Saxon's "Crusader," a hallmark of NWOBHM in 1984, exemplifies the genre's evolution. Produced by Kevin Beamish, known for his 1980s metal expertise, the 12" Gatefold vinyl offers a tactile journey. This album, a blend of anthems and experimentation, embodies the era's heavy metal spirit. A testament to Saxon's prowess, "Crusader" stands as a pivotal release, capturing the essence of a vibrant musical period.
In the vibrant era of the New Wave Of British Heavy Metal (NWOBHM), Saxon emerged as one of the genre's enduring icons. Their sixth studio album, "Crusader," released in 1984, stands as a testament to the band's prowess and the overall spirit of the NWOBHM movement. This expository article delves into the time period surrounding the album's release, exploring its production nuances, and shedding light on the unique characteristics of the 12" vinyl LP format with a Fold Open Cover (FOC), commonly known as a Gatefold cover.
The NWOBHM Phenomenon
The late 1970s and early 1980s witnessed a musical renaissance in the United Kingdom with the rise of the NWOBHM. Bands like Iron Maiden, Judas Priest, and, of course, Saxon, played a pivotal role in shaping the heavy metal landscape. Characterized by powerful vocals, twin guitar harmonies, and a raw, energetic sound, NWOBHM was a rebellion against the prevailing musical norms.
"Crusader" in the Context of 1984
Released in 1984, "Crusader" arrived at a crucial juncture in the evolution of heavy metal. The genre was expanding its horizons, incorporating diverse influences while maintaining its hard-hitting core. Against this backdrop, Saxon's "Crusader" showcased the band's evolution, featuring a mix of anthemic tracks and more experimental sounds.
Production Insight: Kevin Beamish's Expertise
At the helm of "Crusader's" production was Kevin Beamish, a seasoned engineer with a notable presence in the 1980s metal scene. Having previously worked on albums for Leatherwolf and Saxon, Beamish brought a wealth of experience to the table. His production style complemented Saxon's sonic identity, resulting in an album that retained the raw energy of NWOBHM while incorporating a polished sheen.
The Gatefold Experience
The physical format of "Crusader" adds another layer to its allure. The 12" LP black vinyl, a staple of the time, offered a tangible connection between the listener and the music. The Fold Open Cover, or Gatefold, enhanced the album experience. Opening the cover revealed expansive artwork, lyrics, and additional information, creating a multisensory journey for the audience.
Album Fact Sheet: SAXON - Crusader NWOBHM FOC |
Music Genre:NWOBHM British Heavy Metal |
Album Production information:The album: "SAXON - Crusader NWOBHM FOC" was produced by: Kevin Beamish Kevin Beamish is an American music producer, sound engineer, during the 1980s he has produced and engineered several heavy metal albums for bands like: Leatherwolf and Saxon. Sound/Recording Engineer(s): Kevin Beamish, Bruce Barris Bruce Barris (Sound Engineer, Producer) during the 1980s he has been producing and engineering music albums for the Heavy Metal bands like: Leatherwolf, Sanctuary, Saxon, Shok Paris.. This album was recorded at: Sound City, LA Mastered by George Marino at: Sterling Sound, New York City, NY George Marino was a highly acclaimed Senior Mastering Engineer at Sterling Sound in New York City. Born on 15 April 1947, in the Bronx, New York, he became one of the most experienced and influential sound mastering engineers in the world. With his unparalleled expertise, Marino played a significant role in shaping the sound of countless albums across various music genres. From a young age, Marino displayed a deep passion for music and an innate talent for audio engineering. He began his career at Capitol Records in New York, where he worked as a mastering engineer and honed his skills in audio post-production. In 1973, Marino joined Sterling Sound, a renowned mastering facility founded by Lee Hulko. It was here that he would leave an indelible mark on the music industry. Over the years, George Marino mastered an extensive catalog of albums for a wide range of artists and musical styles. His meticulous attention to detail and exceptional ear for sound allowed him to consistently deliver exceptional quality and clarity in his work. He possessed an intuitive understanding of how to enhance the dynamics, balance, and overall sonic experience of each record he touched. During the 1980s, a pivotal era for heavy metal music, George Marino worked on numerous influential albums in the genre. His mastering contributions to these records played a crucial role in shaping the iconic sounds of heavy metal during that decade. Some notable albums he mastered include:
These albums, among many others, showcase Marino's contribution to the heavy metal genre's sonic landscape during the 1980s. His meticulous mastering work ensured that these records had the power, clarity, and impact necessary to captivate listeners and establish their enduring legacies. George Marino's career spanned over four decades, during which he received numerous accolades for his outstanding contributions to the music industry. His expertise and mastery of sound engineering made him a highly sought-after professional, and he worked with a diverse range of artists, including AC/DC, Metallica, Guns N' Roses, Coldplay, and many more. Tragically, George Marino passed away on 4 June 2012, leaving behind an extraordinary legacy as one of the most skilled and respected mastering engineers of his time. His dedication to his craft, meticulous attention to detail, and unparalleled expertise continue to inspire and influence audio engineers and musicians worldwide. George Marino's contributions to the art of sound mastering remain an enduring testament to his extraordinary talent and passion for music. Album cover design: Paul Gregory |
