Saxon -

Saxon are an English hard-rock/metal band that released six albums and a live disc between 1979 and 1984 on Carrere. As front-liners in the New Wave of British Heavy Metal, they went Gold with their 1980/81 albums Wheels of Steel, Strong Arm of the Law, and Denim and Leather, scoring UK hits with “747 (Strangers in the Night),” “And the Bands Played On,” and “Never Surrender.”

Members: Biff Byford (vocals), Paul Quinn (guitar), Pete Gill (drums, 1976-81), Graham Oliver (guitar, 1976-95), Steve Dawson (bass, 1976-86), Nigel Glockler (drums, 1981-87, 1988-98, 2005-present), Paul Johnson (bass, 1986-88), Nigel Durham (drums, 1987-88), Nibbs Carter (bass, 1988-present)

Background

Saxon formed in late 1976 when the frontal pair of Barnsley hard-rockers Coast, singer Biff Byford and guitarist Paul Quinn, teamed with two members of local rivals SOB: guitarist Graham Oliver and bassist Steve Dawson. Rounded by ex-Glitter Band drummer Pete Gill, they initially gigged as Son of a Bitch before changing their name to Saxon in 1977.

Over the next two years, Saxon gained followers on the English club circuit and opened select dates for Motörhead. In late 1978, they signed to the French label Carrere. Between January and March 1979, they cut their first album at London’s Livingston Recording Studios.

Saxon

Saxon released their self-titled debut album in May 1979 on Carrere.

The album presents late-Seventies hard-rock line work and early metal accents, performed by singer Biff Byford, bassist Steve Dawson, drummer Pete Gill, and guitarists Graham Oliver and Paul Quinn. Byford, Quinn, Oliver, Dawson, and Gill wrote all eight titles.

“Rainbow Theme/Frozen Rainbow” darkens from an open-string bass figure into a slow pomp-leaning piece, then lifts through a rangy solo and late speedup. “Big Teaser” rolls through blunt boogie and compact crowd-shout phrasing. “Judgement Day” wrestles a heavy opening into a softer middle and twin-lead climb. “Stallions of the Highway” revs through a driving biker rhythm and raw lead breaks.

“Backs to the Wall” clenches a simple riff under Byford’s strained vocal. “Still Fit to Boogie” knocks back a plain boogie pass with pub-rock dust. “Militia Guard” marches through neo-classical intro figures, an acoustic break, and multi-part twin-lead turns.

A1. “Rainbow Theme” (3:07).
A2. “Frozen Rainbow” (2:26).
A3. “Big Teaser” (3:55).
A4. “Judgement Day” (5:31).
A5. “Stallions of the Highway” (2:52).

B1. “Backs to the Wall” (3:10).
B2. “Still Fit to Boogie” (2:53).
B3. “Militia Guard” (4:50).

Saxon recorded the album between January and March 1979 at Livingston Recording Studios in Barnet, London, with producer-engineer John Verity and tape operator Robert Price. Verity had worked with Byford and Quinn during their touring role in his post-Argent band.

Saxon appeared in a sleeve designed by Grafix with photography by Mike Ford and Dave Muscroft. The front cover places the five-piece beneath a red group logotype.

Carrere lifted “Big Teaser” as a July 1979 single, followed by “Backs to the Wall” in November 1979. In June 1980, “Backs to the Wall” reached No. 64 on the Official Singles Chart, and “Big Teaser/Rainbow Theme” reached No. 66 on the Official Singles Chart.

Wheels of Steel

Saxon released their second studio album, Wheels of Steel, in April 1980 on Carrere.

Wheels of Steel fixes the five-piece around shorter riff blocks, clipped refrains, and extended side anchors. The album contains nine Byford–Quinn–Oliver–Dawson–Gill titles.

“Motorcycle Man” fireballs from stereo engine noise into a hard staccato riff, with Byford’s wail above high-speed solos. “Stand Up and Be Counted” hardens around twin leads and a punchy low-end figure. “747 (Strangers in the Night)” climbs from an opening lead into higher-register counterpoints and a dark aircraft-disaster vocal scene. “Wheels of Steel” motors on a raunchy central figure, boogie undertow, and dirty-edged solo.

