Saxon - Call to Arms (2011)

If you had told me 20 years ago that Saxon would still be alive and well in the 21st century, releasing viable and even extraordinary albums, I doubt I would have believed you. Apart from Motörhead, they are perhaps the one long-term NWOBHM act who not only persist, but actively challenge themselves and come out fighting with records arguably as strong as their classics. Whilst Iron Maiden and Judas Priest are pushing up daisies, sating their audiences on brand names alone and diminishing songwriting capacity, Biff Byford and his troops have forged on with great records like Unleash the Beast, The Inner Sanctum, Lionheart and Into the Labyrinth.

Granted, some purists who fancy only the most blue-collar roots of the band on classics like "Wheels of Steel" or "Power and the Glory" might feel turned off at the modern studio climate and surges of power metal aggression the band espouse in recent years, but a little variation does nothing to dull the band's inspirational, incessant devotion to quality. Call to Arms, their 19th full-length, delivers on all fronts, a blend of classic NWOBHM/hard rock tracks and faster paced material for the younger audience. "Hammer of the Gods", "Afterburner" and "Surviving the Odds" all offer the savage nigh-on speed metal that dwells upon their threshold of aggression, replete with soaring choruses, Byford stretching his elder lungs to the max.

Meanwhile, those interested in the band's 80s, power ballad-to-balls fare will be thrilled with "Mists of Avalon" and "No Rest for the Wicked" which hearken back to Rock the Nations, Destiny and other examples of their work in the genre's Golden decade; and if it's the more 'epic' Saxon you seek (circa Metalhead, Into the Labyrinth, Killing Ground) then you've got "When Doomsday Comes". There are few if any missteps. "Ballad of the Working Man" has a decent swagger and melody line to it, but otherwise moves to the rear of the pack; while the big rock of "Back in 79", in which the band recruited a pile of fans to provide the later backing chorus, is not that great a tune outside of its cute gimmick...

The production sounds superb as it has for the past seven records, and the streak of memorable songwriting continues, even if the album isn't wholly consistent. Saxon proudly joins the ranks of Accept and Anvil in bringing the inspiration to yet another decade, this one ridden with old school heavy metal wannabes that are being proven redundant by the originators! Call to Arms is not the monolith of quality that Unleash the Beast and The Inner Sanctum both proved to be, but it thrusts a wrench to the jawbone of irrelevancy, and time itself is going to have to work a lot harder to steer these old dogs off the scent.

Verdict: Win [7.75/10]

http://www.saxon747.com/

Saxon - Unleash the Beast (1997)

I've made it a point since my youth to purchase every Saxon album as it was released, since they've always held some quality I find endearing, and are one of my favorite NWOBHM bands, probably the most enduring over their entire career. The 90s kicked off with Solid Ball of Rock and Forever Free, which were alright, but did not have the lasting impact of some of their earlier material.

And lo, while its predecessor Dogs of War had a few decent tracks on it, I was not expecting much out of Unleash the Beast, and thus was entirely blown away when I first sat down to listen to it. Up to 1997, this is by far the heaviest effort Saxon had produced, and every fucking song is memorable. I will go even so far as to say it's the best album they wrote in the first two decades of their career, just edging out the accessible (and oft-rued) Destiny. It's important not only because it brought Saxon's style into the era of modern production values, but added an extra level of aggression that would help fuel the band's excellent future catalog (Metalhead, Lionheart, and the band's opus magnum The Inner Sanctum). It was as if Saxon had broken out of a slump and realized they were one of the last true torchbearers left to this style. For example, compare Unleash the Beast to ANYTHING Iron Maiden has released since Somewhere in Time, or ANYTHING Judas Priest has done since Painkiller. There is just no fucking comparison. Saxon wins. Long live Saxon!

"Gothic Dreams" is a fine intro to the record, with swelling synthesizer/choirs that part curtains for the rumbling steel of the title track. Once that speed metal verse rhythm comes in, you know that Saxon has been putting in long hours to make this album fantastic. Biff's vocals were the best they had yet been, every line carefully composed and delivered through his veteran throat. His mid range is excellent, but he can also shriek when he deems it necessary. The four chord chorus is dripping with Nibbs' saucy basslines and even the fucking guitar solos burn with a fire this band had quelled for too long. If you cannot raise your fist in the front row and bang it along to the sky diving "Terminal Velocity", you are NOT metal and do not belong here!

Time has come, paid your dues
Take a chance, light the fuse
Step right up, stand in line
In thirty seconds time
You're at terminal velocity

"Circle of Light" maintains the band's hammer gait, a dark track with a gorgeous payoff. Again, the band has successfully taken their roots approach to blue collar NWOBHM and bathed it in something above and beyond the call of duty. "The Thin Red Line" could have been on the Top Gun soundtrack and kicked everything else there in the arse. Perfect for truckin' and fighting'! "Ministry of Fools" takes a toss at Maiden-style melodic riffing, eventually coming one of the most dear tracks on the album (as if you could choose favorites, really). The chorus to this song is just incredible hard rock bliss:

We're not listening, listening to you
We're not listening, don't tell me what to do
We're not listening, listening to you
We're not listening to the ministry of fools

"The Preacher" takes another jab at authoritarian impostors, and "Bloodletter" makes for a nice successor to a classic like "Wheels of Steel". "Cut Out the Disease" is probably the most heavy goddamn songs Saxon has ever composed, and the darkest on this record, with some atmospheric synthesizers behind the intense string hammering, not to mention the colossal crunch of its verse rhythms. "Absent Friends" is a bluesy rock ballad, and while it lost this album 1/2 a point, Biff still sounds great singing it. "All Hell Breaking Loose" picks the pace back up to close the album; strangely the tune reminds me of Running Wild.

Yeah, so...Unleash the Beast. If you couldn't already tell, I'm rather fond of it. If you're into this sort of thing, you know, quality heavy metal music, and you've made the grave life mistake of missing out, you should probably be heading out to the store about now, or clicking on your little iTunes icon.

Highlights: there are some...

Verdict: Epic Win [9.5/10] (gather round beneath the mission bell)

http://www.saxon747.com/en/itl/

Saxon - Destiny (1988)

Despite the video for their cover of "Ride Like the Wind" having a reasonable rotation on MTV (usually on Headbanger's Ball), Saxon seemed to miss the mark with what could have been their breakthrough album. Destiny is often loathed by fans for its relative accessibility, but the truth is it's no more commercial than any of their previous albums, a slice of catchy NWOBHM which I still consider one of their career highlights, with ballads and rockers aplomb, all written in a bluesy, consistent aesthetic.

The presence of the typical 80s radio rock synthesizers is complementary and never forced, even as "Ride Like the Wind" opens. The Christopher Cross cover sounds quite nice in Saxon's able hands, Biff Byford's vocals blend seamlessly with the backups for the chorus. "Where the Lightning Strikes" is a slower paced rocker, anchored in a simple and perfect riff, the kind that has appeared on every Saxon record before and since. Again, the chorus is exactly what you are waiting for, powerful and understated. "I Can't Wait Anymore" is a love ballad with some nice leads and catchy clean guitars jangling beneath the verse. This is probably the type of song the album took some slack for, but its a good song and superior to many of the shitty glam rock ballads which polluted the airwaves during that era. "Calm Before the Storm" returns to the rock and Byford giving it his all, dripping with blue collar lyrics.

My father used to work the seam
Far below the ground
Digging for the coal to melt the steel
But now he stands a lonely man
Idle and forlorn
Just like the iron wheels
That took him down

"S.O.S." starts with some blowing winds and ambiance, then a great teaser riff before the metal begins to rage, a mid-paced flow beneath yet another set of catchy vocal lines. "Song for Emma" is another power ballad, reminds me a lot of something Def Leppard would have done back then but with Byford's vocals (the bands have always had similar music). "For Whom the Bell Tolls" rocks out like classic Saxon, killer riffs and an unforgettable chorus. "We Are Strong" is pretty typical synth driven rock fare, it's the weakest song on the album but still works for me. The album closes with two of its best tracks: "Jericho Siren" with its brilliant riffing and the hard rocking "Red Alert".

The album may sound dated to some, but quite adequate for the time. Lyrically the songs contain the same mix of everyman romance, history and world events that most of their albums do. Byford was younger here of course, but it remains one of his best vocal performances to date, he expressed a greater range than most of their earlier records. Although I am one of a dwindling few who personally loves this album, it's a difficult album to recommend, as I do not think it would appeal to fans of the more crunchy, power-metal fueled modern Saxon sound. However, if you loved the big budget hard rock of the 80s without too much of the glam crap (they did the hairspray thing briefly before realizing it didn't fit), and you love Biff's voice, you should give this a listen.

Verdict: Epic Win [9.5/10] (stood on the edge of tomorrow)

http://www.saxon747.com/en/itl/

Saxon - Into the Labyrinth (2009)

Throughout the 30+ years of heavy metal's existence, few bands can be said to have 'kept it real' as much as the mighty Saxon. True to their roots, rarely deviating (they may have added a 'power metal' touch to a few of their 21st century albums, but then, they are one of the bands to inspire that entire genre in the first place), the final product is almost always one of high quality. Into the Labyrinth is the band's 19th studio album and it delivers in spades. This is pure Saxon, with a balance of their old school, hard rocking tunes and a few that will appeal to the more modern crowd.

The first thing one will notice is the HUGE sound of this album. Boasting a Charlie Bauerfiend production, Saxon has never really sounded this good in the studio before. The vocals are giving such a great depth, and the guitars are excellent. Opening track "Battalions of Steel" is an epic leaning in that more 'power' metal direction they have used on recent albums like Metalhead. Soaring vocals, simple yet effective riffs, and keyboard choirs deliver the goods, with a mighty chorus. "Live to Rock" pays tribute to all their old 'rock' titled songs, a very simple NWOBHM number reminiscent of older Priest, AC/DC and...Saxon! It's damn catchy. "Demon Sweeny Todd" is a faster tune based on the notorious folk character who has recently been revived in film. "The Letter" is a rarity, a pure acoustic track, quite nice. "Valley of the Kings" is one of my favorites here, a rousing, mid-paced melodic speed metal with an amazing bridge and chorus. "Slow Lane Blues" and "Crime of Passion" are grittier, bluesier, down-and-dirty metal tracks. "Protect Yourself" is a catchy slower track, not quite a power ballad but bordering on it. Another of the best tracks is "Hellcat", totally rocks.

The album is very consistent, and it should appeal to fans of the band from all periods. It's not nearly as good as last year's The Inner Sanctum, but considering just how damned good that album was, it would be a difficult act to follow. Regardless, this album has its share of classic Saxon tunes, simple and to the point, and proves just how much life is left in these veterans. They may never have been the darlings of NWOBHM when stacked against an Iron Maiden or Judas Priest, but we all know who is writing better albums today.

Verdict: Win [8.5/10]

http://www.saxon747.com/en/itl/