Record Company / Catalog number / Label: Carrere 66081 |
|
Record Format: 12" Vinyl Stereo Gramophone Record Total Album (Cover+Record) weight: 280 gram |
Year & Country: 1984 Made in France |
High Quality Photo of Album Front Cover "SAXON - Crusader NWOBHM FOC" |
|
|
|
Note: The images on this page are photos of the actual album. Slight differences in color may exist due to the use of the camera's flash. Images can be zoomed in/out ( eg pinch with your fingers on a tablet or smartphone ). |
Album Back Cover Photo of "SAXON - Crusader NWOBHM FOC" |
|
Inner Sleeve of "SAXON - Crusader NWOBHM FOC" Album |
|
Photo of "SAXON - Crusader NWOBHM FOC" Album's Inner Sleeve |
|
Enlarged & Zoomed photo of "SAXON - Crusader NWOBHM FOC" Record's LabelUsing the marked/"highlighted" rectangles below , you will be able to correctly identify this release of the album. |
|
Photo of "SAXON - Crusader NWOBHM FOC" 12" LP Record - Side One: |
|
Photo of "SAXON - Crusader NWOBHM FOC" 12" LP Record - Side Two: |
|
Personnel/Band Members and Musicians on: SAXON - Crusader NWOBHM FOC |
|
Complete Track-listing of the album "SAXON - Crusader NWOBHM FOC" |
|
The detailed tracklist of this record "SAXON - Crusader NWOBHM FOC" is:
|
Saxon was a British heavy metal band that emerged in the late 1970s and went on to achieve considerable success during the 1980s. The band, which consisted of Biff Byford on vocals, Graham Oliver and Paul Quinn on guitar, Steve Dawson on bass, and Nigel Glockler on drums, was known for their high-energy performances, catchy hooks, and hard-driving riffs.
During the early 1980s, Saxon released a string of successful albums, including "Wheels of Steel" (1980), "Strong Arm of the Law" (1980), and "Denim and Leather" (1981). These albums established Saxon as one of the leading bands in the new wave of British heavy metal, alongside bands like Iron Maiden, Judas Priest, and Def Leppard.
One of the defining characteristics of Saxon's music during this period was their use of twin guitar harmonies, a technique popularized by Thin Lizzy and used by many of the leading metal bands of the time. This technique was particularly prominent on songs like "Princess of the Night" and "And the Bands Played On," both of which became fan favorites and staples of the band's live shows.
Saxon's success during the 1980s was not limited to the UK. The band was also popular in the US, where they toured extensively and made a number of high-profile appearances on shows like "The Merv Griffin Show" and "American Bandstand." Their popularity in the US was helped by the fact that they had a sound that was more accessible than some of their contemporaries, with a heavy emphasis on melody and catchy hooks.
Despite their success, Saxon was not without their share of controversies during the 1980s. One of the most notable of these was their decision to play a show in apartheid-era South Africa in 1981, which led to widespread criticism and accusations of racism. The band defended their decision, stating that they did not support apartheid and that their primary motivation was to play for their fans in the country. However, the controversy led to a boycott of the band in some countries, and they were banned from performing in New Zealand and Australia for several years.
There have been several controversies surrounding the English rock band Saxon throughout their career. Here are a few notable ones:
"Denim and Leather" controversy: In 1981, Saxon released their album "Denim and Leather" which paid tribute to their fans and the New Wave of British Heavy Metal scene. However, the album cover featured a photo of two young boys wearing denim and leather jackets, which some critics and fans felt was inappropriate and exploitative. The band defended the cover, saying it was meant to symbolize the next generation of metal fans.
"Crusader" controversy: In 1984, Saxon released their album "Crusader" which had a title track that was accused of promoting Christian crusades and religious intolerance. The band denied these allegations and said the song was meant to be about standing up for one's beliefs.
Nigel Glockler's firing: In 1987, Saxon fired their drummer Nigel Glockler due to creative differences. This caused a rift in the band and led to several lineup changes over the years.
Graham Oliver's departure: In 1995, Saxon parted ways with guitarist Graham Oliver, who sued the band over trademark infringement for continuing to use the Saxon name without his consent. The lawsuit was settled out of court, and Oliver went on to form his own version of Saxon.
"Solid Ball of Rock" artwork: In 1991, Saxon released their album "Solid Ball of Rock" which featured artwork that was accused of being sexist and objectifying women. The band defended the artwork, saying it was meant to be tongue-in-cheek and not to be taken seriously.
In addition to their controversies, Saxon also faced some internal tensions during the 1980s. One of the most significant of these was the departure of guitarist Graham Oliver in 1995, which was followed by a period of declining commercial success and changes in the band's lineup. However, Saxon remained a popular live act and continued to release new music throughout the 1990s and 2000s.