“Freeway Mad” sling-shots from a phased intro into fast boogie with police sirens and shared lead bursts. “See the Light Shining” darts from a manic figure into a slower middle, then trades leads over a hard low-end drive. “Street Fighting Gang” steamrolls through stereo-split figures, short spiky breaks, and a late low-end rumble. “Suzie Hold On” slows for Byford’s softer vocal and a measured twin-lead break. “Machine Gun” machine-guns through full-speed figures, furious vocal strikes, a central instrumental crush, and an effects-scarred solo.

A1. “Motorcycle Man” (3:56).
A2. “Stand Up and Be Counted” (3:09).
A3. “747 (Strangers in the Night)” (4:58).
A4. “Wheels of Steel” (5:58).

B1. “Freeway Mad” (2:41).
B2. “See the Light Shining” (4:55).
B3. “Street Fighting Gang” (3:12).
B4. “Suzie Hold On” (4:34).
B5. “Machine Gun” (5:23).

Saxon recorded Wheels of Steel in February 1980 at Ramport Studios in London with co-producer Pete Hinton and engineer Will Reid Dick.

The front sleeve shows a chrome wheel-and-engine image beneath the Saxon logotype and stamped title lettering.

Carrere lifted “Wheels of Steel” as a March 1980 single, which reached No. 20 on the Official Singles Chart. “747 (Strangers in the Night)” became the June 1980 single and reached No. 13, followed by “Suzie Hold On” in September. Wheels of Steel reached No. 5 on the Official Albums Chart.

Strong Arm of the Law

Saxon released their third studio album, Strong Arm of the Law, in November 1980 on Carrere.

Strong Arm of the Law retains the Byford–Dawson–Gill–Oliver–Quinn lineup and the five-man authorship unit. The album cuts the program to eight titles and places two longer side-end pieces against a shorter side-two opener.

“Heavy Metal Thunder” bolts down with frantic fast figures and Byford’s shout-led drive. “To Hell and Back Again” gallops through swift runs and a faster chorus surge. “Strong Arm of the Law” punches through a sliding riff and swaggering vocal callouts. “Taking Your Chances” charges between boogie force and speed-track drive, with frantic dual leads.

“20,000 Ft.” firebombs with maximum velocity and shouted chorus. “Hungry Years” knocks back a somber intro for a heavy blues shuffle. “Sixth Form Girls” bounces through a slightly quicker boogie pass and working-class text. “Dallas 1 PM” darkens from a tense open to a slower boogie, then cuts to gunshots, news-report voices, and a final scorching lead.

A1. “Heavy Metal Thunder” (4:24).
A2. “To Hell and Back Again” (4:52).
A3. “Strong Arm of the Law” (4:47).
A4. “Taking Your Chances” (4:25).

B1. “20,000 Ft.” (3:30).
B2. “Hungry Years” (5:18).
B3. “Sixth Form Girls” (4:18).
B4. “Dallas 1 PM” (6:27).

Saxon recorded Strong Arm of the Law between May and August 1980 at Ramport Studios in London with co-producer Pete Hinton and engineer Will Reid Dick.

The front cover shows a police-car setting under the Saxon logo, with the title placed in block lettering across the lower sleeve field.

Carrere lifted “Strong Arm of the Law” as a November 1980 single, which reached No. 63 on the Official Singles Chart. Strong Arm of the Law reached No. 11 on the Official Albums Chart.

Denim and Leather

Saxon released their fourth studio album, Denim and Leather, in September 1981 on Carrere.

Denim and Leather marks the last Saxon studio album with Pete Gill. The album retains the Byford–Dawson–Gill–Oliver–Quinn authorship unit and adds Gordon Bryan on backing vocals to the title track.

“Princess of the Night” slings a precision figure toward a bluesy solo and locomotive lyric scene. “Never Surrender” fist-pumps around bruising riffs and repeated title chants. “Out of Control” kicks through mid-tempo crunch and blunt riffage. “Rough and Ready” clenches sharp power-chords around a hard-man boast. “Play It Loud” kicks through a mean distorted tone and defiant shout phrasing.

