Power & the Glory
Power & the Glory is the fifth studio album by heavy metal band Saxon released in 1983. The album sold over 1.5 million copies worldwide. This is the first Saxon studio album with new drummer Nigel Glockler and was recorded in Atlanta, Georgia in the fall of 1982; the album peaked at #15 in the UK Albums Chart. It reached No.1 in the Metal charts in Sweden, Norway and Germany selling over 1.5 million copies worldwide. It was their first album to enter the Billboard 200 in the US, peaking at #155. A retrospective AllMusic review by Eduardo Rivadavia gave the album three out of five stars. Rivadavia criticised the mixing, saying that the album "sounds as though it was recorded in a tin can, albeit a very large tin can" eliminating the "big, in-your-face, gritty" sound heard on the band's past albums, he criticised the material itself, saying that "despite a few sparks generated by "Redline," "Warrior," and the proto-thrashing "This Town Rocks," only the anthemic title track showed enough staying power to earn a frequent slot in Saxon's live repertoire".
Canadian journalist Martin Popoff writes quite the opposite and considers Power & the Glory Saxon's best album, praising the production and the contribution of "new ass-kicking drummer Nigel Glockler" to "working a metal magic, the embodiment of the NWOBHM's ideals now made real."In 2005, Power & the Glory was ranked number 376 in Rock Hard magazine's book of The 500 Greatest Rock & Metal Albums of All Time. All tracks written by Paul Quinn, Graham Oliver, Steve Dawson and Nigel Glockler. "Power and the Glory" was released as a single in April 1983. It reached number 32 on the UK Singles Chart; the song is lyrics relating to war and battles. A music video was made for the song with band members running through a castle with dead dolls. Biff Byford - vocals Graham Oliver - guitar Paul Quinn - guitar Steve Dawson - bass guitar Nigel Glockler - drumsProductionJeff Glixman - producer Jeff Glixman - engineer Cheryl Bordagary - engineer Les Horn - engineer Axis Sound Studio, Atlanta - recording and mixing location
Forever Free (Saxon album)
Forever Free is the eleventh studio album by heavy metal band Saxon released in 1992. A UK version of the album features a cover of a biker Space Marine from the Warhammer 40,000 tabletop wargame. In 2013, Demon Music Group reissued the album digitally and on CD in the UK; this version included two bonus tracks taken from their 1996 double live album, The Eagle Has Landed – Part II. SaxonBiff Byford - vocals Paul Quinn - guitar Graham Oliver - guitar Nibbs Carter - bass guitar Nigel Glockler - drumsAdditional musiciansGigi Skokan, Nasco - programming, keyboardsProductionBiff Byford - producer Herwig Ursin - producer Rainer Hänsel - audio engineer Hey You Studios, Vienna - recording location Gems Studios Boston, England - recording location Mastered at Hey You Production, L. A. Studio City, Blairwoodroad - mastering location
Sacrifice (Saxon album)
Sacrifice is the twentieth studio album by British heavy metal band Saxon. It was released on 1 March 2013 in Europe, 4 March in the United Kingdom and 26 March in the United States. In late January 2012, drummer Nigel Glockler revealed on Facebook that the band was getting ready to write a followup to the previous year's Call to Arms. About a month Glockler revealed, again via Facebook, that he and guitarist Doug Scarratt were convening in Glockler's home studio to write before a band meeting in March. On 30 March 2012, vocalist Biff Byford issued an update stating that the band have a few ideas, that he had started writing and arranging melodies. Additionally, in July 2012, two short videos were released via YouTube that show band members jamming in the studio. In mid-August, the band released an update regarding the album, it was revealed that other small things had yet to be completed. It was announced that the album would most be produced by Andy Sneap. By the end of August, it was announced that the recording had been completed, Andy Sneap was getting ready to mix the record.
By October, the mixing process had been completed. On 30 October 2012, the band had announced, via their official website, the UK leg of the Sacrifice World Tour which would support the new album, whose title was revealed to be Sacrifice; the track listing and album artwork was announced on 15 November 2012. The album was due to be released in several formats starting on 22 February, but due to production issues, the date was pushed back one week to 1 March; the album was released as a CD, deluxe edition, which included a bonus CD of re-recorded versions of older Saxon songs, a picture disc. In addition, the iTunes release featured Luck of the Draw. A world tour followed the album's release; the tour started in the US, involved an appearance on the Monsters of Rock cruise, followed by South American dates. A UK tour followed in April, European dates followed, including a headlining appearance at the Bang Your Head!!! Festival in Germany and an appearance at France's Hellfest. To help with promotion for the album, a music video for the album's title track was released on 25 February 2013.
