studio album by English heavy metal band Iron Maiden, released on 2 October 1995 through EMI Records. CMC International released the album in North America. It is the first of two albums by the band to include Blaze Bayley, formerly of Wolfsbane, as vocalist, replacing Bruce Dickinson who left the band following their previous tour to pursue a solo career. It also saw the departure of the band's longtime producer Martin Birch, who retired shortly after the release of their previous album, Fear of the Dark (1992). The album takes a darker tone than the band's first nine releases, due to the lyrics being based on personal issues surrounding Steve Harris at the time, who was in the midst of a divorce. This is reflected in the cover artwork, which graphically depicts the band's mascot, Eddie, being vivisected by a machine.
Iron Maiden is the debut studio album by English heavy metal band Iron Maiden, released on 14 April 1980 by EMI Records in the UK and Harvest and Capitol Records in the US. The North American version included the song "Sanctuary", released in the UK as a non-album single. In 1998, along with the rest of the band's pre-1995 releases, Iron Maiden was remastered with "Sanctuary" added in all territories. However, 2014 vinyl reissues, 2015 digital releases and 2018 CD reissues use the original track listing across the globe. It is the band's only album to feature guitarist Dennis Stratton.
Powerslave is the fifth studio album by the English heavy metal band Iron Maiden, released on 3 September 1984 through EMI Records in Europe and its sister label Capitol Records in North America. It was re-released by Sanctuary and Columbia Records in the United States in 2002.
Somewhere in Time is the sixth studio album by English heavy metal band Iron Maiden. It was released on 29 September 1986 in the United Kingdom by EMI Records and in the United States by Capitol Records. It was the band's first album to feature guitar synthesisers.
Killers is the second studio album by English heavy metal band Iron Maiden. It was first released on 16 February 1981 in the United Kingdom by EMI Records and on 11 May in the United States by Harvest and Capitol Records. The album was their first with guitarist Adrian Smith, and their last with vocalist Paul Di'Anno, who was fired after problems with his stage performances arose due to his alcohol and cocaine use. Killers was also the first Iron Maiden album recorded with producer Martin Birch, who went on to produce their next eight albums until Fear of the Dark (1992).
Fear of the Dark is the ninth studio album by English heavy metal band Iron Maiden. Released on 11 May 1992, it was their third studio release to top the UK Albums Chart, and the last to feature Bruce Dickinson as the group's lead vocalist until his return in 1999.
No Prayer for the Dying is the eighth studio album by English heavy metal band Iron Maiden. It is their first album to feature Janick Gers on guitar, who replaced Adrian Smith. Smith left the band during the pre-production phase, unhappy with the musical direction it was taking, and only having contributed to one song, "Hooks in You". This was the third song in the "Charlotte the Harlot" saga. Gers previously worked with singer Bruce Dickinson on his first solo album, Tattooed Millionaire, and had also worked with Ian Gillan, former Marillion singer Fish, and new wave of British heavy metal band, White Spirit.
Virtual XI is the eleventh studio album by English heavy metal band Iron Maiden, released on 23 March 1998. It is the band's second and final album with Blaze Bayley on vocals. It also marks the first album to utilise a slightly modified logo, with the letters R, M, and N the same size as the other letters as opposed to them being extended. This goes on for the next few albums, until The Final Frontier, in 2010.
Live After Death is a live album by English heavy metal band Iron Maiden, originally released in October 1985 on EMI in Europe and its sister label Capitol Records in the US. It was recorded at Long Beach Arena, California and Hammersmith Odeon, London during the band's World Slavery Tour.
Derek Riggs is a contemporary British artist best known for creating the band Iron Maiden's mascot, "Eddie".
Best of the Beast was Iron Maiden's first "best of" album, released in 1996 in three formats: a 34 track vinyl, a 27 track CD, a 16 track CD and MiniDisc. The vinyl edition is, to date, the band's longest record release, running for over three hours.
Rock in Rio is a live album and video by English heavy metal band Iron Maiden, recorded at the Rock in Rio festival, Brazil in 2001 on the last night of the Brave New World Tour. The band played to approximately 250,000 people; the second largest crowd of their career and with the relatively recent return of lead singer Bruce Dickinson and guitarist Adrian Smith to the band, they recorded their fifth live release.
A Real Dead One is a live album by English heavy metal band Iron Maiden, released on 25 October 1993. It was recorded at various concerts across Europe, during the Fear of the Dark Tour in 1992 and the Real Live Tour in 1993. It features songs from the very beginning of the band's career (1975) to the Powerslave era (1984), while counterpart A Real Live One contains songs from only the post-Powerslave albums.
"Run to the Hills" is a song by the English heavy metal band Iron Maiden. It was released as their sixth single and the first from the band's third studio album, The Number of the Beast (1982). It is their first single with Bruce Dickinson as vocalist. Credited solely to the band's bassist, Steve Harris, Dickinson contributed to the song but could not be credited due to a contractual agreement with his former band Samson. "Run to the Hills" remains one of the band's most popular songs, with VH1 ranking it No. 27 on their list of the 40 Greatest Metal Songs, No. 14 on their list of the Greatest Hard Rock Songs, and Rolling Stone ranking it No. 10 on their list of the 100 greatest heavy metal songs
Beast over Hammersmith is a live album by the English heavy metal band Iron Maiden, released on 4 November 2002. Recorded 20 years previously, during The Beast on the Road tour at the Hammersmith Odeon, the footage was specially co-produced and mixed by Steve Harris and Doug Hall to be a part of the Eddie's Archive box set. Even though this album contains material from The Number of the Beast, it was actually recorded two days prior to its release, although "Run to the Hills" had already been released as a single. The album became officially available for the first time on vinyl as part of the Number of the Beast 40th anniversary special edition on 18 November 2022.
"The Number of the Beast" is a song by the English heavy metal band Iron Maiden. It is Iron Maiden's seventh single release, and the second single from their 1982 studio album of the same name. It was reissued in 2005 and also prior to that in 1990 in The First Ten Years box set on CD and 12" vinyl, in which it was combined with the previous single, "Run to the Hills".
Seventh Tour of a Seventh Tour was a world tour conducted by English heavy metal band Iron Maiden in 1988, in support of their seventh studio album, Seventh Son of a Seventh Son. It was their last tour to feature the World Piece Tour-era lineup until 2000's Brave New World Tour with guitarist Adrian Smith leaving the band in January 1990 and their first to include Michael Kenney on keyboards.
Somewhere Back in Time - The Best of: 1980 - 1989 is a best of release by the English heavy metal band Iron Maiden, containing a selection of songs originally recorded for their first eight albums.
↑ Pennanen, Timo (2006). Sisältää hitin – levyt ja esittäjät Suomen musiikkilistoilla vuodesta 1972 (in Finnish) (1sted.). Helsinki: Kustannusosakeyhtiö Otava. p.166. ISBN978-951-1-21053-5.
↑ "Classifiche". Musica e dischi (in Italian). Retrieved 16 June 2024. Set "Tipo" on "Album". Then, in the "Titolo" field, search "Seventh son of a seventh son".
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