Iron Maiden - 7th Son Of The 7th Son

Seventh Son Of A Seventh Son (folklore concept).
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\r\nThe Seventh Son, born from an unbroken line with no female children born between and be, in turn, born to a seventh son, possesses special powers. In some beliefs, the special powers are inborn, inherited simply by virtue of the birth order. In others, the powers are granted to him by God because of his birth order. Moreover the number seven has a long history of mystical and religious associations around the world.
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\r\nSeventh Son Of A Seventh Son (Iron Maiden 1988).
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\r\nThe last Iron Maiden album to feature guitarist Adrian Smith, until the album Brave New World in 2000. The last album (after The Number Of The Beast) which debuted at #1 in UK charts and their last album to go platinum in the USA. These are all the "lasts" about this release. Considered as one of the greatest moments in heavy metal history. A release that was so far ahead of it’s time, that has guided our preferences music history and influenced on how the groups would sound after that. Despite the fact that many have accused them of being "softer", keyboards, epical arrangements, double guitars (one of their trademarks), synth guitars (first presented some years earlier in their other masterpiece "Somewhere In Time") are landmarks to the way music is composed nowadays. Singles "Can I Play with Madness", "The Evil That Men Do", "The Clairvoyant (live)" and "Infinite Dreams (live)" reached No. #3, #5, #6 and #6 positions on charts, respectively.
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\r\nIn the front cover, which was designed by Derek Riggs (once more), we meet Eddie’s figure, holding his stomach with a baby in it, while in the inlay we stare (among others) at another Rigg’s masterpiece depicting Maiden’s trademark, again, more mystical than ever, writing on a desk, between two candle lights. The production, made by Martin Birch is another piece of great vintage work, of times when music was impervious to computer’s catastrophic consequences. The recording session took place, during 1987 and ended in March 1988 at Musicland Studios in Munich, Germany.
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\r\nThe release was on 11th of April 1988 and the World tour (Seventh Tour Of a Seventh Tour), which followed (from April 28, 1988 till December 12, 1988), had a supporting acts the following bands : W.A.S.P., Anthrax, Metallica, Megadeth, Guns N’ Roses, David Lee Roth, L.A. Guns, Helloween (Backstreet Girls replaced Helloween in Norway) and Ace Frehley’s Comet. On August 20, 1988 and during the tour, they headlined "Monsters Of Rock" festival at Donington for their first time.
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\r\nLyrically, the album deals with some vital philosophical ideas: morality (good and evil), mysticism, prophetic vision and afterlife. Almost the whole album includes references to questions concerning these concepts. This kind of lyrics and themes put "Seventh Son Of A Seventh Son", high (or should I say first) in the list of the best concept releases of all times.
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\r\nMusically, compositions are balancing between classic heavy metal and "progressive", a definition which will be later"found". Every Prog-Metal group of nowadays, which respects its legacy, bows before the might of "Seventh Son Of A Seventh Son". Great ideas concerning the vocal lines, the arrangments and absolutely flawless performing. The rythm section is once more present, featuring Steve’s trademark bass sound and playing, fill up Nicko’s inspired drumming and together they build a strong "fortress" arround the other members.
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\r\nThe album begins with acoustic guitars and Bruce singing :
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\r\n"Seven Deadly Seven deadly sins
\r\nSeven ways to win
\r\nSeven holy paths to hell
\r\nAnd your trip begins
\r\nSeven downward slopes
\r\nSeven bloodied hopes
\r\nSeven are your burning fires
\r\nSeven your desires"
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\r\nGiving you the first shivers on the spine and the keyboards (or should I say synth guitar) entering, to follow the first track called "Moonchild". What could be said about the raging power, that this song holds and Dickinson’s high pitched and possessed screams. The next song starting with acoustic guitars and peaceful vocals, continues with staccato riffing and Bruce’s scream gives the green light, for a heavy metal thunder, with the amazing double solos and melodies, to start. "Can I Play with Madness" and "The Evil That Men Do" don’t need any introduction, as they are all time Heavy metal classics. Moving forward to the album’s title track, we meet a typical long-play Maiden song which is a masterpiece in any aspect (lyrically and musically). The pipe organ used at the foreground, while Murray and Smith spread the monumental riffs, is a brilliant idea to start, such an epic song. Great atmosphere while Bruce’s performance reaches perfection, once more and excellent double guitars, played by one of the most famous and inspired "duos" ever. Moving on to a very introvert and "dark", lyrically, song called "The Prophecy". This song’s heavenly themes are present once more, supported by a "desperate” and high pitched vocal lines, leading to the next song, with a bass intro, called "The Clairvoyant". It is a little bit monotonous, to say again and again, about how inspired is each and every moment of this album, but this song is another proof of my saying. It’s like an ancient Greek tragedy, which takes the listener, through suffering, to catharsis. Finally the closing track, "Only the Good Die Young", another brilliant song, with a genius idea to use "isokrates" on keyboards, during the οpening/main theme and the galloping chorus. As a conclusion, the same as opening, "Seven Deadly Sins etc." acoustic elegy, gives the appropriate end to this masterpiece, which a metalhead MUST have listened at least 666 times, if he would like to be called so!! Up The Irons!!!
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