Thunderbolt - Saxon

Good news! We're back to doing album reviews for a bit, starting with the latest offering from Saxon!

If you're an avid reader of my blog, you'll know my thoughts on Saxon already; they're one of the few Rock/Metal bands in existence that have improved with age. Whilst that may ring true for rerecordings of their classics, can the same be said for their new studio albums? In this case, sadly not. Thunderbolt is a let down to someone who's heard the band's greatest hits and smashing deep cuts but as far as Heavy Metal goes, it's not bad; it's just a bit "meh" from the band that gave us Sacrifice just five years ago.
The album starts off with the moody, atmospheric "Olympus Rising", a short instrumental that wouldn't be out of place during the introduction of a powerful boss battle in a game or film. It would've been cool if it was fleshed out into a full track but instead, we get "Thunderbolt" afterwards, a half hearted follow up. As far as true album openers, lead singles and title tracks go, "Thunderbolt" isn't bad. It sounds like your typical Saxon song but with a slightly weaker chorus that slows the song's Heavy Metal momentum down. When I first listened to this song, I was worried that Saxon's new album would be a little too one-note and that they'd become the new Motorhead. Fortunately, the band must've been aware of this risk and decided to take steps to avoid that.
The album features several tracks that sound like Saxon's attempt at a musical subgenre taster platter. There's an epic Power Metal blini complete with orchestral elements and a high speed guitar solo ("Nosferatu (The Vampire's Waltz)"), a Speed Metal slider containing lyrical and musical references to Motorhead in tribute to Lemmy ("They Played Rock And Roll") and a Death Metal quiche, featuring guest vocalist Johan Hegg from Amon Amarth ("Predator"). Whilst I applaud Saxon for their attempt to separate this album from others through conscious stylistic changes, none of the previous songs work strongly as either a Power/Speed/Death Metal track or a Saxon one. They're all heavily produced but utterly mediocre, the closest thing to an exception being the raw version of "Nosferatu (The Vampire's Waltz)" included at the end of the album.

However, Saxon didn't go full-experimental and included new tracks for fans of their classic and contemporary material. "The Secret Of Flight" contains a distinctly modern sounding riff but a similar vocal melody to "Power And The Glory", released a good thirty years or so ago, and "A Wizard's Tale" successfully blends a galloping Metal rhythm with lyrical themes that wouldn't be out of place in a Dio record. This is where the album either excels or falters depending on what you want out of it, as it's an understandably mediocre release for a band that have put out 22 studio albums so far.
The album is well recorded and the songs are passable, meaning you'll probably love it if you just want bog standard Heavy Metal with lyrics about mythology and feats of engineering to stick on in the background whilst driving to work or doing the washing up. However, if you want something a bit more memorable, something to revisit frequently and mentally take apart with each listen, you may be disappointed. There are a few songs with decent riffs and driving rhythms to enjoy ("Sniper", "Speed Merchants") but nothing with the same immediately apparent passion and energy as other modern Saxon songs like "Hammer Of The Gods", a far more exciting song about Norse mythology than "Sons Of Odin".
Then there's the matter of the lyrical themes. Saxon have had their embarrassing moments in the past (such as literally writing a song about standing in a queue called, you guessed it, "Standing In A Queue") but much like some of the solos and riffs, this album feels a little uninspired when it comes to subject matters. "Roadies' Song" would've been a great concept if Tenacious D hadn't beat them to the punch half a decade ago and the general repetition of melodies and riffs from previous Saxon material means that things start to sound a little stale. As I said, these are fine if you haven't already been exposed to them en masse but if you've seen and heard it all before, there's nothing particularly special about their use here.

Thunderbolt is OK. That's the short version of this review; it's an average Metal album by a band that have been capable of much better in recent years. The band still have life in them so I'll refrain from mourning the loss of one of my favourite Metal bands until it's evident that Saxon are physically and creatively tapped but hopefully their next album (because there probably will be another album) will come when the band are ready to blow our socks off, not when they need the money for a loft extension.
I rate Thunderbolt 5/10, mostly for effort. The songs that aren't straightforward Heavy Metal may not belong on the album but it's commendable that the band are gingerly stepping out of their comfort zone when remaining firmly in the Heavy Metal category has served them well so far. It's just a shame that the Heavy Metal songs included are all a bit run-of-the-mill this time round. At least Saxon still know how to put on a top notch live show and can really bring out the better aspects of their material live on stage, which is more than some Heavy Metal bands going through the motions can say.
COMING SOON: a review of the new Judas Priest album!

