To me, it was perfectly put together, and flowed seamlessly. It was also the first of any album that I would listen to from front to back. I really liked everything I’d heard previous, but Seventh Son to me made the band sound even more epic than anything previous. I was a “casual” fan at the time, I owned The Number of the Beast and Killers, but it wasn’t until Seventh Son that I became a true fan. The first time I heard Seventh Son of a Seventh Son was when a friend (who was a huge Maiden fan) played it for me. For me, the introduction of keyboards into their sound just shows their versatility and fearlessness to evolve as they want to. I thought it was very different back then compared to what they were doing on their earlier stuff. I can remember sitting in my bedroom as a kid listening to “Wrathchild” off Killers in anticipation for Seventh Son‘s release. And love to tour so instead of a relaxing day at the beach I backed my car in and turned this record up ALL DAY LONG and had metal moments with friends and Maiden at my favorite spot. First time I heard this record I was off tour driving to the beach for the first relaxing moment in months and all the way there the record kept reminding how much I love touring. I personally I enjoy when a band expands their sound or moves the needle with what’s expected of their sound, so and that’s exactly what they did on Seventh Son. Once that first riff hits, it’s obvious Iron Maiden! Then, when the vocals hit with that straight Bruce tone, it brings me everything I love about Maiden! I heard Number of the Beast for the first time taking bong hits in 8th grade and from then on was HOOKED. I love the intro to Seventh Son of a Seventh Son. To celebrate this milestone, Billboard spoke with some of today’s modern metal mavens on how Seventh Son played a role on their travels along the heavy metal superhighway. And 30 years later, Mick Wall’s prediction that it will be “will eventually be hailed alongside such past milestones as Tommy, Tubular Bells and Dark Side of the Moon” in the Apedition of British metal magazine Kerrang has come closer to fruition. And while some metal purists in the press accused the group of becoming Genesis, Seventh Son was largely celebrated as a high watermark in the Iron Maiden lexicon its lean into progressive rock served as the basis for some of the most revered songs in the band’s canon like “The Clairvoyant,” “Moonchild,” “Can I Play With Madness” and the album’s epic title cut.įor some, Seventh Son of a Seventh Son is the definitive Iron Maiden LP, flanked by that memorable Derek Riggs cover art depicting the group’s sinister zombie mascot Eddie as a cyborg floating above a lake of ice in an apparent allusion to the ninth circle of Dante’s Inferno. It was the first time we heard actual keyboards on a studio recording of theirs, used to supplement the record’s concept, whose roots derived from Orson Scott Card’s sci-fi novel Seventh Son, which Harris had been reading at the time. Two years later, Maiden would ignore the jeers and double down on the digital experiments with their seventh album Seventh Son of a Seventh Son, released 30 years ago on April 11, 1988.
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