Mark Gromen, reviewing Sacrifice for Brave Words and Bloody Knuckles contrasted the album with its predecessor by calling the effort more metal than 2011's Call to Arms. Gromen noted that the band had increased the intensity of their songwriting and that the guitars were heavier and faster, he gave the album an 8/10 rating. Sacrifice was positively reviewed by Blabbermouth.net, who granted a score of 8/10
Diamonds and Nuggets
Diamonds and Nuggets is a compilation album by heavy metal band Saxon released in 2000. This compilation consists of unreleased tracks recorded during the early days of Saxon. Although there are extensive liner notes from Graham Oliver and Steve Dawson for each track in the booklet of the CD, sometimes it isn't easy to classify the tracks chronologically. "Walking" is - considering the chronology - the first recorded track on this compilation. It was recorded by Graham Oliver and Steve Dawson in 1972, so it might be a recording of the band Blue Condition; the tracks, which are following chronologically, are those from the Tapestry Sessions in early 1976, shortly after the band changed its name from S. O. B. to Son Of A Bitch. These songs are "Still Fit to Rock'n' Roll", the early title of "Still Fit to Boogie", "Ain't You Glad to Be Alive" and the first version of "Freeway Mad". There are the tracks from the Luxemburg sessions in 1978, still recorded under the moniker of Son Of A Bitch; these tracks are "See the Light Shining", "Stand up and Be Counted", the second version of "Freeway Mad", "Ann Marie", "Lift up Your Eyes" and "Street Fighting Gang".
Some tracks on the CD are from the period when the band had changed its name to Saxon. Those are the three live tracks "Stallions of the Highway", "Midnight Rider" and "Frozen Rainbow" with Nigel Glockler on drums, the "Stone Room Jam", recorded during the mixing of the live album The Eagle Has Landed in 1982 and the Power and the Glory-outtakes "Turn out the Lights", "Coming to the Rescue" and "Make'em Rock"; the studio version of "Frozen Rainbow" with Rod Argent on keyboards and the original version of "Big teaser" cannot be classified chronologically, but they seem to be recorded, when Saxon still was called Son Of A Bitch. The live version of "Frozen Rainbow" is the same, released as bonus track on the remastered edition of The Eagle Has Landed, but with a better mix. "Stallions of the Highway" - 3:20 "Midnight Rider" - 5:21 "Frozen Rainbow" - 6:00 "Turn out the Lights" - 4:05 "Coming to the Rescue" - 3:38 "See the Light Shining" - 4:54 "Stand up and Be Counted" - 5:33 "Freeway Mad" - 1:53 "Ann Marie" - 5:39 "Lift up Your Eyes" - 1:48 "Street Fighting Gang" - 3:25 "Still Fit to Rock'n' Roll" - 3:06 "Big Teaser" - 3:35 "Frozen Rainbow" - 7:07 "Walking" - 4:43 "Make'em Rock" - 3:18 "Stone Room Jam" - 5:27 "Ain't You Glad to Be Alive" - 2:51 "Freeway Mad" - 2:09
The Court of the Crimson King
"The Court of the Crimson King" is the fifth and final track from the British progressive rock band King Crimson's debut album, In the Court of the Crimson King. Released as a single, it reached #80 on the Billboard Hot 100 charts. Along with "Heartbeat", it is one of the band's only two charting singles in the United States; the track is dominated by a distinct riff, adapted from Samuel Barber's "Essay for Orchestra", performed on the Mellotron. The main part of the song is split up into four stanzas, divided by an instrumental section called "The Return of the Fire Witch." The song climaxes at seven minutes, but continues with a little reprise, called "The Dance of the Puppets," before ending on an abrupt and free time scale. The music was composed by Ian McDonald, the lyrics were written by Peter Sinfield. Robert Fripp – guitars Greg Lake – bass guitar, lead vocals Ian McDonald – Mellotron, organ, calliope, backing vocals Michael Giles – drums, backing vocals Peter Sinfield – lyrics Doc Severinsen covered the song for his 1970 album Doc Severinsen's Closet.
