MrKnickerbocker
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It's cool that you like the songs, but the production (especially on the mixing and the guitar tone) is very weak.
Judas Priest Discography Discussion (part 2 starting page 20)
- Thread starter Mosh
- Start date
It's cool that you like the songs, but the production (especially on the mixing and the guitar tone) is very weak.
Forostar
Ancient Mariner
Well, people seem to differ on that aspect. It's taste. And/or at least the aspect of production has a different level of importance to people. E.g., could it be LooseCannon's and many other people's favourite album if they would think the production is very weak? If yes, then they'd find production not important.
Well, Forostar is right. I can hardly tell the difference between good production and bad.
True, my mistake. It seems I got a runt with no inner.
Pibroch_Whistler
Educated Fool
SixesAlltheway
Ancient Mariner
MrKnickerbocker
clap hands
Killing Machine/Hell Bent for Leather (1978)
Delivering the Goods - Killer driving tune, Halford’s using some different tones in his voice and I dig it. The solos are great, especially the first (which I assume is Tipton). The drum fill at the end is raw and wicked. The only drawback to this song is the lyrics, with an overwhelming amount of penis metaphors and the “rock band rocking” theme. 10/10
Rock Forever - I love the groovy twin riffing on this, with that cool second guitar coming in during the intro and the blues harmonization in the bridge. Even better, though, is the interplay between the bass and the kick drum. It’s super tight. The song is alright, it kind of diminishes as it goes, and that’s mostly due to another bout of shitty, shallow lyrics about rocking. If I pretend this song is about free base cocaine I guess I can deal. The ending is astounding and I wish the whole song sounded like that. 8/10
Evening Star - What a waste of a good tune. The intro and first verse are moody and magical, calling to mind Children of the Sea/Damned, but this is ruined by a major key chorus that’s just cloying in its sweetness. Once the guitar solos kick in it gets a lot better, only to fade out on that terrible refrain. The lyrics sound better at first glance (cause at least they’re about something), but I’m just curious: aren’t all stars evening stars? That’s when stars come out, Rob. I’m seeing through your faux cleverness. 5/10
Hell Bent for Leather - A banger through and through. The song that Jon Schaffer uses as the template for all of his vocals. Guitar solo tapping! The chorus and Wrathchild-y guitar and drum tail riffs are so catchy. I don’t love the ascending interlude vocal part, but it’s a minor thing. 10/10
Take On All the World - The only redeeming quality of this song is Halford experimenting with his vocal tone. His gruff singing is actually really cool and I love the sound. He’s also able to switch into his higher range with perfection. Unfortunately, this attempt at sounding like Queen falls flat on its lame face. It goes absolutely nowhere. It’s musically and lyrically bare. One of the worst songs yet in the discography. 2/10
Burnin' Up - I adore the riffs and groove of this song but once again the lyrics suck. This might be the worst Priest album so far in terms of lyrical content. We get it, Rob, you like S&M. I’m over it. Find something else to write about. Halford’s tone (again - another brand new texture that I love) and performance are fantastic, though. Love the bridge guitar work and drum stops. 7/10
The Green Manalishi - Honestly, I wish Priest would do a covers album like Garage, Inc. I find their interpretations of pop songs superior to a lot of their originals. This tune rocks. 9/10
Killing Machine - Another Tipton burner! Love the groove. It’s a simple tune, but it really rocks. Just when I think it’s getting a little repetitive, the solo break re-energizes everything. 9/10
Running Wild - This is a cool tune but it shamelessly rips off The Wicker Man. I can really hear the influence that Maiden took from Priest on this album. A lot of these songs sound like a jumping off point for the first two Maiden records. It’s another thumbs up from me. Simple, catchy riffs and hooks and a good Halford performance. Thank the gods the second half of this album is picking up the early slack. 9/10
Before the Dawn - A beautiful track with good lyrics, a haunting solo, and another stellar performance from Rob! I just wish they’d expanded on this and turned it into a full epic. It’s simply not long enough, the whole song could be the first part of a 7-mnute heavy ballad... 9/10
Evil Fantasies - ...instead we end on another groan-inducing facepalm. Rob sounds a little bit like 70s Geddy Lee during certain lines in the verse and is a dead ringer for Ian Astbury in the choruses. There’s nothing terrible here, it’s just not a very noteworthy track. By the time it picks up I’ve already checked out. Definitely a poor album closer. 6/10
Album Rating - 7.6/10
Delivering the Goods - Killer driving tune, Halford’s using some different tones in his voice and I dig it. The solos are great, especially the first (which I assume is Tipton). The drum fill at the end is raw and wicked. The only drawback to this song is the lyrics, with an overwhelming amount of penis metaphors and the “rock band rocking” theme. 10/10
Rock Forever - I love the groovy twin riffing on this, with that cool second guitar coming in during the intro and the blues harmonization in the bridge. Even better, though, is the interplay between the bass and the kick drum. It’s super tight. The song is alright, it kind of diminishes as it goes, and that’s mostly due to another bout of shitty, shallow lyrics about rocking. If I pretend this song is about free base cocaine I guess I can deal. The ending is astounding and I wish the whole song sounded like that. 8/10
Evening Star - What a waste of a good tune. The intro and first verse are moody and magical, calling to mind Children of the Sea/Damned, but this is ruined by a major key chorus that’s just cloying in its sweetness. Once the guitar solos kick in it gets a lot better, only to fade out on that terrible refrain. The lyrics sound better at first glance (cause at least they’re about something), but I’m just curious: aren’t all stars evening stars? That’s when stars come out, Rob. I’m seeing through your faux cleverness. 5/10
Hell Bent for Leather - A banger through and through. The song that Jon Schaffer uses as the template for all of his vocals. Guitar solo tapping! The chorus and Wrathchild-y guitar and drum tail riffs are so catchy. I don’t love the ascending interlude vocal part, but it’s a minor thing. 10/10
Take On All the World - The only redeeming quality of this song is Halford experimenting with his vocal tone. His gruff singing is actually really cool and I love the sound. He’s also able to switch into his higher range with perfection. Unfortunately, this attempt at sounding like Queen falls flat on its lame face. It goes absolutely nowhere. It’s musically and lyrically bare. One of the worst songs yet in the discography. 2/10
Burnin' Up - I adore the riffs and groove of this song but once again the lyrics suck. This might be the worst Priest album so far in terms of lyrical content. We get it, Rob, you like S&M. I’m over it. Find something else to write about. Halford’s tone (again - another brand new texture that I love) and performance are fantastic, though. Love the bridge guitar work and drum stops. 7/10
The Green Manalishi - Honestly, I wish Priest would do a covers album like Garage, Inc. I find their interpretations of pop songs superior to a lot of their originals. This tune rocks. 9/10
Killing Machine - Another Tipton burner! Love the groove. It’s a simple tune, but it really rocks. Just when I think it’s getting a little repetitive, the solo break re-energizes everything. 9/10
Running Wild - This is a cool tune but it shamelessly rips off The Wicker Man. I can really hear the influence that Maiden took from Priest on this album. A lot of these songs sound like a jumping off point for the first two Maiden records. It’s another thumbs up from me. Simple, catchy riffs and hooks and a good Halford performance. Thank the gods the second half of this album is picking up the early slack. 9/10
Before the Dawn - A beautiful track with good lyrics, a haunting solo, and another stellar performance from Rob! I just wish they’d expanded on this and turned it into a full epic. It’s simply not long enough, the whole song could be the first part of a 7-mnute heavy ballad... 9/10
Evil Fantasies - ...instead we end on another groan-inducing facepalm. Rob sounds a little bit like 70s Geddy Lee during certain lines in the verse and is a dead ringer for Ian Astbury in the choruses. There’s nothing terrible here, it’s just not a very noteworthy track. By the time it picks up I’ve already checked out. Definitely a poor album closer. 6/10
Album Rating - 7.6/10
terrell39
Ancient Mariner
Glenn plays all lead on this amazing tune which Priest have not played live since (I believe) the British Steel tour! (Delivering the Goods)
MrKnickerbocker
clap hands
Hell yeah! Tipton is easily the winner of this band so far. I admit I was actually familiar with this song before hearing this album as Armored Saint has used this as their live intro song (their version of Doctor, Doctor).