Tenology: Valuable Vocalists In Rock/Metal

Here we are! The end of this four-part Tenology collection looking at impressive musicians who take on the four main roles of any great Rock/Metal outfit. We've covered guitarists, drummers and bassists so far so vocalists are finally getting their time in the spotlight...you know, apart from all the time when they're on stage.
As I feel obliged to mention whenever I write a Tenology post, this is not the equivalent of posts proclaiming that Vocalists 1-10 are THE best in Rock and/or Metal, nor is it my personal top 10 list of all time. There are almost certainly going to be talented vocalists that I overlook when writing this (I'm still kicking myself for completely missing a fucking awesome bassist in my last post. I might go back and edit it soon) but as the name suggests, this is merely a 10-person list of vocalists whom I would place on a pedestal.
If I've missed any shining stars that you believe deserve a space more than some of my other entries, feel free to let me know in the comments or via Twitter. However, if they've appeared in previous blog posts for their talents as a different musician (e.g. Geddy Lee of Rush) then you won't find them here, although chances are I value them as a vocalist if they can play and sing simultaneously. Also, be aware that there are some vocalists I have intentionally left out because I personally believe that when it comes to singing, they're a bit shit (or at best, overrated). Here are some of them!

Ozzy Osbourne
Mick Jagger
Bruce Springsteen
Janis Joplin
Bob Dylan
Serj Tankian
Blaze Bayley
Axl Rose

Right, now that we've got that unpleasantness out of the way, let's look at the valuable vocalists!


1. Paul Rodgers

Largely responsible for one of the best live shows I've ever been to

I don't usually write these posts in order of personal ranking but I felt like I had to start this list off on a strong note, so to speak. Paul Rodgers has been in quite a few groups over the years (notably Free and Bad Company, although he also recorded an album with Queen) but I'm mostly counting Paul's contributions as the Bad Company frontman for his placement here. The man's voice is simply incredible; smooth and soulful but able to fully Rock at the drop of a hat. Some of the bands big hits such as "Feel Like Makin' Love" and "Electricland" showcase his ability to flawlessly flip between two different singing styles but if you need even more proof, go and see him perform live. The fact that the man can still belt out the classics after four decades as if he were in the studio laying them down for the first time is the sign of an incredible vocalist.


2. Klaus Meine

No, this isn't Ronnie James Dio

Compared to some vocalists, Klaus Meine probably isn't the first choice for a list of undeniably talented Rock/Metal frontmen but to me, there is no Scorpions without Klaus Meine. His raw vocals are synonymous with the band's own blend of Heavy Metal, whether it's in the band's iconic anthems ("Rock You Like A Hurricane", "Wind Of Change") or lesser known deep cuts ("Catch Your Train", "Another Piece Of Meat"). To me, the sign of a strong Rock/Metal vocalist is the ability to use the sound of their singing voice as its own instrument unique to that band. Some of the vocal melodies sung by Klaus give the songs that extra push that separates them from generic material by other 70s/80s Metal bands, hence his inclusion here.


3. Sean Harris

In an alternate universe, this guy is as popular as everyone else on this list

It's hard to compare the works of former Diamond Head vocalist Sean Harris to the rest of the entries on this list when you factor in that most iconic and well respected Rock/Metal vocalists have had many, many albums to hone their ability and make a splash on the music scene. However, the fact that Sean's only had a couple of albums worth of decent material to show how great he is only adds to my admiration of the man. There was a time when he was hailed as the next Robert Plant and after listening to such tunes as "It's Electric" and "Trick Or Treat", I can understand why. I'm hesitant to describe his singing as "wailing" because it sounds like criticism but if you've ever listened to the band, you'll know what I mean. His vocal work isn't as harsh or aggressive as you'd expect from a Metal band but it still works incredibly well. It's a shame these guys didn't get a bigger break as I imagine we only scratched the surface of what Sean Harris would've been truly capable of.


4. Steve Perry

Not sure if this guy counts as "underrated" but if there's a tier just behind that, this guy's in it

Whilst I'm not the biggest Journey fan on the planet, I would defend Steve Perry's inclusion on this list for one song and one song alone. Naturally he's a great vocalist on a wide range of Journey's material but whenever I think of his work, I always find myself drawn to one clear example of what I would consider his finest hour: "Keep On Runnin'". It's the kind of song that would inspire me to learn to sing just so I could blast it out without sounding like a completely tone-deaf wannabe although I doubt any amount of practise would make me capable of matching his vocals. The verses Rock extra hard because of his singing and the chorus is driven by the sheer power of his voice alone. Your average music fan will probably be impressed by his work on "Don't Stop Believing" and "Open Arms" but seriously, listen to "Keep On Runnin'" if you haven't already and tell me that this guy doesn't have pipes of fucking gold.


5. Stevie Nicks

From Steve to Stevie. If Aerosmith were a bit better, I could've had the hat trick

The first woman to appear on these Tenology posts although she's not the only one worthy enough to grace this list (hint hint). Fleetwood Mac has had a few vocalists but none as significant as Stevie Nicks. Stevie's stage presence and, most importantly, her voice gave the band a specific image; one of mysticism without going into full weird territory like some Prog Rock bands. Female vocalists like Lizzy Hale and Ann Wilson succeed in bringing power to songs through conventional means but Stevie Nicks achieves that same level of pure Rock through her haunting, raspy vocals that were easily responsible for putting Fleetwood Mac on the map. The whole Rumours album is essential listening if you want to hear some of her best work but there's also signature songs from her solo career, even if you think "Edge Of Seventeen" is a bit dull when it comes to the structure.


6. Phil Lynott

Photography 101: black and white makes everything better

I know I mentioned Phil Lynott in the honourable mentions of the bassist blog post BUT he didn't make the main cut so technically he's still a contender for this one. The main reason I didn't give Phil a proper place in the bassist post is because I believe he was a much greater vocalist than a bassist, hence his inclusion here. I mean, his voice was just so fucking cool! When he sung about "the boys" (and let's face it, he sung about 'em quite a bit!), you got the impression that he was not just one of them but one of the more badass ones. At the risk of sounding repetitive, Phil was also skilled at adapting his voice to suit softer or less powerful Rock songs ("Sarah", "Don't Believe A Word") and heavier, fast paced powerhouses ("Cold Sweat", "Angel Of Death"). His voice was so unique, so irreplaceable that his death effectively killed Thin Lizzy once the rest of the band realised there would be no Thin Lizzy without him. Granted they then formed Black Star Riders but if Phil didn't have his incredible voice, you can bet that they would've stuck with the original band name.


7. Biff Byford

Now THAT's a name and a half!

It's no secret that Saxon are one of my favourite bands of all time AND that I feel they're one of the few proper Rock/Metal bands in existence that have only improved with age. If you listen to rerecordings of their classics, they sound so much heavier without losing part of what made Saxon incredible and the main reason for that is Biff Byford's raw vocals. Some of the vocalists here will never be able to recreate the magic they captured in the recording studio all those years ago but to actually surpass it many, many years later is a talent that Biff deserves way more credit for. And yes, his voice is awesome in every single Saxon song that I've heard so far; the perfect Heavy Metal vocals for a band as great as Saxon. I recommend checking out some of the rerecordings on the Heavy Metal Thunder compilation as well as the original recordings to hear how Biff's voice has remained incredible since the early 80s.


8. James Hetfield

Ugh, Metallica. Right? Am I cool yet?

Whilst Hetfield may have gone down in my books on a personal level due to his refusal to flat out denounce Trump (claiming that politics separates people and indirectly stating that he's totally OK with Nazis and shitheads getting joy out of his music), he's still right near the top on a professional level. To me, any vocalist who can play an instrument whilst singing without fucking up either task has a great amount of skill but the fact that James can shred out some pretty fucking heavy riffs from Metallica's back catalogue whilst belting out each line is something I will always admire. James Hetfield is also notable for being one of many singers to be affected by puberty in the 90s, as the rage filled vocals from Metallica's first four Thrash albums gradually sunk into a deeper (but still powerful) tone. However, if you listen to live footage, it's clear that James still has the ability to keep up with his past self so at the very least, he's not the worst member of his own band...aaaand that's all I'm gonna say about that on this post!


9. Eddie Vedder

I'm usually the first to criticise vocalists with an acoustic guitar and stool on stage but I'll make an exception here

I'll admit, I wasn't sure if I was going to choose Eddie Vedder or Chris Cornell for this post. Whilst I like both vocalists a great deal, I think I had to give it to Eddie purely because I'd rather belt out Pearl Jam tracks than Soundgarden ones. Both vocalists have a similar 90s Grunge style to their voice but to me, Eddie's classic drones make for more pleasurable listening than Chris' passionate shouting. I also admire Eddie for adapting his voice with the band's sound from typical Grunge based vocals to modern Alternative ones without compromising the overall quality. There's something uniquely primal about some of his vocals in tracks like "Animal" and "Jeremy" that encapsulates exactly what Rock is about; releasing the beast. That's why Eddie's here!


10. Bruce Dickinson

Nearly made it to the end without mentioning Iron Maiden...but that was never gonna happen

If you've been keeping up with these Tenology posts so far, you'll know I've listed at least one member of Iron Maiden in each post so far and with bloody good reason. They are my number one favourite band and I firmly believe that each member brings their own skills to the table to create a unified, incredible sound. However, if you have to single out one driving force behind the band's success (and you don't know about Steve Harris), you'll probably pick Bruce Dickinson due to his operatic, screeching vocals that propelled the band away from the Punk sound they were dangerously close to solidifying with in their first two albums. Bruce has a supreme vocal range, great songwriting talents and knows how to be a top notch (if not slightly outspoken) frontman. Final cherry on top? The guy had throat cancer not long ago and kicked it right in the fucking cunt before releasing a brand new Iron Maiden studio album AND going on tour to promote it. Top bloke indeed.


So those are the ten vocalists I've selected but that's not to say there aren't other great vocalists who leapt to the front of my mind as I was thinking about great voices in the world of Rock/Metal. Here are some slightly fleshed out Honourable Mentions along with reasons why I didn't choose them to be listed up above.

