Lionheart (Saxon album)
Lionheart is the sixteenth studio album by heavy metal band Saxon released in 2004. It is the only studio album featuring drummer Jörg Michael; the title is inspired from a 12th-century King of England. "Beyond the Grave" was released as a video. The album was re-released on 17 February 2006 in digipak format with a bonus DVD-Audio featuring unreleased material, rough mixes and a new 5.1 / 96 K mix of the whole album, as well as a Saxon keyholder and a patch. All tracks written by Saxon. Biff Byford - vocals Paul Quinn - guitar Doug Scarratt - guitar Nibbs Carter - bass guitar, keyboards Jörg Michael - drums Chris Stubley – keyboards on "Lionheart"ProductionCharlie Bauerfeind – producer and engineer Biff Byford – executive producer Paul R. Gregory – cover design Sandra Hiltmann, SPV graphics – booklet design Gems 24, Lincolnshire – recording location "Witchfinder General" is about persecuting witches during the Interregnum era; the song mentions methods of interrogation and execution favoured by'Witchfinder General' Matthew Hopkins.
"Lionheart" is about Richard the Lionheart, King of England from 1189 to 1199. "Beyond the Grave" is about afterlife. "To Live by the Sword" is about the way of life of medieval warriors. Album
Destiny (Saxon album)
Destiny is the ninth studio album by heavy metal band Saxon released in 1988. It is the only studio album to feature the rhythm section of drummer Nigel Durham and bassist Paul Johnson on it. Biff Byford - vocals Graham Oliver - guitar Paul Quinn - guitar Paul Johnson - bass guitar Nigel Durham - drumsAdditional musiciansStephen Laws Clifford - keyboards Dave Taggart - backing vocals George Lamb - backing vocals Phil Caffrey - backing vocals Steve Mann - backing vocalsProductionStephan Galfas - producer Spencer Henderson - engineer James Allen-Jones - engineer Hook and Manor, Berkshire, UK - recording location Swanyard Studios, London - mixing location Sterling Sound, New York - mastering location
An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
Call to Arms (Saxon album)
Call To Arms is the nineteenth studio album by British heavy metal band Saxon. Call to Arms was released 3 June in Europe, it was due to be released on 23 May 2011. The album was released on 27 September in North America by EMI. Current Deep Purple keyboardist Don Airey made a guest appearance on the album. Saxon frontman Biff Byford stated that the band wanted to "get back to roots," and aimed for a "more working-class sound" with the album. While recording the album in February 2011, the band posted a message to its fans, calling on them to visit the band at the studio on the evening of 10 February; the reason for the appeal was that the band needed a chorus for the track "Back in'79", decided to offer its fans the chance to be a part of the recording. Saxon were supposed to appear at the Soundwave festival in Australia, but were forced to cancel their appearance due to delays during recording; the band issued a statement apologizing to fans for the cancellation. Two of the tracks on the album were written by Saxon for the movie Hybrid Theory.
The album artwork is derived from Lord Kitchener Wants You, a World War I-era British Army recruitment poster. Call to Arms debuted at number 6 on the UK Rock Albums chart. In the US, the album sold about 700 copies in its first week of release and managed to debut at number 51 on the US "Heatseekers" chart. A digipack version of the album for the North American market featured a seven track bonus disc containing most of Saxon's performance at Castle Donington in 1980. To promote the album, Saxon have embarked on the "Call to Arms World Tour"; the band headlined shows in Europe and South America, Japan. Anvil and Crimes of Passion opened for Saxon in Europe, while the North American shows were opened by Borealis. HammerFall appeared as special guests at the UK shows, while Vanderbuys were presented as special guests at shows in Spain."Hammer of the Gods" was released as a single to promote Call to Arms on 18 March 2011. In addition two music videos were made to promote the album. Call to Arms has received positive reviews from critics.
