Song Info
Released May 22, 2012 for Rock Band
Maiden Epics
1082 users have this song ($2)    
Genre: Metal
Album: Seventh Son of a Seventh Son (1988)

Instrument Rating Difficulty Video
Full Band
Reviews (3) | Discussion (0) | Videos (9) Show:
Welcome to the Love/Hate bass song of the pack! Poinkish
Now as a big fan I am of "SSoaSS" as an album, a lot of the charm of this song will come from the fact I know this song like the back of my hand, I've listened to it so many times that I knew that one part of this song could have the potential to divide the opinion of many a player, and after playing it, my suspicions were correct, but I'll wait until later in the review to touch upon that particular part.

The first 4 and half minutes of "SSoaSS" consists of steady single note gallops, with occasional hammer-on strings, chords, and chord sustains scattered throughout, it's a nice introduction to the song and shouldn't give most players any problems, especially to those who are accustomed to the first Maiden packs bass riffs.

After getting into the groove of the first 4 minutes of the song, something strange happens. An ambient Bass riff comes hurtling down at you, it's a strange riff that has you playing long drawn out two note hammer-on zig-zags back and forth with strummed chords and single notes thrown in between forcing you to move your hands up or down the fretboard to continuing playing the zig-zag riff elsewhere on the neck. This goes on for a good 2 and a half minutes, and I can see some people get really frustrated at this point, but I honestly didn't have that much trouble, the key is to hold down the lower note in the zig-zag and tap the higher note, rinse and repeat after the chords as you move up and down. I could see a lot of players getting frustrated or quitting out at this point, it's understandable.

And finally after that bass break, comes that iconic strumming section that a lot of Maiden songs seem to end with on Bass. It's a good end to a great song and it's a song I'd recommend most Guitarists to get, but for bassists? Check out the section I discussed in a chart preview video on Youtube. See if it's something you'd like to play.
05.22.12 4:47pm 4 Replies | Reply +5 Relevance
Another Sure-fire Guitar Hit from the Epics pack! Poinkish
Gotta say I loved playing the Guitar in this 10 minute epic. It all kicks of nicely with a series of quick hammer-ons, follow by steady gallops that alternate between single notes and chords, with some hammer-ons throw in between the gallops to spice things up. After the gallops come a nice relaxing set of hammer-on snakes and sustains that break up the action nicely. This part repeats a couple of times before the chorus riff kicks in that has you playing a 3 chord gallop and a short hammer-on section.

This continues for about 4 minutes until a slow zig-zag on tapped notes comes at you, encouraging your fingers to move gently up and down the neck of the Guitar, this goes on for about 30 seconds and it's a good warm-up for what's about to come, the riff picks up in speed, but this time has you playing from the right hand side of the fretboard then switching after a while to the left side of the fretboard, this goes on for quite a while, and unlike the bass riff that plays at the same time, doesn't contain any of those chord shifts that could potentially frustrate some players.

This all leads into the solo laden section of "SSoaSS", the first solo consists almost exclusively of tapping, with some very wild and erratic pattern shifts throughout, the highlight being a fast four note long zig-zag towards the end.

The time between this solo and the next is spent playing fast hammer-on patterns that have fast gallops thrown in to catch you out from time to time. This keeps the pace going nicely for the next solo, a hammer-on heavy solo that is a lot more lax than the first solo.

The last section of this song has you playing some slow chord changes, a few single note sustains, and a heavy dose of chord and single note alt-strumming up and down the fretboard. A top notch Guitar chart if ever I saw one.
05.22.12 4:47pm 0 Replies | Reply +3 Relevance
Quite a hard song to rate. PuppetMasterIX
Iron Maiden is usually one of the most high-profile providers of top-notch drum tracks in the game. Like other contributors, however, there is always a song can generate a confused opinion in the player whether they liked playing it or not. "Seventh Son of a Seventh Son" is one of those songs. At ten minutes, two thirds of this song comprises of some of Iron Maiden's best, but it's ultimately weighed down by the downright painful third that remains.

The first four-or-so minutes of the song is, compared to other tracks from the band, in a rather slow and lumbering tempo; counter-intuitively, it works to this song's advantage, as the traditional beat rolling throughout refrains from being dull thanks to some added variety, and it makes the highly abundant fills breaking it up more fun and accessible.

After that, the second third begins, and this is where the track takes a serious, blatant nosedive. This is a slow, quiet acoustic section, where guitar is mainly taking the spotlight. Some of you might be thinking, "Is it just blank space? Eh, no problem. I can just do something else while I wait." Actually, it's the exact opposite problem: this entire two-plus minute time frame consists of an insanely long hi-hat roll on yellow that's almost the same speed as "Run to the Hills". Like the latter song, it constantly changes tempo, but unlike it, there's almost no discernible backing instrumentals to gauge your speed, nor are there any breaks of any kind. This makes the section tiring and really painful to play, and it's one of the few sections where a roll lane would have been a preferable charting decision.

Thankfully, the song picks up again, with a faster tempo and a structure similar to "The Clairvoyant". The constantly present fills make a return, and the playing outside of those are as engaging and varied as ever.

The enjoyability of "Seventh Son of a Seventh Son" can be depicted as a valley. Its two ends are the high plateaus, but the middle section hits rock bottom. Playing with "No-Fail" on is recommended if you don't wish to endure the acoustic break, but despite that large blemish, the other two pieces of the song are definitely worth the admission if you consider the purchase.
10.19.12 11:07pm 0 Replies | Reply +2 Relevance
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