“And the Bands Played On” sets fire to a solo-lick theme and Byford’s breathless festival-scene delivery. “Midnight Rider” rolls through gear-changing chords and road-trip text. “Fire in the Sky” explodes through an apocalyptic speed run and sharp figures. “Denim and Leather” stomps through a slower fan-tribute chorus and heavy crowd-mover chant.

A1. “Princess of the Night” (4:01).
A2. “Never Surrender” (3:15).
A3. “Out of Control” (4:07).
A4. “Rough and Ready” (4:51).
A5. “Play It Loud” (4:11).

B1. “And the Bands Played On” (2:48).
B2. “Midnight Rider” (5:45).
B3. “Fire in the Sky” (3:37).
B4. “Denim and Leather” (5:25).

Saxon recorded Denim and Leather in 1981 at Aquarius Studios in Geneva and Polar Studios in Stockholm with producer Nigel Thomas and engineer Andy Lyden. The group co-produced “Never Surrender” and “And the Bands Played On.”

The front sleeve shows sewn denim, black leather, and metal studs beneath the red Saxon logo.

Carrere lifted “And the Bands Played On” as a March 1981 single, which reached No. 12 on the Official Singles Chart. “Never Surrender” became the July 1981 single and reached No. 18, followed by “Princess of the Night” in October and its No. 57 chart peak. Denim and Leather reached No. 9 on the Official Albums Chart.

The Eagle Has Landed: Live

Saxon released their first live album, The Eagle Has Landed, in May 1982 on Carrere.

The Eagle Has Landed documents the 1981–82 Denim and Leather tour and marks the first Saxon album appearance by drummer Nigel Glockler. The program draws material from the first four studio albums, with Glockler performing titles first cut by Pete Gill.

“Motorcycle Man” revs from engine roar and crowd noise into the opening figure and a hot solo. “747 (Strangers in the Night)” climbs through its aircraft-blackout scene with sharper stage heat. “Princess of the Night” charges through the steam-train text and a rough-edged live drive. “Strong Arm of the Law” pounds the bass intro into a solid crowd-moving rhythm. “Heavy Metal Thunder” attacks through thunderclaps and frantic fast motion.

“20,000 Ft.” dive-bombs through high-altitude speed and solo-heavy stage pressure. “Wheels of Steel” wrestles the central figure into audience shout-backs. “Fire in the Sky” explodes through twin-lead harmony and Byford’s live vocal glare. “Machine Gun” machine-guns into a closing crescendo.

A1. “Motorcycle Man” (4:22).
A2. “747 (Strangers in the Night)” (4:38).
A3. “Princess of the Night” (4:20).
A4. “Strong Arm of the Law” (4:39).
A5. “Heavy Metal Thunder” (4:09).

B1. “20,000 Ft.” (3:26).
B2. “Wheels of Steel” (8:52).
B3. “Never Surrender” (3:54).
B4. “Fire in the Sky” (2:41).
B5. “Machine Gun” (3:52).

Saxon recorded The Eagle Has Landed during UK and European concerts with The Mobile recording unit. The group mixed the album at The Manor and Bray Sound Studios with engineers Andy Lydon and Steward Eales.

The front sleeve shows the band onstage beneath the Saxon eagle stage fixture, with the crowd visible below the lighting rig.

The Eagle Has Landed reached No. 5 on the Official Albums Chart.

Power & the Glory

Saxon released their fifth studio album, Power & the Glory, in March 1983 on Carrere.

Power & the Glory introduces Glockler to the studio lineup beside Byford, Dawson, Oliver, and Quinn. They group-wrote all eight titles.

“Power and the Glory” attacks from a tense opening figure into Byford’s battle-call vocal. “Redline” shuffles through a pneumatic open-road figure and cleaner chorus lift. “Warrior” gallops through a feverish speed run and berserk solo. “Nightmare” simmers through slower airplay-shaped motion, harmony-stacked vocals, and a bright solo.

