EMI - 1988
8/10
To think, Saxon's first "shark-jump" album Crusader got chastised for being a "pop record," which is as hilarious as it is incorrect. All it would take is a few more releases to get to their true pop endeavor, which gets exactly the response from the online-metalloid crowd that you'd expect. It was not uncommon for early heavy metal acts to take the synth-glazed, or otherwise glam/radio approach in the late '80s, but even I can admit that Saxon took that to another level. To nobody's surprise, I still have a throbbing, veiny, soft-spot for Destiny, one that despite its general reception at least offered something different, just before their career would see three decades of the same record made over and over again.
Granted, it was a hell of a ballsy move to open things with a Christopher Cross cover, that being "Ride Like The Wind," but I find it to be a rather compelling start in its crystal-clear yet weighty delivery. Don't get too used to that; if you don't know this record, by this point you've probably gathered that much of Destiny is smooth-surfaced radio rock ranging from steady gang-chorus numbers to full-on emotional ballads. Regardless of one's taste, I have to hand it credit for maintaining a consistent feeling throughout the disc, with each track feeling like it belongs. You've still got your solos, riffs are written nice and tight, and Biff still holds all the power from before in his voice. It just comes across in a watered-down fashion, aligning with the likes of Def Leppard's Hysteria only a year prior (and I'd personally take this one over that).
I won't pretend things here are untouchably immaculate, but the hard rock tunes still maintain some of the band's personality if you can just get over the colorful atmosphere. An obvious example is "Calm Before The Storm," breaking through with loads of harmony over steady riffing and some synth-leads in the chorus for good measure. Following that, "S.O.S." even dips into the minor tones and creates a suspenseful crawl to a longer Dokken-esque tune, which I think was built in wonderfully. For the side that looks inward to the Englander's more familiar themes, you may find some solace in the likes of "Jericho Siren" because of its harder drive and historical digs. Or, perhaps check the speedy momentum of "For Whom The Bell Tolls," easily being the only song that you could safely call metal.
On the other hand, being the sucker for an '80s ballad that I am, I adore the true softees that are laid down beautifully. "I Can't Wait Anymore" is carried by a slower bass rumble with clean guitar licks, and a build-up to a chanted, emotionally powerful chorus, glittered with pretty keyboard toppings. Say what you will about that type of song, I know it's not a go-to for many a metalhead, but the execution of it is still done in a flattering way. Honestly, even these types still have a fairly booming foundation with harder drum hits to add some personality, despite being anything but heavy. Picture a spruced-up Don Henley tune, which is a good way to describe "Song For Emma" as well, acting as a part-two to the former. However, to hold myself accountable, this one is definitely less memorable.
Is Destiny anything worth halting what you're doing over? Nah. Am I a little heavy handed here? Probably, but would you have me any other way? An album being different is never an excuse for praising bad music, but I simply don't think the music is bad. Despite the different directions we see, it at least all feels like it fits, regardless of some obvious cheese-filling. Saxon went out of their lane here, but they cooked-up an interesting derivative, and for that their final album worth hearing (save for Lionheart, that one smacks hard) will always hold a space in my heart.
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