The “The Protect the Innocent” saga goes on with side three, “The Wild and the Willing.” However, there seems to be no let up in the great metal this album has.
Magnum- Start Talking Love
Vow Wow- Helter Skelter
Megadeath- Rattlehead
Saxon- Back on the Streets
Lita Ford- Kiss Me Deadly
Lisa Dominique- Rock ‘N’ Roll Lady
Exodus- Fabulous Disaster
I hope you’re continuing to enjoy. Three sides down one more to go.
Next post: Protect the Innocent- Side 4, The Wanton and the Warriors
To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com
Writing the 80smetalman blog for nearly 12 years, (God, has it been that long?), I have come to this conclusion about British NWOBHM band Saxon. While they never achieved the commercial success of their contemporaries Iron Maiden or Judas Priest, (should I include Def Leppard here?), Saxon was a band who was well known throughout heavy metal circles on both sides of the Atlantic. Ask any metalhead around at the time and they would be able to tell you that Saxon was a great band. So, today’s question is: Does there 1988 album, “Destiny,” measure up to what I have just written?
My quick answer is, “Yes.” First, I will freely admit that listening to “Destiny” doesn’t want me to put more noted albums like “Denim and Leather” or “Wheels of Steel” on the shelf, it’s still a good album where Saxon does what they have always done. And no, this isn’t simply the case of an established band using the same old tired formula, they sound as fresh as they always have. The irony is that the album starts off with a cover of the Christopher Cross classic, “Ride Like the Wind.” Naturally, Saxon put their own spin on it and their version sounds really good. While I won’t waste typing fingers comparing the two versions here, I will say that it’s definitely worth an “Original vs. Cover” post, if 2Loud is willing to do so. If not, I could always do it.
“Ride Like the Wind” was released as a single and if you believe Wikipedia, it’s the only single from the album. This is not the case. What caught my attention in regards to the “Destiny” album was while watching “The Chart Show” on British television, during the show’s “Rock Week,” was the video for the song “I Can’t Wait Anymore.” For me, this track was better single material than the Christopher Cross cover anyway. It’s a mid tempo ballad and I love the lead guitar intro. Biff puts his soul into the vocals and the rest of the band provide the ground support. “Where the Lightning Strikes” makes a good bridge between the two singles.
The middle of the album is what distinguishes it as another great Saxon album. No nonsense power riffs launch “Calm Before the Storm” This is a pure cooker, guaranteed to get your head banging along to it. The keyboards at the chorus do nothing to change that fact as the power chords rule. I don’t know which guitarist cranks out the solo here but it’s damn cool. Next, they go a bit prog-metal, before it was a thing, on “S.O.S.” It begins with ocean sound effects before some heavy riffs kick in. I can’t be sure but I think it’s about a distressed ship but the backing vocals and bass line stands out particularly. It ends with a foghorn so I hope the ship was rescued.
Saxon change it up again on “Song for Emma.” The title and the mellow keyboard intro and soft first verse makes you think that this is going to be another ballad but the guitars kick in and the track takes off. Even though the second verse slows down, it can no longer be thought of as a ballad, it just kicks too much ass. It gets my vote for hidden gem, especially with that guitar solo. We can say that “Song for Emma” is definitely a climax but not a conclusion as the remaining tracks are quick to remind you. No, “For Whom the Bell Tolls” is not a cover of the Metallica classic but it’s a good song in its own right. However, I am reluctant to have the two songs in a “Songs with the Same Title” competition because as much as I like this Saxon number, it doesn’t quite measure up to Metallica. Then again, I could let you all decide.
Things go more 1980s with “We Are Strong” with the keyboards in the song. Maybe they needed one song which sounded contemporary and it’s a good song, if unspectacular. Biff’s unmistakable voice and the guitar hooks let you know that it’s definitely a Saxon song. However, they return to more mainstream metal with “Jericho Siren.” A straightforward metal tune and a cool penultimate track to set up the closer. With that, “Red Alert,” I wonder if Saxon were in the CND movement. This isn’t the only nuclear war song they’ve made. “Fire in the Sky” off the “Denim and Leather” album is another one. Still, it’s a great way to end the album.
Track Listing:
Ride Like the Wind
Where the Lightning Strikes
I Can’t Wait Anymore
Calm Before the Storm
S.O.S.
Song for Emma
For Whom the Bell Tolls
We Are Strong
Jericho Siren
Red Alert
Saxon
Biff Byford- vocals
Graham Oliver- guitar
Paul Quinn- guitar
Paul Johnson- bass
Nigel Durham- drums
Additional Musicians:
Steven Laws Clifford- keyboards
Dave Taggart, George Lamb, Phil Caffery, Steve Mann- backing vocals
Throughout the 1980s, Saxon kept cranking out great albums, it’s just a shame they weren’t more commercially successful. They definitely are a great band as “Destiny” proves.
Next post: Anthrax- State of Euphoria
To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com
Not a bad haul. I must have been a good boy this year.
I hope everyone had a good Christmas! As you can see, Santa was good to me this year. Not only did I get the new AC/DC album, I got a few albums I wasn’t expecting. The Metallica, Ozzy and Thin Lizzy, which for some reason isn’t in the photo, were upgrades as I had all of these on either cassette or vinyl. FTR, the Thin Lizzy was “Live and Dangerous.” Anyway, I hope all of you had good hauls as well.
Repeating what many other people have said, 2020 was a bust. Fortunately, I had my music and a lot of music which many of you have shared on your blogs. We all seemed to pull together and help each other get through, which was good to see and although there is still more shit ahead, the end might be insight. This past year was the first year since 2014 where I didn’t go to any live gigs. The lockdown meant that Hells Bells couldn’t come to town and my plan to go to Bloodstock for the Sunday was also put on hiatus. However, the good news about Bloodstock is that most of the line up planned for 2020 will be there for 2021. That means Judas Priest will still headline on the Sunday with Saxon on right before them! Additionally, and this has me considering coming out of retirement and going to Bloodstock for the full three days, Mercyful Fate is now headlining on the Saturday. Devin Townsend headlining the Friday makes it even more tempting.
Since, I will be working over the New Year’s period, I would like now to wish all of you an Happy New Year and may your 2021 be a joyous one.
Next post: Vyper- Afraid of the Dark
To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com
October 11, 1986 was my first time attending a concert at the famous Hammersmith Odeon in London. No prizes for guessing who the headline band was or I wouldn’t be writing about it now. The support act will get the treatment in the next post but that night, I was excited about finally getting to see NWOBHM stars, Saxon and they didn’t disappoint.
An additional bonus on the night was that Saxon were on tour for their latest album, “Rock the Nations.” While I might have been there to hear some of my favourites from earlier years like “Wheels of Steel” and “Princess of the Night,” (they played both), the new material they played that night was just as good and of course, I had to get the album.
According to some critics, (I never pay attention to them anyway), “Rock the Nations” sounded cliche-ridden and sighted the departure of bassist and key song writer Steve Dawson as the reason why. Having only just started exploring Saxon in detail at the time, I didn’t know the internal politics of the band and for me, the album had everything I liked about Saxon in it.
“Rock the Nations” opens with the title track and makes it no secret that this is a Saxon album. Critics might have called it cliche but to me it was typical Saxon. If they wanted to pick on any track and they do, it’s the first single, “Waiting for the Night.” First, I can’t fathom why it was called a sappy ballad because I find it a radio- friendly, mid-tempo metal song. The other so-called sappy ballad is the closer, “Northern Lady.” Yes, it’s a ballad but in no way is it sappy. It’s a power ballad to the max with a great guitar solo. Furthermore, being married to a northern lady, it holds a special place for me in my metal heart.
Singles and ballads aside, there are some real cookers on this album. “Battle Cry” and “We Came to Rock” are great ones but if you want full on power chords and great solos, then you must listen to “You’re No Angel.” That track is the power rocker and its successor, “Running Hot,” gives it a one-two punch. “Empty Promises” walks the tightrope between all out power rock and the more radio friendly melodic metal. Actually, I thought this one would have made a better single.
This leads me to the hidden gem and the one track that’s definitely different. I’m talking about “Party ’til You Puke.” Something I did more times than I’d like to admit back then. There is a jazz feel on the song, mainly down to the fact that the band got some pianist named Elton John, (you might have heard of him), to tinkle the ivories on it. But while it has a jazz feel, there is enough power chords on here to let you remember that it’s still a Saxon metal song. The guitar work here says it all!
Track Listing:
Rock the Nations
Battle Cry
Waiting for the Night
We Came to Rock
You’re No Angel
Running Hot
Party ’til You Puke
Empty Promises
Northern Lady
Saxon
Biff Byford- lead vocals, bass
Graham Oliver- guitar
Paul Quinn- guitar
Nigel Glockler- drums
Paul Johnson- bass (doesn’t not actually play on the album)
Elton John- piano on “Party ’til You Puke”
Those same critics once said “Rock the Nations” will be an album quickly forgotten by the Saxon faithful. I have never forgotten this album. I’ve always considered it Saxon’s “Welcome to England” present for me.
Next post: Loudness- Lightning Strikes
To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com
Welcome to the first heavy metal compilation album I bought. It was early February 1985 when I saw “Metal For Breakfast” at my local record store. Since I often used to feel like the way the dude on the cover looks, I thought it was worth a look. When I flipped to the back cover of the album and saw who was actually on it and their songs, I knew I had to buy it straight away. Who couldn’t resist an album with Ted Nugent, Saxon, Y&T, Quiet Riot, Ozzy and Judas Priest on it. Furthermore, the songs from these artists with the exception of Judas Priest’s hidden gem, (I had never heard “The Ripper” until this album), was more incentive to get it. But that’s only half the story!
Attic Records, being based in Toronto, seemed very eager to unveil much of its local talent and they chose a good group to do so. I had heard of Anvil but never listened to them. “Forged in Fire” changed all that. Any band called The Killer Dwarfs had to be granted a listen and “Heavy Mental Breakdown” did not disappoint. This was the first step on their way to them becoming my all time favourite Canadian band. I know Mercyful Fate are from Denmark but the fact that “Black Funeral” comes right out and sings “Hail Satan” sticks one in the ear for the American religious zealots. On the second side is the lovely Lee Aaron and “Metal Queen” is mind blowing. Of course, there’s always a hidden gem and on “Metal For Breakfast” it’s the track “Metalhead” by Blotto. It takes a dig at metalheads but it’s done in a really funny way plus, it’s a good song. So what you have is a great combination of well known metal tunes and ones that weren’t so well known coming together to make a fantastic album.
Track Listing:
1. Anvil- Forged in Fire
2. Ted Nugent- Cat Scratch Fever
3. Killer Dwarfs- Heavy Mental Breakdown
4. Accept- Balls to the Wall
5. Mercyful Fate- Black Funeral
6. Blotto- Metalhead
7. Lee Aaron- Metal Queen
8. Saxon- Princess of the Night
9. Judas Priest- The Ripper
10. Quiet Riot- Metal Health
11. Y&T- Mean Streak
12. Ozzy Osbourne- Crazy Train
And I think you should listen to the hidden gem:
Back in 1985, “Metal for Breakfast” was the classic metal combination of what was known and not so known in the heavy metal world. Nowadays, it’s just a classic 80s album but it still kicks ass!
I probably looked more like this back then.
Next post: Dokken- Tooth ‘N’ Nail
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A term that has been batted around quite a lot here on 80smetalman is ‘hidden gem.’ In most cases, I use it to describe a song I really like on an album that has a well known single or two on it. On occasion, I have also used the term to describe albums from bands who have more well known albums than the one I am posting about at the time. Now, I’m going to use it to describe a band or two. Whenever the new wave of British heavy metal, (NWOBHM), is mentioned, the first bands that come to mind, even mine, are Iron Maiden, Judas Priest, Def Leppard and maybe Saxon. All of them great bands who have given us more than three and a half decades of great music. However as I tour through the years, I have discovered two hidden gems from the NWOBHM age. One I posted about a couple of months ago, Grimm Reaper. The other is brought to you now, Tank. I knew of both bands back in the day and loved them and often wonder why neither of them were as big as the others.
