The album opens with a couple of songs that are distinctly Byford-penned, although perhaps with a little more a of a classic hard rock sound than the NWOBHM style that has characterised Saxon's output since the late 1970s. Welcome to the Show kicks things off with a slow-burning chiming guitar melody that Lundqvist adds to with his percussive playing - before Byford unleashes a powerful scream and the song gets underway proper. Åkesson's verse playing is very simple, with a Malcolm Young-esque approach to the rhythms, which allows Byford's strong vocal melodies to really stand out. Despite this hard rock approach, the song would still fit nicely on any of Saxon's recent albums. While the Saxon of the 21st Century is a heavier beast, they still occasionally include more old-school sounding tracks on their newer albums. Welcome to the Show is firmly in that vein, with an anthemic classic rock chorus for Byford to really belt out and a lengthy, playful guitar solo from Åkesson. It is a strong opening cut and showcases some of the vibes that are repeated and referenced throughout the rest of the album. The album's title track is similar, although the AC/DC-esque riffing is replaced with something could easily have been found on Saxon's Wheels of Steel or Strong Arm of the Law. Modern production techniques allow Saxon to sound heavier and tougher these days, but it seems as if the intention here was to make some of the songs sound like those old albums - with more of a classic rock sound and less driving heavy metal. Lundqvist's drums still pack a punch however, but Åkesson's guitar tones here have a certain warmth to them, which helps to give the opening couple of a numbers more of an organic sound. Phil Campbell (Persian Risk; Motörhead) contributes the first of the song's two guitar solos, with a screaming, fluid run of notes that segues nicely into an effort from Åkesson that continues with the same, old-school vibe. Three tracks co-written by Åkesson follow, and these songs take the album in a much heavier direction. The first, Inquisition, is a slow-burning spoken-word piece that is filled with gothic atmospherics while Byford recites part of Edgar Allan Poe's The Pit and the Pendulum, which is also the name of the album's next song. Carter and drummer Nicholas Barker (Cradle of Filth; Lock Up; Dimmu Borgir) play on The Pit and the Pendulum and the following track, which makes me think that they were probably recorded separately from the rest of the album. Anyone familiar with Saxon's most recent handful of albums will instantly recognise the style used here, and similarities can be drawn to Nosferatu (The Vampire's Waltz) from Thunderbolt - gothic trappings and all. Barker is much more of an extreme metal drummer than Lundqvist, so the drumming on the tracks he plays on is much more overtly metal than on much of the rest of the album. His driving double bass patterns keep the track moving at a strident pace, while Åkesson's sharp riffs conjure up those modern Saxon vibes perfectly. There is perhaps a bit more light and shade here than is found during an average Saxon song however, with a low-key acoustic section placed part-way through the song to bring the mood down - before the song ramps back up into a lengthy and searing Åkesson guitar solo.
Worlds Collide, the third of this 'Åkesson trilogy', is possibly the heaviest track on the album yet. It has a weighty mid-paced crunch throughout thanks to Åkesson's guitar heft - while Barker lays down a precise and heavy drum pattern. Byford as a vocalist has never really lost any of power. If anything, I think that he continues to sound better as the years roll by, with some additional grit now present in his voice that was not a part of his early performances. This allows him to be a really powerful presence in the songs that he is singing, and he really brings these heavier songs to life with his strident and rallying cry-esque delivery. He is more than capable of competing with the tough-sounding and tight band behind him, and it is perhaps the heavier, mid-paced tracks such as this that really bring the best out of him as a singer. The song does not contain a particularly memorable chorus or any big hooks of that nature, but Byford's attitude and delivery helps to keep the song moving forward and sounding big. There are a couple of covers featured on the album, and the first is a take on Scarborough Fair - tackled by many, although perhaps most famously by Simon & Garfunkel. While not exactly a disaster, it is certainly the album's low point in my opinion. I am not convinced that the world needed another take on the song, but if it did I am not sure that Byford was the man to deliver it. I have just praised Byford's vocal performances, and I will continue to do so generally, but this sort of song is just not made for his voice. Byford's arrangement sticks closely to the traditional folky arrangement of the song, although with a few rockier bits occasionally thrown in, and he is just not a natural folk singer. Songs like this need more of a refined approach, and I think it is fair to say that Byford is more of a rugged and powerful vocalist than one that is particularly melodic or indeed refined. For me the song just does not really work, or fit within the natural flow of the album, and it would have probably been better left on the cutting room floor. Luckily two songs co-written by Carter follow, although strangely he does not actually play on them. I really think that both Pedal to the Metal and Hearts of Steel were intended for a Saxon album at some point but for whatever reason just did not make the cut. Both sound exactly like modern Saxon, and it makes you realise just how important Carter is to the modern Saxon sound. He is clearly a big songwriting influence in the band these days, and the former song in particular is excellent and maybe should have been saved for Saxon. Alex Holzwarth (Sieges Even; Rhapsody of Fire; Serious Black) plays drums on the song, which helps to give it some speed and additional heft, while Åkesson lays down riff after riff to keep the track rolling on. Saxon's music often sounds like a runaway train, and this description can certainly be used to describe Pedal to the Metal. It is an instantly-memorable song with a great shout-along chorus and a meaty energy that comes from both Byford's fantastic vocals and the weight from the riffs.