“This Town Rocks” bursts through speedy playing and half-time turns. “Watching the Sky” motors through a heavy edge and electric-storm solo section. “Midas Touch” wrestles a blunt main figure against mellow verses. “The Eagle Has Landed” darkens into slow space-lead drift, echoing vocal lines, and a huge central figure.

A1. “Power and the Glory” (5:57).
A2. “Redline” (3:38).
A3. “Warrior” (3:47).
A4. “Nightmare” (4:25).

B1. “This Town Rocks” (3:58).
B2. “Watching the Sky” (3:43).
B3. “Midas Touch” (4:13).
B4. “The Eagle Has Landed” (6:56).

Saxon recorded Power & the Glory in 1982 at Axis Sound Studio in Atlanta with producer-engineer Jeff Glixman. Cheryl Bordagary and Les Horn also engineered the sessions.

Power & the Glory appeared in a sleeve by Nic Tompkin, who handled cover design and photography. The front image places the band before the eagle stage installation under saturated concert light.

Carrere lifted “Power and the Glory” as an April 1983 single, which reached No. 32 on the Official Singles Chart. “Nightmare” became the July 1983 single and reached No. 50. Power & the Glory reached No. 15 on the Official Albums Chart and No. 155 on the Billboard 200.

Crusader

Saxon released their sixth studio album, Crusader, in January 1984 on Carrere.

Crusader places the Glockler lineup in a Los Angeles studio with producer Kevin Beamish. The album contains a cover of Sweet (“Set Me Free”), one Byford–Quinn–Oliver–Dawson title, and one Byford–Quinn–Oliver–Dawson–Beamish title.

“The Crusader Prelude” blows battle horns through hoofbeats, sword clashes, wind, and distant Byford calls. “Crusader” marches from a picked guitar figure into a slow-rising surge, deep spoken challenge, and cinematic solo. “A Little Bit of What You Fancy” slings a rapid hard-charging cut around a heavy main figure. “Sailing to America” cruises through a bright maritime text and expressive lead work. “Set Me Free” torpedoes the Sweet cover with frantic speed and tough riff force.

“Just Let Me Rock” clenches moody verses around a simple power-chord chorus. “Bad Boys (Like to Rock N’ Roll)” rolls through direct street-rock toughness. “Do It All for You” kicks back into a slow softened romantic stretch. “Rock City” punches through a broad hard-rock chant. “Run for Your Lives” fist-pumps toward a rousing football-chant coda.

A1. “The Crusader Prelude” (1:05).
A2. “Crusader” (6:33).
A3. “A Little Bit of What You Fancy” (3:50).
A4. “Sailing to America” (5:03).
A5. “Set Me Free” (3:13) – Scott.

B1. “Just Let Me Rock” (4:11).
B2. “Bad Boys (Like to Rock n’ Roll)” (3:24).
B3. “Do It All for You” (4:42) – Byford, Quinn, Oliver, Dawson, Beamish.
B4. “Rock City” (3:16) – Byford, Quinn, Oliver, Dawson.
B5. “Run for Your Lives” (3:53).

Saxon recorded Crusader in 1983 at Sound City Studios in Van Nuys, California, with producer-engineer Kevin Beamish and engineer Bruce Barris. George Marino mastered the album at Sterling Sound in New York City.

Paul R. Gregory painted the cover art, whose image depicts an armored crusader in a battlefield scene.

Carrere lifted “Sailing to America” as a January 1984 single, which reached No. 81 on the Official Singles Chart. “Do It All for You” followed as an April 1984 single. Crusader reached No. 18 on the Official Albums Chart and No. 174 on the Billboard 200.

Innocence Is No Excuse

Saxon released their seventh studio album, Innocence Is No Excuse, in September 1985 on EMI.

Innocence Is No Excuse marks the first Saxon album on EMI and the last studio album with bassist Steve Dawson. The album includes “Everybody Up,” which also appears on the Dèmoni soundtrack.

