Rock the Nations was an encouraging but not entirely convincing return to the classic Saxon sound. With EMI breathing down their necks, Saxon made a last-ditch bid for stardom with 1988`s Destiny. But it wasn’t meant to be.
Destiny was the first (and only) Saxon studio album to feature the new rhythm section of bassist Paul Johnson and drummer Nigel Durham. Saxon were at a low ebb in their confidence and creativity, papering over the cracks with all sorts of formulaic 80s pop rock moves and an over-egged pudding of a production. Uninspiring songs like I Can’t Wait Anymore, We Are Strong and Song For Emma rely on stock pop rock moves and limp anthemry. And more promising numbers like Calm Before the Storm and S.O.S. struggle under layers of keyboards and backing vocals.
However, the band recaptures some of their classic might with For Whom the Bell Tolls and Red Alert. More dynamic, riff-heavy and fully-realised, it’s telling that these tracks rely less on the production bells and whistles. The album’s one true classic and standout track is Ride Like the Wind, a driving and charismatic power ballad reinvention of the Christopher Cross tune. It’s a brilliant cover and a should-have-been hit. It’s the only Destiny-era tune to endure in the band’s career and live repertoire. But even then, it’s no Broken Heroes, Battle Cry or Crusader.
Overall, Destiny is likely to be too syrupy for many fans of traditional Saxon and, even judged on its own merits as an AOR album (against, say, Magnum’s Wings of Heaven), it’s unconvincing. In fact, it’s one of Saxon’s worst albums. As worst albums go, it’s not a total disaster. There’s good stuff here and in the right mood even some of the ropier tunes can connect. But the patchiness, dissipating credibility and perceived commercial desperation of Saxon’s EMI years came to a head here. Before long the band were dropped from EMI, had fired their management and were taking time out to rethink and recharge. It would take years for the one-time champions of NWOBHM to fully recover.