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
Metalhead is the fourteenth studio album by heavy metal band Saxon released in 1999. All tracks written by Pete "Biff" Byford, Paul Quinn, Doug Scarratt, Tim "Nibbs" Carter, except "Intro" by Nigel Glockler. SaxonBiff Byford - vocals, producer Paul Quinn - guitar Doug Scarratt - guitar Nibbs Carter - bass Fritz Randow - drumsAdditional musiciansNigel Glockler - written and performed "Intro" Chris Bay - additional keyboardsProductionCharlie Bauerfeind - producer, mixing Rainer Hänsel - executive producer Karo Studios, Germany – recording and mixing location
The Hammersmith Apollo is an entertainment venue and a Grade II* listed building located in Hammersmith, London. Designed by Robert Cromie in Art Deco style, it opened in 1932 as the Gaumont Palace, being renamed the Hammersmith Odeon in 1962, it has had a string of names and owners, most AEG Live and Eventim UK. The venue was seated nearly 3,500 people, it was designed by Robert Cromie in the Art Deco style. In 1962, the building was renamed a name many people still use for the venue, it became a Grade II listed building in 1990. The venue was refurbished and renamed Labatt's Apollo following a sponsorship deal with Labatt Brewing Company. In 2002, the venue was again renamed, this time to Carling Apollo after Carling brewery struck a deal with the owners, US-based Clear Channel Entertainment; the venue's listing was upgraded to Grade II* status in 2005. In 2003, the stalls seats were made removable and now some concerts have full seating whilst others have standing-only in the stalls. In the latter format the venue can accommodate around 5,000 people.
The event was marked by rock band AC/DC playing an exclusive one-off concert and only charging £10 per ticket. All 5,000 tickets sold out in 4 minutes. In 2006, the venue reverted to the Hammersmith Apollo. In 2007, the original 1932 Compton pipe organ, still present from the building's days as a cinema, was restored; the building changed hands and was bought by the MAMA Group. On 14 January 2009, a placing announcement by HMV Group revealed that by selling additional shares, the company would raise money to fund a joint venture with the MAMA Group, to run eleven live music venues across the United Kingdom, including the Hammersmith Apollo; as a result, the venue was named HMV Apollo from 2009 until 2012. Other venues purchased include The Forum in London's Kentish Town, the Birmingham Institute and Aberdeen's Moshulu; the venue was sold by HMV Group in May 2012 to CTS Eventim. In 2013, the venue was closed for an extensive refurbishment, carried out by award-winning architect Foster Wilson; the venue reopened as the Eventim Apollo on 7 September 2013, with a concert performance by Selena Gomez.
The original 1932 Compton pipe organ is still present at the Apollo and was restored to playing condition in 2007. It has a four-manual console which rises through the stage on a new lift and about 1,200 organ pipes housed in large chambers above the front stalls ceiling. Having fallen into disrepair, the organ was disconnected in the 1990s and the console removed from the building; however at English Heritage and the council's insistence it has been reinstated and the entire organ restored. A launch party was held on 25 July 2007, at which an invited audience and the media witnessed Richard Hills play the instrument. Many bands have released live albums, videos or DVDs of concerts held at the Apollo, such as Queen, Black Sabbath, Hawkwind, Celtic Frost, Kings of Leon, Tears For Fears, Dire Straits, Frank Zappa, Sophie Ellis-Bextor, David Bowie, Bruce Springsteen and the E Street Band, Spear of Destiny and Robbie Williams. In September 1979 Gary Numan recorded his Touring Principle show at the venue.
Kate Bush released a video and record EP of her concerts at the Odeon from her first tour in 1979. Duran Duran recorded at the Hammersmith Odeon on 16 November 1982 and released Live at Hammersmith'82!. Depeche Mode made one of its first concert videos for a Danish television at the Hammersmith on 25 October 1982. Kylie Minogue performed a one-off concert in the venue in 2003 and released a DVD of the performance in 2004. Minogue performed the last show of her Anti Tour in the venue on 3 April 2012. Girls Aloud released a DVD of their concert at the Apollo in 2005. A DVD of a Bruce Springsteen concert held there in 1975 was released as part of the Born to Run 30th Anniversary Edition package. Melodic death metal band In Flames released a DVD that featured footage of a December 2004 performance there. Comedian and actor Eddie Izzard's show Glorious was released as a DVD. Rush recorded their 1978 performance and included it in their three-disc set, Different Stages. American musician Tori Amos released a series of six live albums in 2005 known as The Original Bootlegs, one of, recorded at the Apollo.
Photographs of The Who outside the Hammersmith Odeon appear on their 1973 album Quadrophenia. Pink Floyd guitarist David Gilmour performed three nights at the venue in April 1984, documented on the David Gilmour Live 1984 concert film; these shows are of note as Roy Harper guested on "Short and Sweet" and Gilmour's Pink Floyd bandmate Nick Mason played drums on "Comfortably Numb". In 1984 the London-based heavy metal band Iron Maiden recorded side 4 of their double live album'Live After Death' at the venue. Iron Maiden's affection for the Hammersmith Odeon resulted in the filming of a 1982 performance, subsequently released as'Beast over Hammersmith'. Other acts have made music videos featuring clips from performances at the Apollo; the Hammersmith Apollo is seen in the American romantic comedy film Just My Luck where McFly perform. In the movie, the venue stands-in for the Hard Rock Café, it is the location in The Football Factory where the Chelsea fans board the bus for Liverpool. It is mentioned in the poem "Glam Rock: The Poem" by the poet Robert Archambeau.
The exterior of the
Solid Ball of Rock
Solid Ball of Rock is the tenth studio album by heavy metal band Saxon released in 1991. Five of its 11 tracks were written by new bassist Nibbs Carter. "For our audience – and without an audience there is no band – our focus returned on Solid Ball of Rock…" noted singer Biff Byford. "Since we've been right on it." SaxonBiff Byford – vocals, engineer Graham Oliver – guitar Paul Quinn – guitar Nibbs Carter – bass guitar Nigel Glockler – drumsProductionKalle Trapp — producer, engineer
Steven "Dobby" Dawson is an English bass guitarist and a founder of Saxon. Dawson was the inspiration for Harry Shearer's Spinal Tap character Derek Smalls. Saxon Wheels of Steel Strong Arm of the Law Denim and Leather The Eagle Has Landed Power & the Glory Crusader Innocence Is No Excuse Rock the Nations BBC Sessions Live at Donnington 1980 Victim You Re://Landed It's Alive The Second Wave: 25 Years of NWOBHM Motorbiker Pandemonium Circus Oliver / Dawson Saxon Official website
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
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular