Album Review: Saxon - Eagles Over Hellfest
Reviewed by Gareth Pugh
It’s hard to comprehend that Saxon are into their 48th year of existence! Let's assess that for a minute, forty eight years! It truly is extraordinary that not only are they are still going, but that they are still releasing albums of top quality, and the last three studio albums are as good as any of their classic 80’s output, and naming no names, put some younger bands to shame with how good they are. Not only that, but they are still an absolutely fantastic live act, performing at a level that bands twenty or even thirty years younger would struggle to match.
‘Eagles over Hellfest’, as it says on the tin, documents the bands outstanding live set at 2024’s Hellfest festival, and consists of mostly classic material with a smattering of new tracks, one of which opens the show, with the unmistakable voice of Brian Blessed blasting out, the title track from the latest album “Hell, Fire and Damnation” showcases just how good Saxon still are, with an absolute powerhouse of a song, that will be long in the Setlist. After the well-received duo of ‘Motorcycle Man’ and ‘Power & the Glory’, the later with its massive singalong chorus, the pulsating bassline of Nibbs Carter introduces another new one, the fantastic ‘Madame Guillotine’.
The rest of the set is made up of tracks from the band’s first six albums, and they pull out classic after classic, ‘The Eagle has Landed’ follows ‘Dallas 1pm’ before the anthems of ‘Strong Arm of the Law’, ‘And the Bands Played On’, ‘Denim and Leather’, and of course ‘Wheels of Steel’. Nigel Glockler proves throughout he’s still a fantastic drummer, while the duo of long-time guitarist Doug Scarratt and recent addition Brian Tatler, himself a veteran from Diamond Head fame and has stepped into the ranks seamlessly to replace original guitarist Paul Quinn, peel off riff after riff and solo after solo with consummate ease.
Then of course you have the main man himself; Peter ‘Biff’ Byford, whose voice is still as unique and powerful as it was back in 1978! His banter between songs is as funny and effortless as ever, and he naturally coaxes the crowd into participation, persuading them to wholeheartedly sing along with every track and especially the encores of ‘Crusader’ and ‘Princess of the Night’ of course, what Saxon show would be complete without it.
Summing up, this is a very good live album, and showcases a band that just keeps getting better and better, the question is, is it essential, probably not if you already own one of the thirteen official Saxon live albums, but if you don’t then this certainly isn’t a bad place to start.
