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██▌ Artist...: Saracen ░▐██▌
░▐██ Album....: Change of Heart ░██▌░
▓▐██ Year.....: 1984 ▓▐██▓
▓▐██ Rel.Date.: 2020-12-08 ░▐██▓
▐██ Genre....: Hard Rock ██▌░
░ ██▌ Label....: Roadrunner Records ██▌
▐██ Source...: CD ▐██
░▐██▌ Type.....: Album ▐██▌░
▓▄████ Quality..: VBR, 44.1kHz, Joint Stereo ████▌░
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1. We Have Arrived 4:11
2. Love on Sight 3:21
3. Julie 4:05
4. Seabird 4:31
5. Meet Me At Midnight 3:10
6. Jekyll & Hyde 3:24
7. Cheatin' 4:09
8. A Face in the Crowd 4:03
9. Hot Love 3:40
10. Bridge of Tears 4:40
------
39:14
Music appreciation is a weird thing. For a band to be considered ægoodÆ
usually it musters up the ability to æperformÆ a genre well, am I right?
But also, we want some æspiceÆ to the sound of a band (and its
execution); ôputting its own spinö on the genre ôits own takeö so to
speak. People argue that a band sucks, or an album sucks, because itÆs
groove, not thrash, or itÆs too hard rock, not heavy metal û or a bands
release was too thrashy, and and not ædeathyÆ enough. Interesting, then
on the other hand bands get blasted for æperformingÆ a genre without
straying from the straight forward formula (riffs, subject matter, song
titles, speed etc); so what we want as music fans in an album or band is
a mixture of a genre æperformedÆ well (with all of its hallmarks,
clichΘs and expected attributes) coupled with a bandÆs original æspinÆ
or ætakeÆ; an original flavour û something that makes it stand out
within a field, yet it still can be classifiable as fitting within the
boundaries of said genre. Saracen is a great example of this issue;
retaining just enough of the NWOBHM sound (the signature British toned
vocals of Steve Bettney, the low, speedy rockin-ness of tracks like
æRock of AgesÆ) but offer far more depth in their approach, which
arguably sits astride the boundary of 70Æs progressive rock. This is an
enjoyable mix which is at times amazing (largely evidenced in their
debut full-length) and perhaps one of the best examples of how to be
part of a genre and have a powerful unique sound added into the mix.
On this album, Saracen retains much of the keyboard infused, deep
lyric-focused progressive elements of their first album, crafted
together with attributes of the NWOBHM. While this one is interesting,
thoroughly enjoyable and drenched in songwriting proficiency and
re-playability û it perhaps fails to top their more epic debut album. On
here we have some great progressive numbers, as well as some more
melodic, softer, pop rock sounding songs û exhibiting the bandÆs Yes and
Heart influences. While there are strong numbers a plenty û they fail to
have that mindblowing epicness you find on the first one (with at least
four songs over six minutes to my memory) with æReady to FlyÆ being an
obvious masterpiece). Anyway, while we still have some deep subject
matter û much of the content seems to be more down-to-earth such as the
pop-sounding æJulieÆ - a very sift edged number. Saracen, though
producing an awesome album here, seems to shift focus to a more
conventional 3-minute song formula û and while they do this incredibly
well (The thundering æJekyll & HydeÆ) it does make the album seem to
lack in the mind-blowing epic qualities of the first album.
That said û there are some amazing cuts on this offering. The
aforementioned features great subject matter and showcases awesome
lyrics, in a more straightforward, heavy (cf. the majority of their
material) NWOBHM sounding song. The strong opener æWe Have ArrivedÆ û
with its title that seems to conjure up something like youÆd find on Def
LeppardÆs debut, is actually an energetic, progressively space-themed
rocker, with heavy doses of keyboards and those trademark vocal
harmonies and choruses. An extremely well-written song that showcases
BettneyÆs awesome vocals. Though his voice has that very typical NWOBHM
tone û he can hit notes very well, sounding full of conviction and
passion, and he executes with a beautiful vibrato. They keyboard solo in
this one is very sweet, and the guitar lead, which comes in harmonizing
is very much the icing on the cake. Phenomenal number this one, with a
chorus that you may just want to sing along to.
The strong ballad æBridge of TearsÆ features piano, bongo drums and
soulful guitar leads. Vocals are awesome on this one, again evoking that
Rob Halford comparison, with that meaningful vibrato, and heartfelt
lyrics. Here Saracen not only shows their originality within the genre,
but proves they are probably one of the best NWOBHM bands to attempt the
ballad û yes itÆs its that good, reminding me of æLast Rose of SummerÆ
by Judas Priest. Not exactly conventional for the NWOBHM genre, but here
they really shine through with their originality as a band. Guitar leads
in this are as well structured and toned for the subject matter as
youÆre going to get.
æCheatinÆ though not a favourite track, is a very well sung symphony or
almost Halford like vocal harmonies, crisp drums and dramatic guitar
leads û bearing much similarity to 70Æs rock like Grand Funk Railroad.
æLove on SightÆ is another more conventional, pop-rock sounding number,
rich in female backup vocals, features a slower pace, and
straightforward love-themed lyrics. A very poppy chorus on this one is
the focus, and this song doesnÆt feature the complexities of their other
works. The pop sound is perhaps most palpable in the track æJulieÆ as I
mentioned before û which is kinda run-of-mill, though not a bad cut; the
subject matter is a little familiar, and it doesnÆt grab your heart like
æSeabirdÆ or æBridge of TearsÆ. Back to the more straightforward rockers
now û æHot LoveÆ is arguably the most NWOBHM sounding track on the LP
and does kick a bit of ass. When this band attempts the genre, they do
it better than many, bringing interesting riffs, good structures, more
impressive lyrics, and enough of that ass-kicking roughness that made
bands like Badger so great. Keys continue to feature in even these
tracks, bring additional melody and thickness.
All in all a great album indeed. Saracen are easily one of the more
original, and technically proficient bands of the NWOBHM. With the
ability to tackle various sub-types of song, and perform either the
progressive 70Æs rock stuff, the poppy Heart-influenced stuff, or the
rough and ready NWOBHM stuff, and to do it well, Saracen are certainly a
force to be reckoned with. More emotion is detectable in the songs, and
riffs stick out more. The harmonies in this one are awesome and showcase
songwriting talent. Basically, Saracen are experts at blending various
genres/influence to craft a unique sound of their own. Their originality
and depth makes them streets ahead of many contemporaries, but their
ability to write ass-kicking rockers means they can hold their own
against bands like Samson and Diamond Head. While this album kicks a
tonne of ass, the lack of drawn out epics a la the debut album is a
slight disappointment û deeper themes are explores, but not elaborated
upon like they were in tracks like æDolphin RideÆ and æCrusaderÆ and the
aforementioned æReady to FlyÆ off the first album. Either way this is
still a killer album that sits right up there in my favourite NWOBHM
records. Well worth investing in.
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