“Rockin’ Again” climbs from a keyboard fade and sparse picked figure into a plodding call-to-arms chant. “Call of the Wild” darts through shredded intro runs, fist-pumping figures, and gang-vocal lift. “Back on the Streets” punches through chopping guitar and stabbed keys with harmony-vocal sheen. “Devil Rides Out” motors on an open-string bass figure, tough choppy riffs, and a brief solo break. “Rock ’n’ Roll Gypsy” rolls through crunchy mid-pace movement, a verse key change, and a broad solo.

“Broken Heroes” darkens around Vietnam-veteran text, muted chords, sedate leads, and thumping accents. “Gonna Shout” bursts through speedier figures, Byford’s raised voice, and a brief lighter interlude. “Everybody Up” charges through a fast 80s figure and semi-shouted crowd calls. “Raise Some Hell” shatters from huge chords and lead wail into fast staccato figures. “Give It Everything You’ve Got” bulldozes through aggressive pedal force, howling leads, and a shred-and-squeal exchange.

A1. “Rockin’ Again” (5:12) – Byford, Oliver, Dawson.
A2. “Call of the Wild” (4:03) – Byford, Quinn, Oliver, Dawson, Glockler.
A3. “Back on the Streets” (3:59) – Byford, Quinn, Oliver, Dawson, Glockler.
A4. “Devil Rides Out” (4:23) – Byford, Dawson.
A5. “Rock ‘n’ Roll Gypsy” (4:13) – Byford, Dawson.

B1. “Broken Heroes” (5:27) – Byford, Dawson.
B2. “Gonna Shout” (3:58) – Byford, Quinn, Oliver, Dawson, Glockler.
B3. “Everybody Up” (3:28) – Byford, Dawson.
B4. “Raise Some Hell” (3:40) – Byford, Dawson.
B5. “Give It Everything You’ve Got” (3:27) – Byford, Quinn, Oliver, Dawson, Glockler.

Saxon recorded Innocence Is No Excuse in 1985 at Union Studios in Munich with producer-engineer Simon Hanhart. Keith Nixon handled additional recording, and Saxon mixed the album with Hanhart at Wisseloord Studios in Hilversum.

The front sleeve shows a young woman with a shy expression holding an engraved apple to her lips.

EMI lifted “Back on the Streets” as a July 1985 single, which reached No. 75 on the Official Singles Chart. “Rockin’ Again” followed in September 1985, and “Rock ‘n’ Roll Gypsy” reached No. 72 after its March 1986 single release.

Innocence Is No Excuse reached No. 36 on the Official Albums Chart and No. 133 on the Billboard 200.

“Everybody Up” appears on the soundtrack to Dèmoni, a 1985 Italian horror film by director Lamberto Bava with score cues by Claudio Simonetti and songs by Accept, The Adventures, Billy Idol, Go West, Rick Springfield, and Scorpions.

Rock the Nations

Saxon released their eighth studio album, Rock the Nations, in September 1986 on EMI.

Rock the Nations marks the first Saxon studio album after Dawson’s exit. Byford recorded the bass parts, while Paul Johnson receives a member credit without a performance credit. Elton John plays piano on “Party ’til You Puke” and “Northern Lady.”

“Rock the Nations” clenches a solid riff under dirty chorus bends and hammering solos. “Battle Cry” fist-pumps through an arena-sized main figure and full-throttle solo breaks. “Waiting for the Night” lifts through a twin-lead opening, punchy verse drive, and broad vocal call. “We Came Here to Rock” stomps through punchy figures, a quirky solo, and a cleaner instrumental break.

“You Ain’t No Angel” wrestles a heavy riff, stomping arrangement, howling solo, and spoken interlude. “Running Hot” revs through faster-paced hard-rock motion and a blistering solo. “Party ’til You Puke” knocks back a loose studio jam with retro rhythm chops, rinky-dink piano, and novelty stops. “Empty Promises” simmers through a chunky figure and talk-box break. “Northern Lady” slows from acoustic-and-piano intro into chugging chords, a softer Byford vocal, and twin-lead close.