Ronnie James Dio

No, this isn't Klaus Meine

Arguably the greatest voice in all of Metal and quite possibly one of the most talented, considering he's been in three iconic Rock/Metal bands (Rainbow, Black Sabbath, Dio) along with several smaller outfits. Out of the three main bands he's been a part of, I'd rate his tenure with Black Sabbath at number one simply because his vocals had all the power with none of the...hmmm, how should I put this...pomposity? There's something a bit ridiculous about some of his vocals in Rainbow and Dio tunes as if he took himself a little bit too seriously. It takes me out of the music when I hear him trying to vocally simulate the sound of a door slamming or shouting "NO! NO!" over and over again. He was a great vocalist but a little too absurd at times.


Chris Cornell

"Come at me, bruh"

I've already gone into a bit of detail about why I chose Eddie Vedder over Chris Cornell for the main list but come on, I couldn't just completely ignore him. I wrote a Rapid Fire post looking at three albums by three bands/projects Chris Cornell sung in after he died where I praised his voice and songwriting abilities as half the reason why Audioslave are worth listening to. The guy's influence is peppered throughout modern Rock (notably Shinedown) and similar to Anthony Kiedis, Chris' vocals are much better when he's singing softer songs. However, since I prefer Soundgarden to his solo work, I feel like I never got the best out of the guy based on what I've heard.


Brad Delp

Another great vocalist who took his own life

Boston definitely aren't one of my favourite bands but their debut is easily one of my all-time favourite albums. I've talked about why various times but I feel like I haven't really focused too much on Brad Delp's contributions to it. Sure, he had a sweet sounding voice but there's some genuine talent buried beneath the music. Take "More Than A Feeling" and that section before the final chorus where Brad hits that high "slipped away"; that's fucking impressive, especially with how long he holds it for. The main reason he isn't in the list above is simply that I feel other vocalists deserved it more with their wider selection of records and talents that were showcased, but I still think Brad Delp deserves a shout out here.


Grace Slick

Get it? "GRACE this list"???

Similar to Fleetwood Mac, Jefferson Airplane also had shared vocalist duties that most people will probably agree was easily dominated by the sheer talent of the female artist. However, whilst Stevie Nicks rocked the mystic, Classic Rock oriented vocals, Grace Slick locked down the psychedelic style and I wouldn't be surprised to learn that she helped inspire Stevie's stage presence too. Overall, I couldn't deny that Stevie was the superior vocalist but tracks like "White Rabbit", "Somebody To Love", "Law Man" and even backing vocals in "Volunteers" showcase an incredible voice at work, I felt like this voice didn't quite match some of the others in the list above.


Roger Taylor

Just give me a paragraph to explain myself, that's all I ask!

Yeah, I picked one of the OTHER band members who shared vocalist duties from Queen. There are two reasons for this. 1) We all know Freddie Mercury was an amazing vocalist, probably one of (if not THE) best in this list. I didn't feel the need to place him here when I felt like other vocalists deserved more recognition or my personal take on why they're great although yes, I do think Freddie was a fantastic frontman. 2) Some of you may not know that Queen's drummer, Roger Taylor, took the helm for a few tracks and did a pretty fucking great job. Songs like "I'm In Love With My Car", "Rock It (Prime Jive)", "More Of That Jazz" and (my personal favourite) "Fight From The Inside" all feature Roger on lead vocals and whilst Freddie will always be instantly more recognisable as a vocalist and frontman, I personally believe Roger successfully held his own and provided a more aggressive side to the Rock band that Freddie could never quite pull off to the same degree. However, since Roger isn't exactly the band's main vocalist in the same way that everyone else in the post is, I felt Honourable Mention was the best place to shine a light on Roger Taylor's vocal work.


So that's my list of valuable vocalists in Rock/Metal! I hope you enjoyed reading and waiting two months at a time for each Tenology related to band members. Next year, I might revisit these in some format but for now, all four key band members have been accounted for!
COMING SOON: I dunno, maybe something Christmassy. Probably not though.

Taster Session #9

Unlike last year, I don't believe I'll be doing a Taster Session post looking at 12 singles from albums I didn't get around to listening to from each month (although I may change my mind). Instead, here's another standard edition one looking at five new singles from upcoming Rock/Metal studio albums.

"Thunderbolt" - Saxon         (listen here)
From the album Thunderbolt (02/02/18)

The title track off a new Saxon album and it's about as Saxon-y as it comes. This is both good and bad, as it means Saxon are still kicking ass in their old age although compared to standout modern tracks like "Hammer Of The Gods", this sounds a little too similar to some of their recent stuff to impress me. Sure, it's got heavy riffs, fast solos and a powerful chorus, ticking all the Heavy Metal boxes without fail, but if you've heard material off Sacrifice and Battering Ram, you've heard it already. I might check the new album out as I still love Saxon but I may also need to hear something a bit more unique than this to convince me that they're more than the next Motorhead.


"Caught In The Middle" - The Temperance Movement         (listen here)
From the album A Deeper Cut (16/02/18)

I can't remember too much about the last album by The Temperance Movement other than it had some solid tracks and a rip off of "The Last In Line" - Dio but this sounds like the band have adapted their sound slightly to sound more like Queens Of The Stone Age or some other Josh Homme side project, at least in the guitar department. It's a punchy little Rock track that doesn't go on too long and has a catchy if not slightly uninspired chorus. I doubt I'll listen to their new album unless I'm struggling for a blog post next February and want something to review but that's based more on their last album than this track. It's OK; nothing more, nothing less.


"Freedom Is Mine" - Wolfmother         (listen here)
From the album ???? (??/??/??)

Once again, Wolfm...well, Andrew Stockdale has decided to be a bit different by spontaneously releasing a single that sounds exactly like Wolfmother. So innovative of him. Credit where due, this doesn't sound identical to Victorious or even material off their debut. It sounds muckier, less pristine and overproduced than their previous work which is a polite way of saying it sounds a bit shit. The main reason for this is that Andrew Stockdale recorded and produced it himself away from record labels and professionals, the sort of people who might push the band to do something other than the same song with different lyrics. Same as Saxon, if you like the band's sound, you'll like the song. However, hopefully future singles (as Andrew has hinted that he'll be releasing periodic singles rather than a complete album) will sound less like they were recorded through the wall of the studio.


"All That Once Shined" - Black Label Society         (listen here)
From the album Grimmest Hits (19/01/18)

What a shit album cover. Anyway, this track sounds like Zakk Wylde wants to go one step further into his campaign to become Ozzy Osbourne by writing the best original lineup Black Sabbath track since "Never Say Die". Unlike the majority of tracks on the terrible 13 album from a few years ago, the faster section of this song actually has some life to it and adds energy to the track before bringing it back to the sludgey riff and droning vocals. With it being a Zakk Sabbath track, there's a furious shredfest of a solo that sounds as hollow and forgettable as all his others, but other than that it's not bad. However, speaking as someone who isn't the biggest Doom Metal fan, this track isn't exactly to my tastes although I can appreciate that this is probably awesome to fans of the genre and band.


"Alone" - Toto         (listen here)
From the album 40 Trips Around The Sun (09/02/18)

Unlike previous singles in this post, "Alone" is one of the new songs written specifically for a greatest hits compilation being released next year. Having listened to some Toto recently, they're definitely one of those bands with a strong start, weak middle and great end as their modern material pisses all over most of their 80s ballads (unpopular opinion time: I genuinely prefer "Orphan" to "Africa", although I like both tracks a lot). Whilst this song still sounds like something that could've been rerecorded after an initial release in the 80s, as the band weren't strangers to semi-progressive song structures in their Classic Rock tracks, it's good to hear that the band still have life in them despite being around for four decades. I mean, that's more than you could say for The Rolling Stones when they'd been around for three decades!


COMING SOON! A post looking at great vocalists in Rock/Metal and maybe a Rapid Fire post...with a twist!

Tenology: Inferior Signature Songs

Every band worth their salt has at least one signature song, one track that you automatically think of when someone mentions that band. Signature songs don't necessarily or exclusively mean "most popular tracks" or "highest selling singles", they're just songs that are closely associated with that band for any variety of reasons.
Sometimes, the signature song is a perfect representation of the band's material and generally does contain riffs, solos or lyrics regarded as some of the band's finest, e.g. "Free Bird" - Lynyrd Skynyrd or "Highway To Hell" - AC/DC. However, there are instances where a band's signature song divides opinion and fans of the band will happily list a string of tracks they believe to be greater or more deserving of critical acclaim.
This blog post will take a look at ten signature songs I believe have been wrongfully assigned, as well as tracks I would consider more noteworthy or better suited when compared to the rest of the band's back catalogue. Naturally, some of you are bound to disagree with my opinions on these songs so feel free to correct/educate me in the comment section if there are signature songs you believe need adjusting.


1. "Smells Like Teen Spirit" - Nirvana
I don't think I've ever liked this song but I would feel more confident arguing that it's a poor signature song over a poor song in general. Nirvana are widely regarded as the signature band for the entire Grunge genre so you'd think their signature song would be a Grunge staple, right? Wrong. It's basically Alternative with a mainstream Rock riff, not to mention a shitty solo that copies the vocal melody. It sounds like a song that was deliberately written to be top of the charts, flying in the face of the Grunge movement.
If I had to pick a Nirvana track that should be their signature song over this...hmm, tricky choice. Tracks like "Lithium" or "Heart Shaped Box" sound more like Nirvana classics that reflect the rest of their music to me. On a personal level, I prefer songs like "Breed" or "Very Ape" but I know they're poor choices for signature songs.


2. "Cat Scratch Fever" - Ted Nugent
Fuck me, this riff is boring. Not only that but everything else sounds fatigued and dull too, from the simple drumbeat to the tired vocals. Say what you want about The Nuge's wacky personality and asshole politics but if there's one thing he can do properly, it's write killer guitar licks. Songs like "The Great White Buffalo" - Ted Nugent's Amboy Dukes or "Just What The Doctor Ordered" from his first solo album are perfect for lovers of guitar-based Hard Rock, the polar opposite of this song that sounds like it was hastily cobbled together so Ted could clock in some extra hours at the shooting range instead.
Which songs are superior to this one? Well, most of them, if I'm honest. However, I reckon "Stormtroopin'" is a perfect signature song. Great riff? Yup. Tidy structure? Check. Passable solo perfect for casual listeners? Three for three! You could argue "Stranglehold" is one of Ted's signature songs too but I wouldn't rate that song highly either, as I tend to nod off after the third minute of listening to it.


3. "I Want You To Want Me" - Cheap Trick
I'm pretty sure Cheap Trick aren't huge fans of this song either, considering how much they've changed it since originally recording it. Compare the tame Beatlesque sound to the rougher edged live version from At Budoken or recent live performances and you can tell the band weren't happy with the song. To me, it doesn't seem right that a band's signature song is one they weren't happy with (note that this is different to when a band gradually falls out of love with their signature song, such as Led Zeppelin's "Stairway To Heaven"), especially when said song doesn't showcase the band at their best.
Want some great Cheap Trick tunes? "Stiff Competition" and "He's A Whore" are underrated should-be Rock classics but I reckon "Surrender" is a far better signature song, even if I don't personally like it that much. It's catchy, it's more of a Rock song and it's one of their biggest hits, if not THE biggest.


4. "Jump" - Van Halen
I've talked about this song on the blog before and I still believe it's an "upbeat, Hard Pop poster child for the Disney generation's definition of "Rock"" that barely begins to reflect the band's music. It's too clean and friendly to represent Van Halen, not to mention the fact that the main riff and half of the solo is played on a fucking synth. I'd be curious to hear what the song actually sounds like played entirely on guitar, although I reckon it wouldn't sound much better anyway.
To be honest, you could pick practically any of Van Halen's singles and choose a more appropriate signature song than "Jump" but to save you some time, I'd vote for either "Runnin' With The Devil", "Hot For Teacher" or "Ain't Talkin' 'Bout Love". I guess "Eruption" would also fit the bill, if you can call that a song. Signature solo, easily. Signature song, doubtful.


5. "Wheels Of Steel" - Saxon
I personally believe Saxon's lack of success when compared to other British Metal bands is due to this song being so popular. It's a mediocre Metal track designed to be played on the radio and destined to be used on Hard Rock compilation albums, nothing more or less. The riff is simple, the solo is basic and the song's structure gets repetitive pretty fast. The average Metal fan wanting to learn more about Saxon would probably write them off as a generic outfit if this was the first song they listened to.
However, anyone who's given the band a fair chance will tell you that they have much, MUCH better material that truly represents their sound and aggression. Songs like "Princess Of The Night" and "Power And The Glory" (even if the latter is a little similar to "2 Minutes To Midnight" - Iron Maiden) should come straight to mind when you think of Saxon, even "747 (Strangers In The Night)" would do.


6. "Don't Stop Believin'" - Journey
Another song I've discussed before and another song that is too "Disney" to be reflect this Arena Rock band. I'm aware the show Glee shot this song back into mainstream popularity but it was hardly a B-side before that fucking show or even before Family Guy used it once. What I can't understand is why this track became Journey's signature song. It's not based around an epic riff or solo (in fact, the song's chord sequence has been recycled throughout Rock since Pachelbel's Canon) and the lyrical themes are pretty trite, even for 80's Arena Rock standards.
Compare this to tracks such as "Wheel In The Sky" with better overall guitarwork or "Any Way You Want It" with much more of an upbeat sound. Hell, even "Stone In Love" from the same album would've been more enjoyable to listen to, although probably less enjoyable to sing along to.


7. "Master Of Puppets" - Metallica
Don't get me wrong, I like this track! It's loaded with awesome riffs and the first section of the song is a perfect example of Metal done right. However, I would argue that this is a poor signature song for the band. Most Metallica songs start with a soft section before getting more aggressive, whereas this track starts fast and slows everything down in the middle. Also, I still maintain the controversial opinion that this song has a pretty weak solo. It takes ages to build up and then it's over before you know it, unlike other Metallica songs that get the balance between song and solo spot on.
It's tricky to nail which songs would be better suited, as the band has two distinct sounds. If you want a signature song to reflect the band's Thrash Metal material across their first four albums, something like "Battery" would probably be more suitable. However, if you want a signature song for the band's music that softened into plain old Metal, "Enter Sandman" is the only track to choose.