A French version, "La cour du roi musicien," performed by René Joly, used what sounds like a full orchestra instead of a Mellotron. It was released on the Pathé label in 1972, it has been covered by British heavy metal band Saxon on their 2001 album Killing Ground. The song was covered by Asia on their 2006 reunion tour; the song was covered by King Crimson members Ian McDonald and John Wetton with Steve Hackett on Hackett's Tokyo Tapes and by Greg Lake featuring Gary Moore on Lake's Live at Hammersmith Odeon 1981 live album released by King Biscuit Records in 1996. The song was covered live by Howard Stern's in-studio band The Losers, their performance won a Battle of the Bands contest against Tina Yothers and her band Jaded, who performed one of their original songs. The song, sung by original lead vocalist Greg Lake, was featured in the set list during the seventh edition tour of Ringo Starr & His All-Starr Band in 2001. Eläkeläiset covered the song on their 2012 album Humppasheikkailu as Humpan Kuninkaan Hovissa.
Connecticut-based AOR band Arc Angel covered the song on their debut self-titled album. The song was covered by The Claypool Lennon Delirium on Lime and Limpid Green; the track was used in the 2006 dystopian film Children of Men. The instrumental part of the song can be heard in the French movie Cinéman, it is heard in the first episode of the Red Riding trilogy. The song is used in the Canadian television series Kenny vs. Spenny; the song used as the name of the Stand of Diavolo, the main antagonist in JoJo's Bizarre Adventure: Golden Wind. The song has been chosen as the ending theme for the videogame Natural Doctrine, it was referenced in the video game Darkest Dungeon's first downloadable content, "The Crimson Court." "The Court of the Crimson King" lyrics Lyrics of this song at MetroLyrics
The Inner Sanctum
The Inner Sanctum is the seventeenth studio album by British heavy metal band Saxon, released on 5 March 2007. It is the first album by the band to feature drummer Nigel Glockler since 1997's Unleash the Beast. A limited edition with DVD is available too. "Red Star Falling" is about the end of communism in Soviet Union. "Atila the Hun" is about Attila the Hun, who destroyed the Roman Empire. "If I Was You" is about gun culture. "Let Me Feel Your Power" is about festivals like Wacken. "I've Got to Rock" is about rock n' roll and life. The single version features guest appearances by heavy metal musicians Lemmy Kilmister, Angry Anderson and Andi Deris; the Inner Sanctum has received positive reviews from critics. Eduardo Rivadavia of AllMusic gave the album three and a half out of five stars, commented that Saxon continued "to do their legacy proud as they move through their third decade of recording activity." He described the album's first three tracks as "frantic" and the third, "Let Me Feel Your Power" as "jaw-dropping", praised the "majestic" "Red Star Falling", comparing it to the band's earlier songs "Dallas 1PM" and "Broken Heroes", although he was critical towards the single version of "If I Was You", advising the listener to "make sure your CD contains the album version".
Rivadavia concluded his review by saying "although it's not perfect by any stretch, The Inner Sanctum is welcome addition to this band's sizeable discography, pound for pound, might just take the crown as Saxon's best album of the early 2000s." The album was awarded an 8/10 in the UK's Metal Hammer magazine. However, Andy Lye of Jukebox:Metal was more critical in his review of the album, giving it three out of five stars, criticising its opening track "State of Grace", calling it "derivative and boring", "Let Me Feel Your Power" commenting that "a great, grooving mid-section can't quite save it from its appalling lyrics and tired riffs." He went on to call "I've Got to Rock" "as bad as you'd expect" and criticised "If I Was You" for sounding "exactly like all metal singles sound". He concluded by stating that "Against the wider metal market this is an average album, but against recent Saxon output it is comfortably below average." Only in the standard edition "To Hell and Back Again" "A Night Out with the Boys – The Idea" "A Night Out with the Boys – Not Really" "See the Light Shining" "A Night Out with the Boys – Now It Started" "Redline" "Suzie Hold On" "Stand Up and Be Counted" "Frozen Rainbow" "Never Surrender" Biff Byford - vocals Paul Quinn - guitar Doug Scarratt - guitar Nibbs Carter - bass guitar Nigel Glockler - drums Matthias Ulmer - keyboards
Heavy metal music
Heavy metal is a genre of rock music that developed in the late 1960s and early 1970s in the United Kingdom. With roots in blues rock, psychedelic rock, acid rock, the bands that created heavy metal developed a thick, massive sound, characterized by amplified distortion, extended guitar solos, emphatic beats, overall loudness; the genre's lyrics and performance styles are sometimes associated with machismo. In 1968, three of the genre's most famous pioneers, Led Zeppelin, Black Sabbath and Deep Purple were founded. Though they came to attract wide audiences, they were derided by critics. During the mid-1970s, Judas Priest helped spur the genre's evolution by discarding much of its blues influence. Beginning in the late 1970s, bands in the new wave of British heavy metal such as Iron Maiden and Def Leppard followed in a similar vein. Before the end of the decade, heavy metal fans became known as "metalheads" or "headbangers". During the 1980s, glam metal became popular with groups such as Mötley Crüe.
