Folklore around the world attributes supernatural powers to the scion of an unbroken line of males: the seventh son of a seventh son. These are sometimes dark, demonic powers, as in Argentina, where if the seventh son of a seventh son is not baptized in seven churches he will become the lobizón, a werewolf. Other cultures bestow upon him powers of premonition, or Christ-like abilities to heal merely by touch.
In 1 Chronicles 2:15 we learn David, second sovereign of the Kingdom of Israel, was the seventh son of Jesse. Apostles Matthew and Luke later assure us the Messiah was descendent of David. The lesser prophet Gad, who in 2 Samuel 24:11-13 instructed David to return to Judah where he would ultimately rule, was the seventh son of Jacob. The Book of Gad the Seer is a lost text.
We have already written about Ralph Ellison’s 1952 masterpiece, The Invisible Man. The book comes up again in the form of Petey Wheatstraw, who Ellison’s narrator meets in Harlem, and who claims to be the seventh son of a seventh son. Wheatstraw is drawn from Peetie Wheatstraw, blues singer alternately billed on records as “The Devil’s Son in Law” and “The High Sheriff from Hell,” who may have been the source of the Robert Johnson/”Crossroads” mythology.
Willie Dixon wrote “Seventh Son” in 1955, playing bass on the original recording by Willie Mabon. He performed the song himself on a 1970 album which included other songs he’d written as a Chess sideman, including “Back Door Man” and “I Ain’t Superstitious,” both associated with Howlin’ Wolf. It has likewise been covered many times over the years — notably by Johnny Rivers on his album, Meanwhile Back at the Whiskey A Go Go, by pianist Mose Alison, the Climax Blues Band and George Thorogood. Unfortunately the song has also been recorded by Sting.
The Johnny Rivers album, his third of five ostensibly recorded the legendary Los Angeles club, sounds suspiciously to some like a studio recording with overdubbed crowd noise. Still, his “Seventh Son” peaked at, you guessed it, #7 on the singles chart.
Iron Maiden’s seventh album explored clairvoyance, madness and evil in what began as a concept album based on the seventh son of a seventh son mythology. If there is a story to Seventh Son of a Seventh Son, we can’t follow it, although we’ve always considered “Can I Play with Madness?” a favorite track by the band. “Moonchild” is an entertaining entry into the hard rock obsession with occultist Aleister Crowley, and the title song places the eponymous soul at the crossroads:
Then they watch the progress he makes
The Good and the evil which path will he take
Both of them trying to manipulate
The use of his powers before it’s too late
On the jacket the tragic Eddie retains his lobotomy scar from Piece of Mind, as well as his cybertronic parts from Somewhere in Time. In addition he is disemboweled, and proffers a fetus.
“Seventh Son” was one of the first songs Joe Zawinul contributed after joining the Cannonball Adderely band, then a sextet featuring Yusef Lateef. The Austrian pianist went on to contribute some of the bands’ best material for its Capitol Recordings in the mid-60s including the hit “Mercy, Mercy, Mercy,” and later led Weather Report with Wayne Shorter.
“He’s always off on one trip or another,” says the band’s leader on The Cannonball Adderley Quintet in Person.