Back in those days, I had become quite diligent in scouring the heavy metal import section at my local record store and that’s where I came across what I think is their best album, “Honour & Blood.” The problem is that I didn’t appreciate it enough back then, so I’m making up for it now. What you get with this album is seven songs of pure metal magic. The shortest song is a mere four minutes and thirty-seven seconds long and there is only one other song less than five. Tank go off on crazy long metal jams which are just superb. There is not one song, even the two that are eight minutes long, where I am thinking that the song has gone on for too long. BTW, those eight minuters are the opening and closing tracks on the album and a good way to do it. Especially so on the closer because it features the very amusing lyrics, “Kill, the poor bastard’s dying.” What a fun way to the close the album, of course the cool guitar solo kind of punctuates it too.
As for the songs in between, they are all great! “When All Hell Freezes Over” is a typical but well done pure metal jam and I’m hooked by the way they sing the chorus. Blistering guitars adorn the title track. “W.M.L.A. (Wasting My Life Away)” and “Too Tired to Wait For Love” are also great metal anthems and more than just amusing titles. However, my favourite track is the cover of the Aretha Franklin hit, “Chain of Fools.” I admit, the rhythm reminds me a little of the Rolling Stones classic, “Satisfaction,” but the song just kicks it.
Track Listing:
The War Drags Ever On
When All Hell Freezes Over
Honour and Blood
Chain of Fools
W.M.L.A. (Wasting My Life Away)
Too Tired To Wait For Love
Kill
Tank
Algy Ward- bass, vocals
Cliff Evans- guitar
Mick Tucker- guitar
Graeme Crallan- drums
The more I reflect back to those years, the more convinced I am that Tank were a hidden gem in the new wave of British heavy metal. They may not have hit it as big as the others, constant personnel changes didn’t help them there, but they left behind several albums, including “Honour and Blood” for us to enjoy.
Next Post: TNT- Knights of New Thunder
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My trip through all the great albums of 1984 has led me to make many conclusions about the year, the music and certain bands. Here’s another one. It is my belief that Saxon were the best band from the new wave of British heavy metal, (NWOBHM), age not to have made a major impact in America. Sure, I had heard of them and even heard a couple of their songs back when I was in the marines stationed on Okinawa and liked them, but I never got around to listening to them properly until early 1985 when I heard their classic “Princess of the Night” from the outstanding “Denim and Leather” album on a metal compilation album. While I did make up for that mistake afterwards, I still think that Saxon never really got the recognition in America they truly deserved.
Onto Saxon’s 1984 album “Crusader.” The problem is that when any band puts out the album one calls their favourite by that band, all other albums are held in comparison to that one. In my case, all Saxon albums are held up to the light shone from “Denim and Leather” and that’s not particularly fair to “Crusader.” What Saxon did on this album is to take all the great things from the one album and recreate it on this album while at the same time not making it a total clone of the former. I think the objective was achieved on “Crusader.”
I love the way “Crusader” opens. It starts with medieval fanfare with galloping horses and all before going into the big title track. For me, it’s history coming to life through music as the story of crusaders is told in the song. It also helps that that period of history is one of my favourite eras. You know, knights on horses hacking down their enemies with swords, damsels in distress and catapults reducing castles to rubble, I love all that. I do think that if teachers play this song while teaching about it in school, more metalheads would wake up and pay attention and learn about all about the Crusades.
Tired cliche alert: One song doesn’t make or break an entire album. The rest of “Crusader” holds up very well and I do hear all the good things done on “Denim and Leather” on it. It’s just that one track, “Just Let Me Rock” seems to take all of those good things and incorporate them all into one song, although the title track of “Denim and Leather” seems to be the biggest influence here and that’s not a bad thing because Saxon definitely did not simply clone that song. On that thought, “Bad Boys Like to Rock and Roll” sounds like a fusion of the “Denim and Leather” tracks “Rough and Ready” and “Midnight Rider” and again, it’s done very uniquely and played outstandingly. The one song where there is no influence from my favourite Saxon album is the power ballad, “Do It All For You.” Power is the key word in the song and it does belt your eardrums even though it’s a ballad. However, the big clincher on the track is the Biff’s vocals. His best effort definitely shines through here.
I usually view covers of songs with a hint of cynicism and I did so with the cover of The Sweet classic, “Set Me Free.” Another cliche alert: Saxon put their own stamp on it and make the song their own, believe me they do. It’s not often that I like a cover as much, possibly more than the original, but I can’t fault Saxon’s efforts here. The answer, I think to why I like this song and all the other songs so much, is the guitar work of Oliver and Quinn. Both guitarists are simply exemplary on the album.
Track Listing:
The Crusader Prelude
Crusader
A Little Bit of What You Fancy
Sailing to America
Set Me Free
Just Let Me Rock
(Bad Boys) Like to Rock and Roll
Do It All For You
Rock City
Run For Your Loves
Saxon
Biff Byford- vocals
Graham Oliver- guitar
Paul Quinn- guitar
Steve Dawson- bass
Nigel Glockler- drums
While I might have only highlighted a few songs on “Crusader,” let me just say that all the songs make this album great.
Next post: Motorhead- No Remorse
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Whenever the new wave of British heavy metal or NWOBHM is mentioned, it is usually Judas Priest, Iron Maiden, Def Leppard and Saxon who spring to mind first. These great bands blazed a trail for metal bands from both sides of the Atlantic to follow. Leading the chase out of Great Britain was the heavy metal outfit, Grim Reaper. For me, the name alone made them worth giving them a listen and that turned out to be a very wise choice.
Coming from Droitwich which is in Worcestershire, England and only about 20 miles from Birmingham, there is no surprise in the Judas Priest influence with the band. However, lead singer Steve Grimmett has a vocal style that is somewhat like Iron Maiden although I can at times hear a little of Halford as well. Okay, I’m a wishy-washy bastard. Anyway, with this mighty infusion, it is little wonder that Grim Reaper sounds as good as they do and why I think their debut album, “See You in Hell” is cool.
The title track, which is the band’s best known song leads the charge. Listening to it, it is no wonder why it’s number 38 on VHS Most Awesome Bad Metal Songs Ever. It’s definitely my all time favourite Grim Reaper song. However, the seven other songs on the album aren’t far behind and make sure that it’s not a one song album. All throughout the album are the bashing power chords and way out soloing of guitarist Nick Bowcott and the fore-mentioned vocals of Grimmett. All of which are supported by a more than capable rhythm section of Dave Wanklin and Lee Harris. This makes it difficult for me to pick out a standout song beyond the title track. They are all stomp on your face metal tunes that rock. The only possible exception is the slower, at times ballad like “The Show Must Go On.” While quality wise, its as good but no better than the other tracks, it does depart from the hammering chords of those songs and shows that Grim Reaper are versatile. Bowcott’s guitar work is quite eerily outstanding on it. However, that only changes things up slightly before the closer blasts your ears to pieces.
Track Listing:
See You in Hell
Dead On Arrival
Liar
Wrath of the Ripper
Now or Never
Run For Your Life
The Show Must Go On
All Hell Let Loose
Grim Reaper
Steve Grimmett- vocals
Nick Bowcott- guitars
Dave Wanklin- bass
Lee Harris- drums
Grim Reaper’s debut “See You in Hell” album led the charge for what many thought would be a second new wave of British heavy metal. Especially with Maiden and Priest coming out with albums the same year. In 1984, that was true and though things would go sour for this band a few years later, this is still an album to be proud of.
Next post: Gary Moore- Victims of the Future
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Whenever a group of bands are identified with a certain area and style of music, there are those who stamp their names as standard bearers of that music but if you look down the list, there are many other bands in that group who typify that style but don’t get the recognition they probably deserve. For example, when Southern Rock was at its commercial hey day in the very early 1980s, bands like Molly Hatchet, The Outlaws, 38 Special and Blackfoot were the bands people identified with that form of rock. Not many would be able to identify Doc Holliday, Johnny Van Zant Band or Mother’s Finest to name just a few and they were just as good as the ones previously mentioned.
The same applies to the new wave of British Heavy Metal, (NWOBHM), which came out right after. Living in the US at the time, I knew and adored Iron Maiden, Judas Priest, Saxon, Motorhead, Def Leppard but bands like Diamond Head, I only knew because I had seen them live. As for Tank, they came to my attention because I just happened to see one of their albums in the import section of my local record store. It wasn’t the one I’m posting about now.
