Tag Archives: English

Album Reviews, Classic Rock, Genre, Hard Rock, Heavy Metal, NWOBHM

Saxon – The Eagle Has Landed Part II (Album Review)

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Saxon – The Eagle Has Landed Part 2 (1996)

With original member Graham Oliver ousted from the band, Saxon had to quickly recruit a new guitarist in time for their tour to support the excellent Dogs Of War album. In stepped Doug Scarratt, ex-David Hasselhoff guitarist(!) and a friend of Saxon drummer Nigel Glockler. Coincidentally, Glockler had made his Saxon album debut on the 1982 live release The Eagle Has Landed and now his pal Doug made his on the sequel The Eagle Has Landed – Part 2. The use of the title evoked the band’s NWOBHM glory days, presumably in an attempt to signify to lapsed fans that the band had returned to metal. But it also bravely invited comparison between the 1996 lineup and the classic Saxon of yore.

But The Eagle Has Landed – Part 2 ducks the comparison by weighing heavily towards the band’s more recent material. In fact, with the exception of five songs, all of the material here is drawn from the band’s early-90s output. It sounds great and the band performs well. Doug Scarratt fits in seamlessly (showing off his chops on a tastefully shredded solo spot) and Biff Byford puts in a powerful, committed vocal performance despite sounding like he’s got a frog in his throat. In fact, he makes it work for him. The sound of him straining and pushing to hit the notes adds a real edge of excitement to tracks like Forever Free.

Although the new lineup acquits itself well, the focus on new tracks drags the album down, especially in the middle section. Ain’t Gonna Take It, Crash Dive and Can’t Stop Rockin’ are decent enough on their respective studio albums but they don’t cut it in a Saxon live set. But the second disc recovers well with Solid Ball Of Rock and Great White Buffalo proving effective live before some oldies-but-goodies see the album out on a high. The only blip in the older tracks is a version of Denim & Leather that’s marred by an overbearing guest spot from Yngwie J. Malmsteen who solos over everything that can possibly be soloed over.

Diehard fans/collectors will find the rare performances and historical value of The Eagle Has Landed – Part 2 make for a worthwhile release. But collectability aside, most listeners will find it a bit uninspiring and, while it certainly has its moments, it’s the least exciting of the Saxon live albums to this point: a solid but unspectacular start to the band’s post-Oliver career. The new lineup would have to impress mightily when they unleashed their next album.

[Saxon – Solid Ball Of Rock]

Classic Rock, Genre, Hard Rock, Heavy Metal, Misc. Reviews

Ritchie Blackmore’s Rainbow – Land Of Hope And Glory/I Surrender (Single Review)

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Ritchie Blackmore’s return to rock action was one of the most welcome surprises of recent years. I’ve got tickets to see him in June. I’m massively excited about it and nothing’s going to change that. Which is probably just as well because Ritchie Blackmore’s Rainbow have now released their first new studio recordings in 20 years and the results are far from thrilling.

Land Of Hope And Glory is a band version of the classical piece that they’ve been using as the intro tape to their shows. It’s got a nice pastoral, laid-back Hank Marvin vibe going on and some tasteful playing from Ritchie. It’s… nice?

Next up is a new version of I Surrender with Ronnie Romero at the mic. The Joe Lynn Turner-era classic was notable by its absence in the Memories Of Rock: Live In Germany set so it’s interesting to finally hear what Romero does with it. The whole band delivers the song capably enough to imagine it going down well live but it’s not particularly exciting as a listening experience. And Romero is not at his best with the sexier end of Blackmore’s output. His performance here has little of JLT’s seductive bombast.

It’s tentative and disposable stuff from The World’s Greatest Guitarist®. I’m still looking forward to finally seeing The Man In Black live but if Ritchie and Rainbow are planning to put out more new music, it’ll need to be more exciting than this.

Album Reviews, Classic Rock, Genre, Hard Rock, Heavy Metal, NWOBHM

Saxon – Dogs Of War (Album Review)

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Saxon – Dogs Of War (1995)

Saxon tried to learn their lesson from the rushed and patchy Forever Free album. They took a bit more time over the follow-up and headed back to Germany’s Karo Studio and the production team that proved so successful with Solid Ball Of Rock back in 1991. That album was a return to hard rocking form for the band but still found them moving forward, albeit in a fan-friendly fashion. While Solid Ball Of Rock was mostly full of good time AC/DC-style stompers, 1995’s Dogs Of War was an edgier affair and much more redolent of the band’s older style. But, for one member of the band, this album would be the last.

Fans of Saxon’s warrior epics like Power And The Glory and Battle Cry will delight in the opening title-track. It’s a total belter with a chunky, ballsy sound and an explosively thrilling chorus. It’s the albums best track and the only enduring classic here but the rest of the album is far from disappointing. If you know anything about Saxon you’ll know that when they start singing about vehicles it’s game on! And Burning Wheels and Big Twin Rolling (Coming Home) are loud and dirty transport rockers that take you right back to classic albums like Wheels Of Steel. And as well as recalling the classic days, Saxon also keep things fresh with some tastefully incorporated contemporary elements too: The Great White Buffalo is a moody, swampy epic and Don’t Worry has a rootsy, almost-grungy feel but climaxes with mesmerising guitar work that is pure, classic Saxon.

It’s impressive stuff but the album isn’t without its wobbles. Walking Through Tokyo is a blundering low point and a couple of enjoyable but essentially forgettable closing tracks find the album running out of steam. But it’s a minor quibble when there are so many great tracks here. Even Hold On, a potential mis-step with it’s Jovi-esque feel and Tommy & Gina lyrics, ends up being feelgood fun with a killer arena-ready chorus.

In a challenging era when British metal bands were generally falling by the wayside or falling apart, Saxon had rediscovered their fighting form, releasing their strongest, grittiest, most traditionally metal album since their glory days. But, as well as taking on the world, they were also squabbling among themselves. The relationship between frontman Biff Byford and guitarist Graham Oliver was faltering and some of the guitarist’s work on Dogs Of War had reportedly been re-recorded by a session guitarist. And when an unauthorised release of the band’s first Donington set was traced back to the guitarist, he was dismissed from the band. The loss of this talented musician and charismatic performer in such acrimonious circumstances was a blow to fans but they could take heart in the fact that – with this enjoyable, overlooked metal banger – Saxon were finally sounding like their old selves again.

Album Reviews, Classic Rock, Genre, Hard Rock, Heavy Metal, NWOBHM

Holocaust – The Nightcomers (Album Review)

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Holocaust – The Nightcomers + 9 Reissue (Metal Nation)

It’s immediately evident from the Chuck Berry double-stops that kick off Holocaust’s 1981 debut album that this isn’t going to be as totally dark and metallic as the spooky cover and jagged band logo suggests. Only four songs on The Nightcomers fully live up to the nefarious promise of the front sleeve. Second track Death Or Glory has a chunky, stomping riff of evil, gurning magnificence. The title-track and Mavrock are excellent sludgy, doomy affairs with creepy, reverb-laden vocals and guitar lines. And the fourth is the album’s standout track, the metal-worshipping anthem Heavy Metal Mania. If you like metal at all then this song is simply impossible to resist.

Excluding those songs and the lively Nuge/UFO-style heavy boogie of opener Smokin’ Valves, what you’re left with isn’t quite as good… but it doesn’t matter. The riffs and solos are excellent throughout and the Edinburgh band has a knack with a catchy chorus so potentially uneventful tracks like Cryin’ Shame and Push It Around just manage to avoid being total filler (even if they are strangely feel-good next to the album’s heavier tracks). Even the often wobbly vocals of Gary Lettice have a naive charm and intriguingly pre-Hetfield tone and phrasing.

If you’re new to these guys you’re in luck as Metal Nation have just reissued the album on CD with the songs from three 12″ singles as bonus tracks. It’s a great package and superb example of the promising talent, youthful energy and total lack of contrivance that keeps people going back to the NWOBHM bands. Even if it’s not quite a top-tier entry from the genre, it’s not far off. An enjoyable and memorable hard rocker with a batch of tracks that are nothing less than stone-cold metal classics.

Classic Rock, Genre, Hard Rock, Heavy Metal, NWOBHM, Song Reviews, Thrash Metal

Savage – Let it Loose (Song Review)

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“We’re not here to read your rights”

Savage’s relatively late debut album (1983’s Loose N’ Lethal) might make them seem like one of the few New Wave of British Heavy Metal bands that couldn’t lay a claim to being an influence on the mighty Metallica. But, far from being Johnny-Come-Latelies, Savage had already been around for a while. By 1981 they had already released a demo, a single and made two appearances on a compilation album Scene of the Crime. One of those compilation tracks was the classic Let it Loose and it soon made its way into the hands of, you guessed it, Lars Ulrich. Only appearing in early Metallica live sets and on a demo tape, it’s not one of the more famous or celebrated Metallica NWOBHM covers but there’s a strong whiff of the thrash giants’ early style here. And although ‘tallica didn’t exactly pass it off as one of their own they weren’t in a hurry to draw attention to the fact that it was a cover either. And, if any listeners thought it was one of their own original songs, that was fine by them too. Have a listen to the 1981 Scene of the Crime version of the track here to hear why.