Hearts of Steel is similar, but it opens with a Judas Priest-esque guitar melody before exploding into another meaty mid-paced riff. Like Pedal to the Metal, the song probably should have been saved for a future Saxon album as it has all the hallmarks of the band present, and is the sort of the song that the fans will be expecting to hear. There is another simple, but powerful, chorus present here; but this track also gives Åkesson a bit more time to shine with a lengthy guitar solo that allows him to show off the neo-classical side of his playing a little. It is another strong track, and one that will hit you on the first listen with its power and attitude. The album's second cover is much more successful than the first, with a strong take on Wishbone Ash's classic track Throw Down the Sword hitting the spot. While the arrangement here sounds almost identical to the original found on 1972's Argus, it comes off as an honest tribute to a band that were probably a big influence on the young Byford. As I have never been the biggest Wishbone Ash fan, I probably all too often belittle their overall influence on rock and metal music. They were one of the first rock bands to employ a twin lead guitar approach however, and their melodic songwriting style that was fused with progressive tendencies make them a band with feet in many camps. Lots of rock and metal bands owe a debt to Wishbone Ash, and it is nice to hear Byford paying tribute to that influence here - with Åkesson seemingly also enjoying the chance to tackle so many tasty and melodic guitar lines throughout. Me and You, co-written by Saxon's Paul Quinn, ironically does not actually sound much like a Saxon song at all - and was maybe written during one of the recent album sessions but discarded for not fitting the band's overall vibe. Dave Kemp (Wayward Sons) contributes keyboards and saxophone throughout the song, which is a fairly jaunty acoustic-based piece that is probably the only true departure from Byford's usual style on the album (apart from maybe Scarborough Fair). It is interesting to hear him sing a song of this nature, but he tackles it well. While his voice was not really suited for Scarborough Fair, he sounds much more natural on this track - with the upbeat nature fitting in with his usual way of singing. Kemp's keyboards add a bit of atmosphere and depth, which stops the track becoming a basic acoustic number, with his jazzy saxophone melodies adding greatly to the closing portion of the song - and hearing Byford duelling with a saxophone is certainly not something that you hear regularly! Black and White brings the album to a close, and it returns to the more classic rock-esque sound of the opening couple of tracks. Åkesson's soaring guitar lead kicks things off, before a low-key verse sees Byford singing atop some simple arpeggios. The contrast when the powerful chorus kicks in is a stark one, with the power ramping up and Byford's gritty voice raising hell one last time. It is not the album's best track, but the dynamic approach works well as a closing number - and Åkesson relishes in taking one more opportunity to shred with a flowing, melodic guitar solo towards the end. Overall, School of Hard Knocks is a strong debut solo album from Byford but it is also one that does not take many risks and ends up sounding a bit like 'more of the same' from him. So many of the songs here could have easily sat on a Saxon album, which makes the album merely a fun listen rather than an essential purchase. Saxon fans will enjoy it for sure, but anyone expecting anything different will be largely disappointed.
The album was released on 21st February 2020 via Silver Lining Music. Below is Byford's promotional video for School of Hard Knocks.
No comments:
Post a Comment