It's a bit uneven but a very important album. Hell Bent For Leather is a much more appropriate title than Killing Machine, as this album is more or less the birth of Judas Priest in terms of sound and image. There are clear attempts at being more commercial although the dark/heavy sound still comes out at times.
The first four songs are classic Priest throughout. I strongly disagree on Evening Star. It's easily one of the best songs on the album and a highlight for 70s Priest. The verses are mysterious and build perfectly into the more direct chorus (which is a great chorus in itself). Delivering the Goods and Rock Forever make up a solid 1 - 2 punch that properly establishes the tone of this album. It's a little catchier, direct, and more upbeat, but still has plenty of heaviness. Rob Halford sounds awesome on these tracks (and the whole album really) and has clearly been working on his voice since we last heard him. Also worth mentioning that the last album came out just months earlier. Take On the World is a dumb song. Forewarning: they try to write essentially the same song again on the next album.
Side 2 loses me a bit. Burnin' Up is awesome. One of my all time favorite Priest "deep cuts." The lyrical content is a little goofy but, honestly, it fits the music. Love the way the song builds up. Really great atmosphere. The riffing and guitar work from Tipton is also top notch. It has an interesting structure too. Green Manalishi is also solid. Unfortunately, after that there isn't much that grabs me. Killing Machine and Evil Fantasies are pretty forgettable, Running Wild is OK but something about it has never stuck with me. I know a lot of people like Before the Dawn but honestly it kind of bores me.
So overall I like Hell Bent For Leather but it's not one I often go for. It's definitely a step down from the previous two albums. I don't dislike the more commercial side of Priest, but it took them a minute to find a way to do that and still sound like Priest. They try lots of different things on this album, some works and some doesn't. The stuff like Take On the World clearly didn't work and eventually, they learned that they can have hit songs while still writing heavy riffs. I'd say Hell Bent For Leather (the song) probably best set the template for the band going forward. Like it or not, it's pretty incredible how much more refined the songwriting is on the next album. But more on that later of course.
Unleashed In the East next right?
The first four songs are classic Priest throughout. I strongly disagree on Evening Star. It's easily one of the best songs on the album and a highlight for 70s Priest. The verses are mysterious and build perfectly into the more direct chorus (which is a great chorus in itself). Delivering the Goods and Rock Forever make up a solid 1 - 2 punch that properly establishes the tone of this album. It's a little catchier, direct, and more upbeat, but still has plenty of heaviness. Rob Halford sounds awesome on these tracks (and the whole album really) and has clearly been working on his voice since we last heard him. Also worth mentioning that the last album came out just months earlier. Take On the World is a dumb song. Forewarning: they try to write essentially the same song again on the next album.
Side 2 loses me a bit. Burnin' Up is awesome. One of my all time favorite Priest "deep cuts." The lyrical content is a little goofy but, honestly, it fits the music. Love the way the song builds up. Really great atmosphere. The riffing and guitar work from Tipton is also top notch. It has an interesting structure too. Green Manalishi is also solid. Unfortunately, after that there isn't much that grabs me. Killing Machine and Evil Fantasies are pretty forgettable, Running Wild is OK but something about it has never stuck with me. I know a lot of people like Before the Dawn but honestly it kind of bores me.