[Savage – Let it Loose]

Album Reviews, Classic Rock, Genre, Hard Rock, Heavy Metal, NWOBHM

Saxon – Forever Free (Album Review)

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Saxon - Forever Free (1992)
Saxon – Forever Free (1992)

Saxon had enjoyed a return-to-form with 1991’s Solid Ball of Rock and moved fast to keep the momentum going, releasing the follow-up Forever Free just over one year later. As well as hurrying, the band also skimped on costs, recording in Vienna with unknown, cut-price producer Urwin Hersig. It probably comes as no surprise, then, that Forever Free sounded rushed and cheap.

For the most part, Forever Free comes across like a collection of leftovers from Solid Ball of Rock. It continues that album’s mix of Euro-metal and AC/DC raunch but many of the tracks stray too far into forgettable territory. Songs like Cloud Nine, Get Down and Dirty, Grind and the cyber-metal cover of I Just Want to Make Love to You sound like the band are jamming out ideas: working versions rather than the finished product. This isn’t helped by the sound: much of Forever Free sounds like a demo, a decent demo but a demo all the same.

The alternative UK Games Workshop cover... released on Warhammer Records!
The alternative UK Games Workshop cover… released on Warhammer Records!

On the positive side, these weaknesses give the album a sense of charm. The under-cooked tracks have a playfulness about them and the loose, jamming approach throws up some truly inspired playing from the Quinn/Oliver guitar duo (check out the hot solo on Night Hunter). And, while the bungled production wasn’t going to cut it for casual listeners and airplay, it results in the rawest, most metallic album the band had put out in years.

There are only a couple of real keepers though. The title track is the album’s enduring classic, a “wind in your hair” biker anthem that turns the clock right back to the band’s classic NWOBHM days. Iron Wheels is an enchanting folky strum and, if the lyrics sound familiar, it’s because you already heard them on Destiny’s Calm Before the Storm. The blue-collar imagery works much better here in this rustic setting and makes for one of the albums more affecting and creative tracks. The albums best, and most overlooked, deep cut is the stunning Hole in the Sky, with its spellbinding chorus and Ozzy-ish riffing.

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Back cover of 2013 reissue

Forever Free is a mixed bag that only committed Saxon fans will enjoy. It’s not a disaster and, unlike previous Saxon missteps, at least it sticks to the band’s core style. But it is still a misstep and did real damage to the band’s regeneration. Coming off the back of its well-received predecessor, Forever Free sold well but this rough and patchy effort ensured that many of those customers wouldn’t be back for more. Saxon had lost a crucial battle in the war to re-establish themselves but, as their next album would prove, these old dogs weren’t about to surrender any time soon.

Classic Rock, Genre, Hard Rock, Heavy Metal, Song Reviews

Iron Maiden – Heaven Can Wait: Live (Song Review)

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“I’ll go when I’m good and ready”

It’s been a dark and frosty week here in Glasgow. Perfect conditions for enjoying some black metal but I decided I needed some sunshine in my listening. Time for some synth-era 80s Maiden then! I opted for the excellent live album Maiden England ’88 and this song always stands out for me. The real magic happens 3mins in though, as the “take my hand…” bridge ratchets up the tension and the song’s tone shifts from jaunty to totally epic. Then the song cruises into the famous, roadie-enhanced “woah-oh-oh”s. This singalong section always seemed like it was devised for live performance so it’s no surprise that it works so much better here than on the Somewhere in Time studio version. The building urgency, shimmery guitar fills and Bruce’s added exhortations to the audience make it breathlessly exciting. It’s brilliant stuff that turns one of the potentially weaker songs of the set into an outright showstopper.

Album Reviews, Genre, Heavy Metal

Blaze – Silicon Messiah (Album Review)

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Blaze - Silicon Messiah (2000)
Blaze – Silicon Messiah (2000)

I loved Blaze Bayley in Wolfsbane but because I didn’t enjoy his stint in Maiden I never really thought of him as a “metal” guy. To me, he was at this best when he was painting the town red and lighting up the night with a little kiss. That was the Blaze I liked. So when his first post-Maiden outing Silicon Messiah proved to be a dark, very-metal affair I just passed on it. Not his forte.

I was wrong. Sixteen years later, spurred on by reading positive reviews and the return of Wolfsbane, I have added Silicon Messiah to my collection. It’s remarkably good. A proper underdog album if ever there was one. It’s downbeat, dystopian drop-D riffing is definitely of its time (think Brutal Planet, Magica etc…) and the opening tracks raise a worry that it’s all going to be a bit samey. But the album soon lightens up. Born as a Stranger, the galloping The Brave and Man on the Edge-esque The Launch are all extremely enjoyable, anthemic power metal tracks. The album just gets better and better as it rolls on and culminates wonderfully in Stare at the Sun: a gripping, goosebump-inducing epic. And, although tracks like The Hunger are chuggier and samier, their slower pace gives Blaze room to emote. He’s massively likeable throughout, delivering a vocal performance full of character and commitment.