8. "Aqualung" - Jethro Tull
Again, I can't fault the track from a standalone viewpoint. Perfect solo, decent riff, great structure, a top notch song. However, anyone who's listened to more than about four Jethro Tull songs will tell you that "Aqualung" is the odd one out. For starters, it actually has a proper guitar solo. It's also pretty fast paced during the middle section. Oh, and then there's the matter of the missing flute! Ian Anderson's flutework is a staple of Jethro Tull's music in itself so a track that lacks it seems like an odd choice for the band's signature song, even if it is a great song.
When it comes to Prog Rock, signature songs aren't really commonplace unless it's one of those Prog-Gone-Pop bands such as Genesis or Yes. Jethro Tull never really went as Pop as other bands in the same genre but if I had to pick some replacement signature songs, I'd probably go with "Living In The Past" or "Locomotive Breath".


9. "Since You Been Gone" - Rainbow
After Richie Blackmore left Deep Purple and formed Rainbow with Ronnie James Dio, he essentially created another Deep Purple but with more fantasy-inspired lyrics and complex music. This wouldn't be a problem except for the fact that "Since You Been Gone" is the band's most well known song among casual Rock fans. This song is as basic as they come with a simplistic riff and catchy chorus, likely written due to the departure of Ronnie James Dio. It's not a bad song but it's nowhere near as awesome as the average Rainbow song.
Even tracks written after this had better riffs and solos more appropriate for Rainbow. Songs such as "Stargazer", "Kill The King" and "Long Live Rock & Roll" should spring to mind when you think of Rainbow, not this track.


10. "Paranoid" - Black Sabbath
Much like other songs/bands on this list, this is one of several signature songs belonging to the group. However, unlike those entries, I've started to run out of ideas by number 10 on this list so stick with me through this and we can make it to the end together. I like "Paranoid" and Black Sabbath but when you listen to this track in comparison to the rest of the band's material, I would argue that it isn't as representative of their pioneering Heavy Metal music.
Obviously "War Pigs" and "Iron Man" are regarded as some of the other signature songs but if I had to rank them in any order, "Paranoid" would either be right at the bottom or not at all. Superb track but not as heavy as better known tunes by the band.

Once again, let me know if there are any inferior signature songs you believe I've missed either on the comment section or via Twitter.

Unplugged And Strung Up - Saxon

Before you ask, no this isn't the album review I was originally planning to do months ago. If I'm being honest, the album review I had planned for this month was "Aftershock" - Motorhead and I do still plan on reviewing it (I get the feeling that's gonna become a catchphrase on this blog) but it's looking like February is going to be a better month for me to listen that.
So what's happening in January? Well, I still wanted to do a review but, at the same time, I didn't want to listen to brand new material just yet. I've been hearing quite a bit of "new" music recently and I didn't want to dismiss anything that could be pretty awesome purely because it didn't live up to the same quality as the other songs I've been checking out. So where does that leave me?

In short: An album of live/acoustic/rerecorded tunes that I already know from one of my favourite Metal bands, Saxon.
In long: ...well, this following review, I suppose.

Saxon may not be as big as other UK Metal acts such as Iron Maiden or Judas Priest but that doesn't mean they're any less influential. You can hear elements of Saxon's music from their early NWOBHM material in American Thrash Metal. In fact, you can hear chord sequences and riffs from songs in certain tracks on Metallica's "Kill Em All". Not just the obvious Princess Of The Night chorus use in Seek And Destroy but I'm almost certain the band had Heavy Metal Thunder in the back of their mind when they were writing parts of The Four Horsemen.
Despite only really being known by the average Rock/Metal fan for one song involving wheels made of a certain metal (which is probably one of their worst "good" songs, when you've heard their other material), these ageing rockers still know how to deliver top notch Metal and pack a hell of a punch at live gigs. It's for that reason I was excited when I noticed new material from Saxon on Spotify that wasn't just their 2013 album "Sacrifice".
If their 2002 album of rerecords, "Heavy Metal Thunder", taught me anything it's that these guys haven't lost it. In fact, with developments in recording technology, some songs actually sound better than the originals on that album (see Power And The Glory, for starters). What I'm basically trying to say is that if ever there were a band who could get me hyped for old rope, it's these chaps.