So overall I like Hell Bent For Leather but it's not one I often go for. It's definitely a step down from the previous two albums. I don't dislike the more commercial side of Priest, but it took them a minute to find a way to do that and still sound like Priest. They try lots of different things on this album, some works and some doesn't. The stuff like Take On the World clearly didn't work and eventually, they learned that they can have hit songs while still writing heavy riffs. I'd say Hell Bent For Leather (the song) probably best set the template for the band going forward. Like it or not, it's pretty incredible how much more refined the songwriting is on the next album. But more on that later of course.
Unleashed In the East next right?
I think Knick explained his issues with Evening Star and Take On the World quite well: those happy, populist choruses aren’t his cup of tea. Personally don’t mind them. I find them inoffensive, which is more than I can say for other manifestations of that aspect of Priest in the 80s.
Goods is an excellent song no one ever talks about. Like the enthusiasm here. I wouldn’t give it a 10 but I agree with the take. Leather and Manalishi are straight 10s and essential Priest, even if though Manalishi is even better live. They really mark the most interesting new direction in this experimental album, and really set the tone for the NWOBHM which was fully realized in the following album.
Good take on Rob’s tonal experiments. I, too, like the gruff tones. I also really prefer the bigger wetter sound over the sparser, clearer sound of the previous albums, even though the material isn’t as consistent. Evil Fantasies is a huge miss and the others are pretty good.
This is a not-great, but still worthwhile transition album, in my opinion.
Goods is an excellent song no one ever talks about. Like the enthusiasm here. I wouldn’t give it a 10 but I agree with the take. Leather and Manalishi are straight 10s and essential Priest, even if though Manalishi is even better live. They really mark the most interesting new direction in this experimental album, and really set the tone for the NWOBHM which was fully realized in the following album.
Good take on Rob’s tonal experiments. I, too, like the gruff tones. I also really prefer the bigger wetter sound over the sparser, clearer sound of the previous albums, even though the material isn’t as consistent. Evil Fantasies is a huge miss and the others are pretty good.
This is a not-great, but still worthwhile transition album, in my opinion.
MrKnickerbocker
clap hands
I think they just sound out of place in Priest. The guitarists seem very adept at playing around in minor keys and darker tonalities, but as soon as it swings major and uplifting Rob is the only one carrying the weight.
When Maiden does a happy chorus, it’s generaly accompanied by lilting, dancing guitar melodies that compliment the vocal. So far I haven’t found that level of complexity or songwriting prowess in Priest’s major key moments. Not trying to compare the two really, just trying to further explore my reactions.
MrKnickerbocker
clap hands
Unleashed in the East (1979)
I won't do an in-depth review, but I can easily say that these "live" versions are mostly better than all of the studio recordings. There's an energy present that some of the older recordings simply lack and Rob sounds great "singing live." I definitely don't understand the idea to leave off a bunch of the Killing Machine songs that appear on the bonus reissues. The last two songs on the original pressing (Genocide, Tyrant) are really lacking compared to the versions of the KM tracks. Overall, a great "live" record that I'm sure I'll be coming back to instead of the original albums.
I won't do an in-depth review, but I can easily say that these "live" versions are mostly better than all of the studio recordings. There's an energy present that some of the older recordings simply lack and Rob sounds great "singing live." I definitely don't understand the idea to leave off a bunch of the Killing Machine songs that appear on the bonus reissues. The last two songs on the original pressing (Genocide, Tyrant) are really lacking compared to the versions of the KM tracks. Overall, a great "live" record that I'm sure I'll be coming back to instead of the original albums.
Forostar
Ancient Mariner
I'm catching up very late. Nice you continued Knick, I was already worried.
You like this song way more than I do!
Both have their own qualities.
On the lyrics: you've got another thing coming: the eighties!
Never thought you'd like this "busy" vocal style. Honestly felt you'd dislike it, because of comments on Halford's somewhat similar doings in earlier work.
You like this song way more than I do!
I heard this album earlier than the studio songs and I really dig these fast aggressive versions, especially Tyrant. I like the studio version Tyrant as well but it "became" a bit slow, though.
