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Satan are one of those NWOBHM bands whose influence has always outweighed their commercial profile. By the time Trail of Fire – Live in North America appeared in 2014, the Newcastle veterans were enjoying a remarkable second life following the excellent Life Sentence. Rather than sounding like a nostalgia act revisiting past glories, Satan had returned with the speed, precision and restless guitar work that made their early material so influential in the first place.
Recorded during the band’s April 2014 North American tour, the album captures performances from New York, Montreal and Philadelphia. It was an important tour for Satan, marking their first appearances on North American soil and giving audiences the opportunity to see the classic line-up of Brian Ross, Steve Ramsey, Russ Tippins, Graeme English and Sean Taylor back in action.
The great thing about Trail of Fire is how naturally the different periods of Satan’s career sit together. Material from the band’s celebrated early-’80s catalogue is mixed with songs from Life Sentence, yet there’s remarkably little sense of a divide between old and new. The newer material possesses the same sharp-edged riffing, twin-guitar interplay and melodic intelligence that distinguished Satan during the original NWOBHM explosion.
Brian Ross remains a commanding presence, but the real weapon is the guitar partnership of Ramsey and Tippins. Their playing demonstrates why Satan have become such a revered name among traditional metal and underground speed-metal fans. There’s plenty of technical ability on display, but the performances retain the energy and danger you’d want from a genuine live record.
At 15 tracks and roughly 75 minutes, Trail of Fire is also a substantial document of the band’s comeback era. It reaches back to Court in the Act while demonstrating that Satan’s 21st-century resurrection was much more than an excuse to tour the old material.
For anyone interested in the deeper end of the NWOBHM movement, this is a terrific live album from a band that helped bridge the gap between traditional British heavy metal and the faster, more intricate sounds that would soon develop into thrash and speed metal.
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