Unlike "Heavy Metal Thunder", this isn't simply another Greatest Hits catalogue. Most of the songs are either quite obscure or from albums that didn't receive high amounts of praise and attention but that doesn't mean the compilation is lacking in energy or catchy tunes. The first track, a rerecording/remix of Stallions Of The Highway from their debut in 1979, has exchanged some of the speed for power, enhanced by drums and bass from Nigel Glockler and Nibbs Carter respectively. As a result, fans of the original may find themselves enjoying the same song for different reasons.
Following the strong opener is an orchestrated rerecording of Crusader, one of the many tracks included on this collection that is also available on certain special editions of "Sacrifice". As well as giving the song more of an epic feel, they've also opted to remove some of the vocals to focus on the new & improved sound rather than the old lyrics. Next up is Battle Cry, a lesser known track from "Rock The Nations". One immediately noticeable difference is the song being in a lower key, presumably to accommodate Bill Byford's vocal range dropping slightly. However, I personally think it improves the song.
Songs that evoke imagery of soldiers preparing for a battle before the final charge should be fierce and masculine. They should lay it on heavily with the galloping rhythm and the riffs should have the same strength and dynamics as the sound of a thousand men clashing swords in war-driven fury. It's that reason that I personally prefer the version of Iron Maiden's The Trooper with Lemmy on vocals but that's an opinion we don't need to dwell on. More to the point, this rerecording of Battle Cry has extra power and if I had a choice of which version of the track I'd prefer to listen to whilst riding into the mouth of hell, I'd pick this in a heartbeat.

Continuing with the grand orchestrated songs, a rerecording of The Eagle Has Landed comes next. Out with the synth, in with the strings! Whilst still maintaining a solemn heart, this track perhaps isn't quite as emotive as the original if only due to Byford's vocals sounding less soulful with age and more rough with time. Next up is Red Star Falling, a song originally from the 2007 album "The Inner Sanctum". Personally, I'm not sure why this song really needed rerecording when only six years passed since it was originally released. Plus, the original already has added strings in the background.
Don't get me wrong, it's still got an awesome solo and it's not a bad song, just a bit of a wasted opportunity for a better track to get the beefed-up treatment. Of course, anyone could sit and say "This one should've been on it, not that one!" and they'd have about as strong an argument as the next person to disagree with the song choice. However, I would assume Saxon fans are more likely going to appreciate a rerecorded song from Wheels Of Steel or Denim And Leather and, at the end of the day, most of the people who'll be purchasing this album are Saxon fans.
But maybe this one wasn't for the fans. I admire a band that can say "No, we're not going to turn into mindless crowd pleasers releasing the same compilation with various versions of Don't Stop Believing on over and over when we get low on royalty money" (that's not to say I don't like Journey, I just hate that fucking song). These guys are rerecording songs that they are proud of and perhaps think more of their newer fans should be aware of, hence why tracks like Broken Heroes aren't significantly different from the original save for a fancier string intro and a more impressive sound.

Perhaps that's also why modern tracks such as Call To Arms have been included. The songs that have been rerecorded with an orchestra are all slower and touch down into power ballad territory, which is probably the best kind of song to record with an orchestra. The band picked their slower songs that they thought worked best with strings on top and gave us an alternate version of songs that perhaps lacked the power they felt they deserved. Anyway, following this track is a rerecording of Militia Guard, another song from the debut. Stripped of its original raw sound and replaced with heavier guitars from veteran Paul Quinn and newbie Doug Scarratt, this tune gets the feet tapping and the heads banging again.
Following this is Forever Free, another rerecord without orchestra. Even though I love this song, I personally feel the rerecording brings little new to the table and if you've heard one version, you won't gain much from hearing the other. The same could be said for Just Let Me Rock although the rerecording manages to take an already slow, plodding rhythm and makes it even heavier. Fans of the song may consider this an improvement.
The last batch on the collection are acoustic, starting with one off the debut again. Frozen Rainbow combines Rainbow Theme and the original Frozen Rainbow into one acoustic track. Iron Wheels is a live recording but fortunately helps back up my argument about Saxon being an incredible live band who are able to play either as good as or better than their studio efforts, rarely ever worse. Requiem starts to wind the album down, preparing the listener for the final track. However, as a song, it's an equally soulful version aided by Byford's vocal work. The final track is an acoustic cover of Big Twin Rolling (Coming Home) from "Dogs Of War", shortened to Coming Home.

Whilst the other acoustic renditions have mostly stayed faithful to the original track, this song differs wildly and changes a fast-paced Blues track into an atmospheric Bluegrass style song with sliding guitars and a slow tempo. A perfect end to the album and a damn fine re-imagining of a good song that gives fans something new to listen to. Some versions of this compilation include the aforementioned "Heavy Metal Thunder" but this review is strictly "Unplugged And Strung Up" material, although if you decide you want this album then I recommend getting the expanded edition.
Other than the last track, there isn't really anything on here for fans to consider "new". Chances are stores like HMV would charge a tenner for it but in all honesty, it's probably best you stick to listening to it on Spotify if you're not majorly struck by most of the original tracks. However, it's definitely a brilliant addition to a Saxon fan's collection and if you like the songs they've chosen to re-release, I would spend some time giving it a listen. As for a personal rating, I would say 7/10. The quality of the music is strong, the band are as tight as a nun's nipsy and whilst a few of the song choices are questionable, I wouldn't call any of their efforts "bad".
Anyway, that's my January post sorted. See you again at the end of February for either a review or something "different".