Both have their own qualities.On the lyrics: you've got another thing coming: the eighties!
terrell39
Ancient Mariner
Genocide - LOVE this version better, except for the end: "On the Rocks!!!!" really annoys me. Like that ending better on the studio version.
Tyrant- the vocals are much better on the studio version (especially the chorus) but i do love the music and energy @Forostar describes on this live version.
Delivering the Goods - almost too fast. The studio version i will have to go with.
The Ripper- the sound and feel of the studio version cannot be topped. Very eerie and so much louder than the rest of SWOD.
The rest of this Unleashed in the Studio, err I mean East, i do agree are superior to the original studio versions
MrKnickerbocker
clap hands
British Steel (1980)
Rapid Fire - Powerful, driving, and just a kickass song. That guitar and drum buildup with the verse change and guitar solo fills that starts around 1:40 is so awesome. It definitely kicks this album into high gear immediately. The main chord riff really feels like a "battering ram" and Halford really brings it on that final vocal wail. Apparently this wasn't the first track on the original US release of British Steel and that's just ridiculous. It's a killer tune. 10/10
Metal Gods - This song picks up perfectly from Rapid Fire and the chordal riffs keep coming. Solid verses and an incredibly catchy vocal melody in the pre-chorus make way for...that atrocious chorus. I like how that riff fills in the back half of each vocal line, but the melody is just so stupid and sterile. I get it, it's metal. It sounds metallic, but that also makes it lifeless. The chorus really drags this song down, as does the overlong stomping outro that sounds like the band shaking a bunch of kitchen appliances around. 7/10
Breaking the Law - It may be apparent already that I truly enjoy the direct, simple Priest hits and this song is no different. It's driving, the main riff is catchy, the chorus is catchy, it's compact, it's just a damn good song. The hits are hits for a reason. The band really proves that you can make a metal pop song with this track. I'm sure most Priest fans consider this the band's "Run to the Hills", but I love it. Halford and Holland's very slight time change while repeating the title at the end is so catchy. 10/10
Grinder - Priest breaks into AC/DC territory here and I wish I could say it was more successful. The riffs are almost non-existent, it's just chords. Halford's really pulling out his voice here, though, and it works. I do like the crunchy bridge section and Glenn's leads are nice throughout. Now that the Grindr app exists, however, I'll never be able to hear this as anything other than another one of Rob's sex songs (which it probably is anyway). The melodies save this one a bit. 7/10
United - Oh Jesus, make it stop. Another poor as piss attempt at a Queen-like stadium sing-a-long. I've finally identified my least favorite kind of Priest song and this is one of them. It might not be as bad as Take On All the World, but it's pretty damn close. The verses are boring, the vocal melodies are half-assed, it's just a lame major key chorus over and over again...ugh. 2/10
You Don't Have to Be Old to Be Wise - Some more AC/DC worship leads to another middling song. There's nothing truly bad here except for my personal pet peeve of rhyming "life" with "strife." Rob's bluesy vocals are actually quite good and so are the solos, but there's nothing special about the song. It's filler. 5/10
Living After Midnight - Another hit! This one is definitely more of a rock song and it definitely has a sing-a-long chorus, but it's catchy as hell. Simple and driving, it's another highlight on the album. It's not as good as Breaking the Law, but it's a classic and the most fun song on the back half of the album. 9/10
The Rage - What the hell is this song? It starts with a weird bass line and then becomes reggae for parts of the verses before a killer classic rock riff kicks in and takes the song up a notch. Certainly the most progressive song and a standout track for me. The wails that Rob uses to end each verse are powerful as hell and truly bring everything together. Normally, I despise reggae, but the short instrumental bits here work in stark contrast to the typical metallic Priest sound that bookend the song. I love the lack of a true chorus and the china cymbal that appears during the last solo parts. The Rage is a stellar dark, moody slab of groove metal. 10/10