To be honest, I didn’t listen to “This Means War” until I actually came to Britain and that was late 1986. A new friend who we nicknamed ‘Trendy Bastard’ because he dressed a little too much like Bon Jovi, had an extensive collection of music and one night, treated us to the album. It definitely made an impression on me because although I never bought this album, it has stuck in my mind for all these years.
All of the elements of NWOBHM are present on “This Means War.” When I listen to it, I hear influences from Motorhead and Judas Priest. The songs are fast paced but not at a real break neck speed. Still, the power and rhythm combine to make them catchy. Algy Ward’s vocals sound closer to that of Rob Halford and done competently. Guitars are also done well, prime example being “I Won’t Ever Let You Down,” though I’m not quite ready to add Peter Brabbs and Mick Tucker to my guitar list. The best examples of what I’m talking about are the tracks, “This Means War,” “If We Go, We Go Down Fighting,” “Just Like Something From Hell” and “Echoes of a Distant Battlefield.”
Track Listing:
Just Like Something From Hell
Hot Lead, Cold Steel
This Means War
Laughing in the Face of Death
(If We Go) We Go Down Fighting]
I Won’t Ever Let You Down
Echoes of a Distant Battlefied
Tank
Algy Ward- bass, vocals
Peter Brabbs- guitar
Mick Tucker- guitar
Mark Brabbs- drums
Was it because so many British metal bands were gaining status in the US the reason why Tank got left out? While they might not have been as spectacular as the greats who did achieve, they were still a cool band and as “This Means War” proved to me, they deserve some recognition.
For a young American living in the sticks of Southern New Jersey in 1983, Diamond Head was probably the best kept secret of the new wave of British heavy metal, (NWOBHM). I only was fortunate to know their existence because I happened to see them live in England that summer. However, if that is truly the case, then Saxon was the best NWOBHM band not to fully get the respect in the US they truly deserved. Their 1983 album “Power and the Glory” is a solid piece of evidence as to why.
It would be a very difficult task for any Saxon album to knock off “Denim and Leather” as my favourite album of theirs, so “Power and the Glory” will have to settle for number two. It is every much the killer as its 1981 predecessor! I have to admit, I’m pretty much impressed with all eight of the tracks on here. Maybe that’s why it’s only number two because “Denim and Leather” has nine.
“Power and the Glory” opens with the title track which is a good song to catch your attention. However, compared to the other tracks on the album, it’s the weakest, not that in any way it’s not a good track, it is. But the others that follow are mind blowing. Some really cool guitar solos from Oliver and Quinn on the tracks “Nightmare” and “This Town Rocks.” On the latter, I am wondering which town they are singing about because back in the mid 1980s, I lived in a town that didn’t. Some might say that about the town I live in now in the UK but those who rock aren’t visible. They just come out whenever a cool band like Hells Bells comes to town. Here I go digressing again. Great songs all here!
Impressing me further is the intro to “Midas Touch.” While Saxon has historically had many songs whose introduction has been a great hook, the one on this track takes the top spot for the album. And like so many Saxon songs, “Midas Touch” isn’t a song with a great intro that descends into mediocrity as the song progresses.
If my favourite Saxon album didn’t have such a killer closing track, then I would probably be gushing over the closer on “Power and the Glory.” I have to put “Denim and Leather” totally out of my mind so I can sing the praises of “The Eagle Has Landed.” It works in so many ways, as a closer and as a song in itself, great song. I have to say that I think Biff and the boys were on top form when they made “Power and the Glory.”
Track Listing:
Power and the Glory
Redline
Warrior
Nightmare
This Town Rocks
Watching the Sky
Midas Touch
The Eagle Has Landed
Saxon
Biff Byford- vocals
Graham Oliver- guitar
Paul Quinn- guitar
Steve Dawson -bass
Nigel Glockler- drums
Some might argue that with all the great metal, especially (NWOBHM) albums that were out in 1983, it’s easy to see why Saxon’s “Power and the Glory” might have been overlooked in the US. No excuse I say and I wish it didn’t take me another two years before I started listening to Saxon in earnest. This album deserves to stand with all the other ones that were around in that year.
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