A1. “Rock the Nations” (4:40) – Byford, Glockler, Oliver, Quinn.
A2. “Battle Cry” (5:26) – Byford, Glockler, Oliver, Quinn.
A3. “Waiting for the Night” (4:51) – Byford, Glockler.
A4. “We Came Here to Rock” (4:18) – Byford, Glockler, Oliver, Quinn.

B1. “You Ain’t No Angel” (5:28) – Byford, Glockler, Oliver, Quinn.
B2. “Running Hot” (3:35) – Byford, Glockler, Oliver, Quinn, Dawson.
B3. “Party ’til You Puke” (3:25) – Byford, Glockler, Oliver, Quinn.
B4. “Empty Promises” (4:09) – Byford, Glockler, Oliver, Quinn.
B5. “Northern Lady” (4:42) – Byford, Glockler, Oliver, Quinn.

Saxon recorded and mixed Rock the Nations in 1986 at Wisseloord Studios in Hilversum with producer Gary Lyons.

Paul R. Gregory supplied the cover art. The front image places a crowned figure above a field of flags and national emblems.

EMI lifted “Waiting for the Night” as an August 1986 single, which reached No. 66 on the Official Singles Chart. “Rock the Nations” reached No. 80 after its October 1986 single release, and “Northern Lady” reached No. 91 in January 1987.

Rock the Nations reached No. 34 on the Official Albums Chart and No. 149 on the Billboard 200.

Destiny

Saxon released their ninth studio album, Destiny, in March 1988 on EMI.

Destiny features the only Saxon studio lineup with bassist Paul Johnson and drummer Nigel Durham. The album contains a cover of Christopher Cross (“Ride Like the Wind”) and keyboards by Stephen Laws Clifford, plus backing vocals by Dave Taggart, George Lamb, Phil Caffrey, and Steve Mann.

“Ride Like the Wind” slings the Christopher Cross cover toward a tougher main figure, backing-vocal mass, and solo fade. “Where the Lightning Strikes” sparks through lead squeals, a simple hard rhythm, and a darker spacious middle. “I Can’t Wait Anymore” lingers on a slower bass rumble, clear picked licks, plinky keys, and chanted group call. “Calm Before the Storm” coasts through steady riffing and a synth-lead chorus figure. “S.O.S.” crawls through minor tones, muted chugging parts, and an extended instrumental break.

“Song for Emma” swells from a keyboard-laden intro into large backing vocals and sweeping leads. “For Whom the Bell Tolls” gallops through energetic riffery, group-vocal lift, and twin-lead turns. “We Are Strong” rises from a keyboard intro into a clean mid-paced arrangement and rousing group voices. “Jericho Siren” stabs through a choppy rhythm figure, gritty solo, and audible bass. “Red Alert” punches from tough guitars into a boogie start and hard-driving lead work.

A1. “Ride Like the Wind” (4:28) – Cross.
A2. “Where the Lightning Strikes” (4:19) – Byford, Quinn, Oliver.
A3. “I Can’t Wait Anymore” (4:24) – Byford, Quinn, Oliver.
A4. “Calm Before the Storm” (3:46) – Byford, Quinn, Oliver.
A5. “S.O.S.” (6:02) – Byford, Quinn, Oliver.

B1. “Song for Emma” (4:45) – Byford, Galfas.
B2. “For Whom the Bell Tolls” (3:54) – Byford, Quinn, Johnson.
B3. “We Are Strong” (3:55) – Byford, Quinn.
B4. “Jericho Siren” (3:36) – Byford, Quinn, Johnson.
B5. “Red Alert” (4:34) – Byford, Quinn, Johnson.

Saxon recorded Destiny in 1987 at Sarm Hook End in Berkshire with producer Stephan Galfas and engineers Spencer Henderson and James Allen-Jones. Galfas and Ian Taylor mixed the album at Swanyard Studios in London.

EMI lifted “Ride Like the Wind” as a February 1988 single, which reached No. 52 on the Official Singles Chart. “I Can’t Wait Anymore” became the April 1988 single and reached No. 71.

Destiny reached No. 49 on the Official Albums Chart.

Discography: