Jugulator (1997)

Shortly after the Painkiller tour wrapped up, Judas Priest essentially saw a band-breaking move when vocalist Rob Halford decided to leave the band.  After six years, the world figured Judas Priest was long gone and likely to never return.  By the following year would show the band finally return with a new studio album thanks to finding a replacement for Halford in a singer for a Judas Priest cover band-Tim Owens.  However, this wasn’t the Priest most fans wanted, with inspiration from genres such as death metal and thrash metal creeping their way into an otherwise dominantly heavy metal album on Jugulator.  Owens vocal style proved to be one that, although competent, would drive certain fans away along with the less conventional sound.  At first, the album simply sounds bad, but giving it time to wear off can make it a small pleasure.  The title track, “Burn in Hell,” “Bullet Train” and “Cathedral Spires” are all songs that I personally would love to see Owens come on stage to help perform at least once in a while.  But unless you’re a die-hard Priest fan such as myself, this isn’t an album that’s worth much of a recommendation, if at all.

Demolition (2001)

Not too far from this point in the band’s career, the world had found out originally vocalist Rob Halford was homosexual, though the rest of the band wouldn’t reveal their awareness of it.  Regardless, the less than enthusiastic reception to Jugulator forced the band to rethink how they’d try to approach their next studio album.  The result was an album that tried to bring old fans back…by mixing new approaches with old approaches.  As much as I love Judas Priest, despite having a rather mixed bag of releases, this is an album I simply can’t bring myself to liking.  There are three songs on here that I’d listen to, the rest is trash as far as I’m concerned.  It’s seldom that I’d ever give a song one out of five stars, but almost half the tracks on Demolition received this little accolade.  About the only two things this album has going for it overall are improved production over Jugulator and Owens vocals are noticeably superior.  Yet that’s about as far as the level of praise towards it can go.  Oftentimes I can avoid lousy albums, but this, St. Anger and the second self-titled Killswitch Engage album are all contenders for worst album I’ve ever listened to.

Angel of Retribution (2005)

After 14 years and two less than stellar albums, Judas Priest was essentially considered better off dead than adding more lousy material to their catalogue.  However, light shined forth on the band when they announced Rob Halford would be reuniting for their fifteenth studio album, Angel of Retribution.  Fans were skeptical, however, as the true Metal Gods hadn’t been together in so long and the album’s single, “Revolution,” wasn’t exactly encouraging.  But this proved to be put in the past after the album hit stores, as fans happily took the new material, with the unanimous verdict being that it was a solid release.  And with good reason, Angel of Retribution contains some very strong tracks, such as “Judas Rising,” the Painkiller-like “Hellrider” and one of the band’s better ballads, “Angel.”  While albums such as Point of Entry and Turbo might be seen as more accessible, if someone who’s new to the band wants a recommendation and enjoys straightforward metal, Angel of Retribution would probably be my first suggestion.  This is mostly because it shows the band still possessing their old style but giving it a much needed and relatively welcomed facelift.

Nostradamus (2008)

Judas Priest as of recent have been quite different than they were in the late 70s to early 80s.  Rather than releasing a new album annually or every two years, we’re getting the equivalent to about one album every four or so years.  Given the overall quality of each time frame, it’s a bit of a shame.  What some might also consider a shame is the band’s most recent effort, a 23-track, concept album over an hour long based on the French prophet Nostradamus.  The band repeatedly stated that this is a project they’ve always wanted to do, one that they didn’t want to cut much material from.  As a result, the album has been released on two discs and, as one might expect, reactions have been between underwhelmed and mixed.  I personally find this unfortunate, because despite all of the album’s flaws, it’s still a good, if not great package.  The lyrics are overall far better than most of the material the band have done after Sad Wings of Destiny.  Giving this album a more power metal and at times progressive metal sound was a nice change of pace that didn’t feel ridiculous and despite the album’s runtime, it’s overall a very rewarding journey.  Granted, there are some rather weak points, but Nostradamus also has some of the band’s best, including “Dawn of Creation/Prophecy,” “Pestilence and Plague,” “Persectuion,” “Death,” “Calm Before the Storm/Nostradamus” and “Future of Mankind.”

Killing Machine/Hell Bent for Leather (1979)

For U.S. citizens such as myself, this release from the band is better known as Hell Bent for Leather.  Otherwise, you likely call this album Killing Machine since the U.S. is the only country that saw harm with its “murderous implications.”  Though this debate of irony will have to hold, the album is still here to be listened to and looked at.  Hell Bent for Leather was the first drastic change the band made in both image and sound.  The recipe was to take a far simpler approach to the songs with shorter lengths and a more chorus-driven structure.  Additionally, the band began to wear leather and studs for this album, which has since become a permanent change in style for them.  On a positive note, Hell Bent for Leather still brought some good material with it, including a great Fleetwood Mac cover in “The Green Manalishi.”  However, this album simply isn’t as interesting as what they previous released, not to mention this was the first album by the band that would contain entirely mediocre lyrics.  Easy on the ears for the most casual listener, but without depth or interest, Hell Bent for Leather has found itself as a modest at-best album in my books.

British Steel (1980)

Here’s an album that anyone who knows anything about Judas Priest should be familiar with.  British Steel is a clear contender for the band’s most popular album, both thanks to its featured tracks and legacy.  Unlike its predecessor which was severely lacking in a strong sound, British Steel hit the ball running with incredible energy that became a defining sound for the band.  From the track “Metal Gods” earning the band the same name, to the infamous intro riff of “Breaking the Law,” to the popular party-like tune “Living After Midnight” and much more, British Steel proved how a mainstream sound can work with ease.  If you haven’t guessed, this is an album I very highly recommend, especially if you have yet to get into metal.

Point of Entry (1981)

British Steel’s successor couldn’t have been any more of an ironic follow up than this.  Unlike the vigor which fueled the band’s 1980 breakthrough album, Point of Entry felt more like a mild version of Hell Bent for Leather.  Although this release did contain some live-worthy tracks such as “Heading Out to the Highway” and “Desert Plains,” most of it fell into a relatively dull rut that was even more unremarkable than Rocka Rolla.  The album is so forgettable as a whole that during my most recent discography listen for the band, I actually forgot this album even existed until halfway through Screaming for Vengeance.  Not surprisingly, Point of Entry did little for the band and is one of their weaker overall studio efforts.

Screaming for Vengeance (1982)

A far more proper sequel to British Steel, Screaming for Vengeance saw the band quickly return to form via British Steel.  The main difference here, however, is that Screaming for Vengeance became the first debatable masterpiece Judas Priest had put out since 1976’s Sad Wings of Destiny.  Opening track(s) “The Hellion/Electric Eye” indicate a truly stellar album is to follow and this is precisely what we get.  “Riding on the Wind” and “Bloodstone” subsequently keep the flow going well while “(Take These) Chains” and “Pain and Pleasure” turn down the intensity slightly to help the listener relax before heading full-blast again with the title track.  Just like British Steel, this album has become a huge hit for the band, partly thanks to their biggest hit, “You Got Another Thing Coming” being included.  It was also the first full album release for downloadable content on Rock Band 2 (and is a very worthwhile investment if you’re a fan of either).

For the last two weeks of the semester, I’ll be doing a four part discography review for all 16 studio albums by my favorite band, Judas Priest.  Just about anyone who knows even the slightest bit about metal knows Judas Priest as one of the founding fathers of heavy metal.  They’ve gone through a number of style changes, incorporating a short list of genres into their sound and have since become called the “Metal Gods.”  So here it begins; the start to the end of my semester blogs, dedicated to my favorite band.

Rocka Rolla (1974)

Unlike most bands, Judas Priest’s debut album wasn’t much of a stepping stone for their first coherent genre.  Rocka Rolla also didn’t leave much of an impact on the metal community and is one of the few albums that the band never performs live.  About all that Rocka Rolla has really done is give an idea of what early metal was like and indicate where its roots lye (in blues, dominantly).  The title track is about as close to a single as this record saw and, other than that and “Cheater,” no song has really stood out.  Most listeners have passed off this album as only something for the most die-hard fans to listen to for the sake of curiosity.  And truth be told, this holds up for what I think of the album.  Granted, it’s not bad and has its share of fair enough moments, but ultimately this is one of the two most forgettable albums the band has released.