So double dumb-ass on me for writing the man off. Turns out he is very-metal after all. He even manages to show Iron Maiden a thing or two with this anthemic and addictive album. It’s thoughtful and well-executed, topped off with a great vocal performance of considerable charm and charisma. That’s the Blaze I like.

15th Ann. Edition (w/ 3 bonus tracks) from blazebayley.net
15th Anniversary Edition (w/ 3 bonus tracks) from Blaze’s site

Album Reviews, Classic Rock, Genre, Hard Rock, Heavy Metal, NWOBHM

Saxon – Solid Ball of Rock (Album Review)

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Saxon - Solid Ball of Rock (1991)
Saxon – Solid Ball of Rock (1991)

The 90s were a challenging time for classic metal acts but, for Saxon, the decade got off to a promising start. The “10 Years of Denim & Leather” back-to-basics tour rejuvenated the band. Aiming to carry the momentum into the studio, the band signed with Virgin Records and headed to Germany to record their comeback album Solid Ball of Rock.

Released in 1991, Solid Ball of Rock finds Saxon returning to a heavier, err… ballsier style. It opens with its title-track and most enduring classic: the band taking Bram Tchaikovsky’s Jerry-Lee Lewis inspired rock n’ roller and giving it an AC/DC-grade kick up the arse (with a cool nod to The Sensational Alex Harvey Band in its Faith Healer-esque intro). It’s followed by the equally thrilling Altar of the Gods. Bolstered by the writing contribution* and forceful playing of new bassist Nibbs Carter, it’s a belter of a track with an aggressive, metallic approach that recalls the classic days of Power & the Glory while also pointing the way forward to the band’s future power metal leanings.

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It’s an encouraging opening but doubt sets in with Requiem (We Will Remember). The album’s only single, it maintains the feel-good vibe but its sentimentality, U2 jangle and “whoa-ohs” don’t sit well with me. But it proves to be the album’s only real wobble: the remaining tracks alternating between straightforward, open-chord rock n’ roll like I Just Can’t Get Enough and I’m On Fire and top-notch galloping Priest-y metal like Lights in the Sky and Baptism of Fire. The rock n’ roll tracks are a bit disposable by Saxon standards but have an enjoyably bouncy vitality while the metal tracks add crucial depth and grit with the epic, enigmatic Refugee adding class to the album’s late stages. It’s a strong combination of styles and a cohesive collection.

Back Cover - Demon reissue with bonus tracks
Back Cover – Demon reissue with bonus tracks

The overall sense with Solid Ball of Rock is of a band rediscovering their spark and spirit. Sticking to the basics but simultaneously mapping out new directions. The album did great business for the band and, although there were still challenging times ahead, Solid Ball of Rock is a pivotal Saxon album: a joyous, rocking reboot.

*Nibbs’ remarkable dominance of the writing credits here turns out to be an exaggeration. With litigious former managers breathing down Saxon’s neck they protected their royalties by crediting most of the songs to Nibbs: the only member of the band with no links to their past contracts. Crafty buggers.

Mah copy
Mah copy
Album Reviews, Classic Rock, Genre, Hard Rock

Magnum – Wings of Heaven (Album Review)

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Magnum - Wings of Heaven (1988)
Magnum – Wings of Heaven (1988)

Chase the Dragon and On a Storyteller’s Night are the sturdier, rockier picks of the Magnum back catalogue but they reached their peak of life-affirming, pop rock joy with Wings of Heaven: one of the most feelgood albums ever created. Tony Clarkin writing simple, catchy AOR rockers par excellence delivered with winning passion and panache by the ever-lovable Bob Catley. Boaby sings like he would take bullets for Magnum. “It’s a flame that keeps burning… everLASTing torrrchhhh!”, “Too old to die young, too big to cry… MAMA!” The guy’s a total hero. As soon as he chimes in on genius opener Days of No Trust (“Pray to the future…”) you are on your feet. The album continues with the vista of Wild Swan and the sublime power pop of Start Talking Love. Classics all. Different Worlds is a mid-album lull but Pray for the Day and the WWI epic Don’t Wake the Lion (Too Old to Die Young) end the album with weight and compassion: breathtaking, heartrending but still triumphant, mighty and melodic. It’s a colossal climax to an excellent album. File this in your collection alongside your Jovi, Lep and Whitesnake and it won’t be long before it steals your heart. A heavenly magnum opus.

[Magnum – Days of No Trust]