AllMusic rated the album as 3.5/5 stars. Reviewer Eduardo Rivadavia commented. Rivadavia stated that "Surviving Against the Odds", "Chasing the Bullet" and "Ballad of the Working Man" were "refreshingly raw and direct", he compared "Hammer of the Gods" and "Afterburner" to proto-thrash. Rivadavia said that Call to Arms can be seen as an "aesthetic cousin" to Denim and Leather from 1981. Music news website Blabbermouth.net, posted a favorable review for the album. Reviewing the North American digipack edition, reviewer Scott Alisoglu called the album "highly recommended" and said that the album would not disappoint any Saxon fan, he further described the album's title track as "epic" and called the 7-track bonus live CD "a high value bonus". Reviewer Andy Lye, on behalf of Jukebox: Metal, gave the album 3 out of 5 stars, he opined that Saxon sound like "a band out of ideas" on the album, but at the same time he praised the album's last three tracks, "No Rest for the Wicked," "Ballad for the Working Man" and the orchestral version of the title track.
Brave Words & Bloody Knuckles reviewer Mark Gromen commended that Call to Arms "isn't much of a metal record" but rather ", bluesy hard rock" instead. Gromen compared the album's opening track, "Hammer of the Gods", to "Dogs of War" form the 1995 album of the same name, he compared Don Airey's keyboard parts on "When Doomsday Comes" to the patterns used on Deep Purple's 1984 album Perfect Strangers. Gromen rated the album at 7.5 out of 10. SaxonBiff Byford - lead vocals Paul Quinn - guitar Doug Scarratt - guitar Nibbs Carter - bass guitar Nigel Glockler - drumsAdditional musiciansDon Airey - keyboardsProductionBiff Byford - producer Toby Jepson - producer Video for "Call to Arms" on YouTube
Dogs of War (album)
Dogs of War is the twelfth studio album by the heavy metal band Saxon, released in 1995. It is the last album with Graham Oliver on guitar. All lyrics written by Byford/Glockler. A 2006 CD re-issue on SPV/Steamhammer Records includes two bonus live tracks: "The Great White Buffalo" and "Denim and Leather" recorded in 1995. Biff Byford - vocals Graham Oliver - guitars Paul Quinn - guitars Nibbs Carter - bass guitar Nigel Glockler - drums Rainer Hainsel - guitars ProductionBiff Byford - producer, mixing Rainer Hänsel - producer Kalle Trapp - mixing engineer John Mc Lane - mixing engineer Gems Studio in Boston, England - recording location Karo Studios, Germany - mixing location Paul R. Gregory - artwork
Thunderbolt (Saxon album)
Thunderbolt is the twenty-second studio album by British heavy metal band Saxon, released on 2 February 2018. On 14 September 2016, the band revealed they had begun working on a new album through their Facebook account. A month frontman Biff Byford revealed they had written a song dedicated to Motörhead called "They Played Rock n Roll", following the death of frontman Lemmy on 28 December 2015, which ended the band's 40-year history; the song is stylistically similar and referenced their touring companionship on the 1979/1980 "Bomber" tour. In an interview alongside Airbourne frontman Joel O'Keeffe at 2017's Metal Hammer Golden Gods Awards, Byford confirmed that the album's title would be Thunderbolt and that the inspiration for it came from the gods of Greek mythology. Further details were revealed on various stops on their autumn tour of the Canada. In an interview at their Newton, New Jersey show on 22 September, he revealed that he'd finished recording his vocals on 20 September. In an interview at their Montreal, Canada show on 4 October, Byford revealed that long-time producer Andy Sneap had finished mixing the album the previous day and mentioned a release date of 21 January 2018.
On 7 November 2017, the band confirmed the title and revealed the release date of 2 February 2018, track list, artwork and a short UK/European tour alongside Diamond Head, with Magnum and Rock Goddess supporting on select UK dates. On 30 November 2017, the new video "Thunderbolt" was released. On 19 September 2018, the "Predator" video was released. All music composed by Doug Scarratt, Nigel Glockler, Paul Quinn, Nibbs Carter. Biff Byford – vocals Paul Quinn – guitars Doug Scarratt – guitars Nibbs Carter – bass Nigel Glockler – drumsAdditional MusiciansSeb Byford – backing vocals on "Thunderbolt" and "Speed Merchants" Tom Witts – backing vocals on "Thunderbolt" and "Speed Merchants" Caleb Quaye – backing vocals on "Thunderbolt" and "Speed Merchants" Corvin Bahn – keyboards on "Nosferatu" Johan Hegg – harsh vocals on "Predator"ProductionBilly Lee – photography Steph Byford – artwork Gestaltungskommando Buntmetall – layout, design Paul Raymond Gregory – cover art Andy Sneap – producer, mixing