Sad Wings of Destiny (1976)

Universally considered Judas Priest’s first true album, Sad Wings of Destiny helped give the band some attention and has been listed as one of the most influential records for many metal artists (including Megadeth’s Dave Mustaine).  This album saw far less of the blues tone in Rocka Rolla and pushed for a quicker, heavier style.  Opening track “Victim of Changes” has become a fan favorite for many while tracks such as “The Ripper” and “Tyrant” helped solidify the band’s sound for the future.  Currently, Sad Wings of Destiny holds up as my third favorite Judas Priest album with the aforementioned tracks, “Dreamer Deceiver” and “Island of Domination” being among my favorite songs by the band.  This is definitely one of the band’s strongest albums which should be listened to by anyone who wants a good idea of what metal was like when still mostly developing.

Sin After Sin (1977)

Anyone who has listened to the Iron Maiden album Fear of the Dark will likely agree when I say that it’s one of the most inconsistent albums I’ve ever heard.  Judas Priest’s third album, Sin After Sin, is what I consider to be their equivalent; if fifteen years before it.  When the album starts with “Sinner,” one of the best tracks the band has released (and unfortunately underplayed), it’s easy to expect the rest will match or ever surpass its predecessor.  Unfortunately, about half of the following songs hit below the mark.  As a result, Sin After Sin proves to be competent but simply doesn’t live up to its potential.  Two of the better tracks on the album, “Starbreaker” and “Dissident Aggressor” have also been covered by Arch Enemy and Slayer, respectively.  The former didn’t exactly do a stellar job (not to mention with their original vocalist), though the latter did a fairly commendable job by making it less overzealous than most of their material.

Stained Class (1978)

At this point in Priest’s career, it was pretty safe to say that they were going to release albums rather frequently.  Each subsequent album indicated both slight and drastic changes, with Stained Class being the last gradual progression the band before its successor.  On this album, the band mixed styles akin to its predecessors while showing signs of the more straightforward sound that would gain the band immense popularity.  Of all the content on this album, “Beyond the Realms of Death” has become the most popular, and with good reason.  The lyrics tackled a serious subject matter without reaching into a moody, depression atmosphere.  Interestingly, another song on this album landed the group in hot water with a trial in 1990.  In 1985, two boys attempted to kill themselves, one of whom survived only to die a couple years later.  After the Painkiller tour, the band was taken to court over the cover of “Better By You, Better Than Me,” which appeared on this album.  The reason behind the accusation?  Subliminal messages such as “let’s be dead” when the song was played backwards (in other words, indicating the band wants their fans to kill themselves).  Needless to say, the case was dismissed in the band’s favor, but the parents are now trying to sue the judge who ruled the final verdict.  Back on topic, Stained Class has proven itself a solid entry in the band’s discography that, while amazing, is definitely a must listen for any true Priest fan.

“on a spring night/where anything is possible”

it was a good night for film & media studies @ JHU. the faculty screening was a hit, i think. i was so delighted to see john mann’s films. i hadn’t and they were good. matt porterfield’s new film (Metal Gods) is going to be INCREDIBLE. i took pictures which may appear in various Hop publications and got to hang out with my friends and make new ones. all in all, a good night.

tomorrow i think is going to be pretty dedicated to reading, writing a paper for my Shakespeare class and BGW stuff. then saturday the havoc of the EcoFest, then Sunday D.R. meeting and all the chaos of home. then Monday… well… it starts again. But at least by May I’ll have a little less to do.

thing I’m thankful for today: great friends, who pull through when you don’t expect them to.

smooth sailing, kids.

hs

From The New Yorker online:

“On Saturday night at 8, at UnionDocs, in Brooklyn, Matthew Porterfield’s remarkable first feature, “Hamilton,” will have a rare screening, after which I’ll moderate a discussion with the director, who will also present something from his work-in-progress, “Metal Gods.” I saw “Hamilton” when it premiered at Anthology Film Archives, in 2006; I thought then, and think now, that it’s one of the finest American independent films ever made. It’s not available on DVD, and, in any case, its exquisitely thought-out compositions are best savored on the big screen.”   — Richard Brody

HAMILTON was selected and screened in the 2006 Maryland Film Festival.

La legendaria banda Judas Priest publicó el pasado junio un ambicioso álbum con el título de Nostradamus, llamado a ser la primera “ópera metal”. Todavía no he escuchado el álbum en profundidad, pero os prometo que más pronto que tarde os traeré una detallada reseña que cotinúe la serie comenzada por el “Working on a Dream” de Bruce Springsteen.

Pero la cuestión, más alla del disco, es que este viernes la gira “Nostradamus Tour” recalará en San Sebastián en su primera fecha en España. Y que yo tendré la oportunidad y el placer de asistir a dicho concierto en el Velódromo de Anoeta. Sólo de imaginar a Rob Halford, Glenn Tipton, K.K. Downing, Ian Hill y Scott Travis encima del escenario a unos metros de mí se me ponen los pelos como escarpias. Tendré la oportunidad de presenciar un conciertazo de los “Metal Gods” en la que puede que sea una de sus últimas giras.

El setlist estará compuesto tanto de clásicos (Breaking the Law, Painkiller, Electric Eye, Hell Bent for Leather) como de canciones inéditas en directo (Eat Me Alive), que llevan mucho tiempo sin ser tocadas como “Rock Hard Ride Free” o algunas del nuevo disco (Dawn of Creation-Prophecy, Death). El repertorio escogido es muy diverso, ya que abarca la mayoría de los discos de la extensa discografía de Judas, pero son Painkiller y Screaming for Vengeance donde más peso recae, con tres canciones cada una (Painkiller, Hell Patrol, Between the Hammer and the Anvil y Electric Eye, You’ve Got Another Thing Comin’ y Devil’s Child, respectivamente).

Los teloneros son también colaboradores de lujo. Nada menos que Testament y Megadeth actuarán antes de que Judas salgan a escena. Esperemos disfrutar también con el señor Mustaine  compañía.

Quizá Rob no llegué a alguno agudos de Painkiller, quizá Glenn o K.K. no claven algun solo (lo dudo mucho), quizá la base rítmica no sea perfecta por momentos, pero sin duda alguna el viernes 13 de marzo de 2009 será un día que recordaré toda mi vida.

Y por supuesto, el sábado tendréis una completa crónica del concierto en el blog.

JUDAS PRIEST se presentó por segunda vez en nuestro país demostrando lo vigente que se encuentra la banda en vivo tras su larga carrera en un concierto que abrieron los nacionales Panzer.

Los británicos repasaron su discografía en 1 hora 45 minutos de show, incluyendo un par de temas de su último trabajo Nostradamus, sin dejar de lado clásicos como Sinner, Eat Me Alive, Rock Hard, Ride Free; y los que nunca faltan como Metal Gods, Breaking The Law, Painkiller, entre otros.

Una noche marcada por el buen sonido e iluminación, más una escenografía pocas veces vista para un concierto de Heavy Metal en Chile, dando un gran sentido del espectáculo.

Simplemente la raja!!

This may have been a diss to vocalist fill-in Ripper Owens. Halford tells The Dallas Morning News:

“I don’t think a straight man can do my job in Judas Priest. I’ve never said that before. I’m sorry, but they can’t.”

Either way, the Metal God is right about one thing. Only one man could front Judas Priest. And he is not a straight man either. Only one man can carry out that stage performance, wearing that leather gear, revving up that motorcycle engine on-stage. His name is Rob Halford. The best of the best as far as a showman, a singer, and a metal founding father. Judas Priest is no gimmick of leather and studs. This is his life.

Ripper — though good — did not have the essential flare of a Rob Halford. Judas Priest was not Judas Priest without Halford.

Carry on, Metal God.