Steeler - The previous track would have made a far better closer as this song is just another, standard Priest "-er" song with some stock riffs and aggressive vocals. Nothing that happens in the first 3 minutes of this song is memorable. The last third, however, is pretty awesome as the band crescendos into a flurry of riffing and whammy leads. 7/10
Album rating - 7.4/10
Rapid Fire - Powerful, driving, and just a kickass song. That guitar and drum buildup with the verse change and guitar solo fills that starts around 1:40 is so awesome. It definitely kicks this album into high gear immediately. The main chord riff really feels like a "battering ram" and Halford really brings it on that final vocal wail. Apparently this wasn't the first track on the original US release of British Steel and that's just ridiculous. It's a killer tune. 10/10
Metal Gods - This song picks up perfectly from Rapid Fire and the chordal riffs keep coming. Solid verses and an incredibly catchy vocal melody in the pre-chorus make way for...that atrocious chorus. I like how that riff fills in the back half of each vocal line, but the melody is just so stupid and sterile. I get it, it's metal. It sounds metallic, but that also makes it lifeless. The chorus really drags this song down, as does the overlong stomping outro that sounds like the band shaking a bunch of kitchen appliances around. 7/10
Breaking the Law - It may be apparent already that I truly enjoy the direct, simple Priest hits and this song is no different. It's driving, the main riff is catchy, the chorus is catchy, it's compact, it's just a damn good song. The hits are hits for a reason. The band really proves that you can make a metal pop song with this track. I'm sure most Priest fans consider this the band's "Run to the Hills", but I love it. Halford and Holland's very slight time change while repeating the title at the end is so catchy. 10/10
Grinder - Priest breaks into AC/DC territory here and I wish I could say it was more successful. The riffs are almost non-existent, it's just chords. Halford's really pulling out his voice here, though, and it works. I do like the crunchy bridge section and Glenn's leads are nice throughout. Now that the Grindr app exists, however, I'll never be able to hear this as anything other than another one of Rob's sex songs (which it probably is anyway). The melodies save this one a bit. 7/10
United - Oh Jesus, make it stop. Another poor as piss attempt at a Queen-like stadium sing-a-long. I've finally identified my least favorite kind of Priest song and this is one of them. It might not be as bad as Take On All the World, but it's pretty damn close. The verses are boring, the vocal melodies are half-assed, it's just a lame major key chorus over and over again...ugh. 2/10
You Don't Have to Be Old to Be Wise - Some more AC/DC worship leads to another middling song. There's nothing truly bad here except for my personal pet peeve of rhyming "life" with "strife." Rob's bluesy vocals are actually quite good and so are the solos, but there's nothing special about the song. It's filler. 5/10
Living After Midnight - Another hit! This one is definitely more of a rock song and it definitely has a sing-a-long chorus, but it's catchy as hell. Simple and driving, it's another highlight on the album. It's not as good as Breaking the Law, but it's a classic and the most fun song on the back half of the album. 9/10
The Rage - What the hell is this song? It starts with a weird bass line and then becomes reggae for parts of the verses before a killer classic rock riff kicks in and takes the song up a notch. Certainly the most progressive song and a standout track for me. The wails that Rob uses to end each verse are powerful as hell and truly bring everything together. Normally, I despise reggae, but the short instrumental bits here work in stark contrast to the typical metallic Priest sound that bookend the song. I love the lack of a true chorus and the china cymbal that appears during the last solo parts. The Rage is a stellar dark, moody slab of groove metal. 10/10
Steeler - The previous track would have made a far better closer as this song is just another, standard Priest "-er" song with some stock riffs and aggressive vocals. Nothing that happens in the first 3 minutes of this song is memorable. The last third, however, is pretty awesome as the band crescendos into a flurry of riffing and whammy leads. 7/10
Album rating - 7.4/10
JudasMyGuide
The resident reactionary recalcitrant
Not just on the US release - the same tracklisting came out here in Czechia in the 90's (in fact, I have that pressing). It starts with Breaking the Law instead, which is hardly any worse, though.