Name: Seventh Son Of A Seventh Son
Brand: Iron Maiden

Tax rate EU

Default:19

Supplier EU

Warner Music Group Germany Holding GmbH

Total Cap

Format detail

2015 Remaster

Colour details

Discogs ID

Limited edition

Colour

Format Music EU

Extended format

Extended format: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Signed copies

Signed copies: No

Download code

Download code: No

Bonus disc

Bonus disc: No

Release date

2019-03-29

Format multiplier

Catalogue number

9029556769

UPC / Barcode

190295567699

Artist

Iron Maiden

Label EU

Parlophone Label Group (Plg)

Genre EU

Metal

Multinational label.
Label Code: [b]LC 0299 / LC 00299[/b]
[b]Please note, many Parlophone issues also carry an EMI logo. This is not a label and EMI should not be added as a label, it instead indicates that Parlophone was part of the EMI Group.[/b]

Parlophone is an anglicization of the German [l=Parlophon] label, registered as a trademark in 1902 by Max Straus and Heinrich Zuntz of [b]Salon Kinematograph Co. GmbH[/b], later merged into [l=Carl Lindström A.-G.]. The first Parlophon records are pressed in 1910. 

By 1923, Parlophone proper appears in London administered by English Lindström branch known as [l311921],  Parlophon records were pressed in London and sold locally. By 1926 extended operations extended to press for export in Australia (#cat A) until the australian factory [l=Parlophone Co. Ltd.] was created somewhere the next year. These companies were subsequently taken over by [l97841] in 1927, following its acquisition of [l275192] in 1926, thus becoming a constituent part of [l293204] (EMI) when that company merged with [l253617] in 1931.

The label largely operated as a Jazz and Novelty label until manager, [a=George Martin], signed the [a=The Beatles] in 1962. As a result of its subsequent success and profile, the label was earmarked for phasing out in 1973 in favour of [l=EMI] (the label), however the parlophone imprint continued to be used by registered trademark owner [l=EMI Records Ltd.] and affiliated companies.

In September 2012 following the acquisition of [l1330982]'s US and Asian interests by [l=Universal Music Group], Parlophone and the former EMI Records Ltd. were merged as the [l806790] (PLG Holdco Ltd.) and spun off to be sold. 

They were sold to [l=Warner Music Group] in March 2013.
The Parlophone label is now owned by [l=Parlophone Records Ltd.], the re-named EMI Records Ltd., itself a subsidiary of [l=Warner Music International].

The Beatles were not part of the Parlophone Label Group and their catalogue was acquired by [l=Universal].

[b]This label contains releases on multinational markets. Do NOT create imprints for different countries. Cover that information on new releases with the country field and with notes about the release (releasing company, ℗&© note, mechanical rights etc.).[/b]

Parlophone

<p>Iron Maiden is a legendary British heavy metal band that has been rocking the world since 1975. Known for their iconic mascot Eddie, Iron Maiden has released numerous chart-topping albums and sold over 100 million records worldwide. With their unique blend of powerful vocals, intricate guitar solos, and thunderous drums, they have become one of the most influential bands in the genre. Their energetic live performances and epic stage shows have earned them a dedicated fan base around the globe. Whether you're a die-hard metalhead or just discovering their music, Iron Maiden's electrifying sound will leave you craving for more.</p>

Newest Listed Items

<p>Seventh Son of a Seventh Son is the last great Iron Maiden album, reconnecting with the band's prog rock roots and reversing the signs of decline that had been evident on their previous record. By this point, Maiden had earned the respect of metalheads the world over with their steadfast adherence to unadulterated metal and their grandiose aesthetic. They'd made concessions neither to pop-metal nor to thrash, and their passionate fan base would never have tolerated a radical reinvention. But what do you do when your epic ambition itself has become a formula? You go even bigger and make a concept album, of course, and that's what Maiden does here, breaking out of the creative rut they'd fallen into on Somewhere in Time. The concept is based on the European folklore which held that the seventh son of a seventh son would be born with special powers that could be used for good or evil (and probably also in part by fantasy author Orson Scott Card, who'd touched on this idea in his own work). As such, the lyrics are Maiden at their most gothic, obsessed with supernatural mysticism of all stripes; the story line concerns the title character, born with a gift for prophecy but mistrusted by his village, which ignores his warnings of apocalyptic doom and makes him a tormented Cassandra figure. Musically, this is Maiden at their proggiest, with abrupt, stop-on-a-dime transitions between riffs, tempos, time signatures, and song sections. Yet nearly every song has a memorable chorus, with only "The Prophecy" falling short in that department. They've also switched from the guitar synths of Somewhere in Time to full-fledged keyboards, which are used here more to add atmosphere rather than taking center stage; this restores the crunch that was sometimes lacking in the shinier production of the previous album. No less than four of this album's eight songs reached the British Top Ten in some version (concert standard "Can I Play with Madness," "The Evil That Men Do," "The Clairvoyant," and "Infinite Dreams"), while the album became the band's first U.K. chart-topper since The Number of the Beast. The title track is this album's extended epic (though the songs are longer in general), and it's moved out of the closing spot in yet another subtle statement about shaking things up. If Seventh Son doesn't epitomize their sound or define an era the way the first three Dickinson albums did, it nonetheless ranks among their best work. </p>

Seventh Son Of A Seventh Son

Music EU