Underground scenes produced an array of more aggressive styles: thrash metal broke into the mainstream with bands such as Metallica, Slayer and Anthrax, while other extreme subgenres of heavy metal such as death metal and black metal remain subcultural phenomena. Since the mid-1990s popular styles have further expanded the definition of the genre; these include groove metal and nu metal, the latter of which incorporates elements of grunge and hip hop. Heavy metal is traditionally characterized by loud distorted guitars, emphatic rhythms, dense bass-and-drum sound, vigorous vocals. Heavy metal subgenres variously alter, or omit one or more of these attributes; the New York Times critic Jon Pareles writes, "In the taxonomy of popular music, heavy metal is a major subspecies of hard-rock—the breed with less syncopation, less blues, more showmanship and more brute force." The typical band lineup includes a drummer, a bassist, a rhythm guitarist, a lead guitarist, a singer, who may or may not be an instrumentalist.
Keyboard instruments are sometimes used to enhance the fullness of the sound. Deep Purple's Jon Lord played an overdriven Hammond organ. In 1970, John Paul Jones used a Moog synthesizer on Led Zeppelin III; the electric guitar and the sonic power that it projects through amplification has been the key element in heavy metal. The heavy metal guitar sound comes from a combined use of heavy distortion. For classic heavy metal guitar tone, guitarists maintain moderate levels gain at moderate levels, without excessive preamp or pedal distortion, to retain open spaces and air in the music. Thrash metal guitar tone has scooped mid-frequencies and compressed sound with lots of bass frequencies. Guitar solos are "an essential element of the heavy metal code... that underscores the significance of the guitar" to the genre. Most heavy metal songs "feature at least one guitar solo", "a primary means through which the heavy metal performer expresses virtuosity"; some exceptions are nu grindcore bands, which tend to omit guitar solos.
With rhythm guitar parts, the "heavy crunch sound in heavy metal... palm muting" the strings with the picking hand and using distortion. Palm muting creates a tighter, more precise sound and it emphasizes the low end; the lead role of the guitar in heavy metal collides with the traditional "frontman" or bandleader role of the vocalist, creating a musical tension as the two "contend for dominance" in a spirit of "affectionate rivalry". Heavy metal "demands the subordination of the voice" to the overall sound of the band. Reflecting metal's roots in the 1960s counterculture, an "explicit display of emotion" is required from the vocals as a sign of authenticity. Critic Simon Frith claims; the prominent role of the bass is key to the metal sound, the interplay of bass and guitar is a central element. The bass guitar provides the low-end sound crucial to making the music "heavy"; the bass plays a "more important role in heavy metal than in any other genre of rock". Metal basslines vary in complexity, from holding down a low pedal point as a foundation to doubling complex riffs and licks along with the lead or rhythm guitars.
Some bands feature the bass as a lead instrument, an approach popularized by Metallica's Cliff Burton with his heavy emphasis on bass guitar solos and use of chords while playing bass in the early 1980s. Lemmy of Motörhead played overdriven power chords in his bass lines; the essence of heavy metal drumming is creating a loud, constant beat for the band using the "trifecta of speed and precision". Heavy metal drumming "requires an exceptional amount of endurance", drummers have to develop "considerable speed and dexterity... to play the intricate patterns" used in heavy metal. A characteristic metal drumming technique is the cymbal choke, which consists of striking a cymbal and immediately silencing it by grabbing it with the other hand, producing a burst of sound; the metal drum setup is much larger than those employed in other forms of rock music. Black metal, death metal and some "mainstream metal" bands "all depend upon double-kicks and blast beats". In live performance, loudness—an "onslaught of sound", in sociologist Deena Weinstein's description—is considered vital.
In his book Metalheads, psychologist Jeffrey Arnett refers to heavy me