SixesAlltheway
Ancient Mariner
Painkiller for me too. If I put each album remaining against each other it is the album I could live without the most or least likely to put on if I had to choose between these 5 albums...
Best Album Ever Survivor: Somewhere In Time wins
- Thread starter mckindog
- Start date
Painkiller, although I'd probably vote for Piece of Mind next.
Unknown One
I see the ghost of navigators.
Piece of Mind and if Painkiller goes out now, then this survivor is officially a farce. 
Saapanael
Ancient Mariner
Piece of Mind and if Painkiller goes out now, then this survivor is officially a farce.
+1111111111
Powerslave used to be my favourite too, and I agree with Foro on The Duellist. I voted for Piece of Mind. Painkiller has to prevail! Painkiller will prevail!
Edit: There were 13 voters last round, there are currently 13 votes this round. It's very likely that this will be a farce extraordinaire.
Forostar
Ancient Mariner
Ariana, when I saw your vote in the morning (after I voted) I slammed my forehead and thought that I should have voted for Powerslave as well, because it could have generated more votes than POM (that turned out different).
I didn't expect you would vote for a Maiden album in this stage, with a non-Maiden album left in the game.
Especially Painkiller. Cool you like it! I wasn't sure about it, since I remember a vote (or more) for it, earlier in the game.
Alas, it goes out now, unless anyone else wants to vote for POM.
Cornfed Hick
Ancient Mariner
Voted for POM, which is now tied with Painkiller. The real farce is the notion that Painkiller is the greatest non-Maiden album of all time. Anyone thinking of joining this forum who reads that will think we've lost our minds.
Crimson Idol
Caveman
Mine was the 2nd vote 
It'll be between SSOASS/SiT/Painkiller for me, all have their merits and all are mood dependant... I think Painkiller is the only one that doesn't have tracks I would skip past, so in that sense is probably my favourite of the remaining.
It'll be between SSOASS/SiT/Painkiller for me, all have their merits and all are mood dependant... I think Painkiller is the only one that doesn't have tracks I would skip past, so in that sense is probably my favourite of the remaining.
SixesAlltheway
Ancient Mariner
Well, with the way this is going, Painkiller could win the overall top 10 that even includes the Maiden albums
Crimson Idol
Caveman
I would disagree with almost every album in this game as being even a contender for 'greatest album', but again - it's favourites, not 'best'
Hell.. my favourite album of all time got unanimously (except for me ofc) voted out in 1 round >.>
SixesAlltheway
Ancient Mariner
I lost all of my faves in the preliminary rounds too. 
Saapanael
Ancient Mariner
Painkiller and Somewhere in Time.
Rules are here:
Maiden vote-spliting means Pictures makes its final move into sixth.
Painkiller fends of Piece of Mind, which drops into slot number four.
TOP 10 (Non-Maiden edition)
1. Painkiller
2. Moving Pictures
3. Heaven and Hell
4. Chemical Wedding
5. Ride the Lightning
6. Screaming For Vengeance
7. Accident of Birth
8. Defenders of the Faith
9. Sin After Sin
10. Rising
TOP 10 (Iron Maiden)
1.
2.
3.
4. Piece of Mind
5. The Number of the Beast
6. Brave New World
7. A Matter of Life and Death
8. The X-Factor
9. The Final Frontier
10. Killers
TOP 10
1.
2.
3.
4.
5. Piece of Mind
6. Moving Pictures
7. Heaven and Hell
8. Number of the Beast
9. Chemical Wedding
10. Ride the Lightning
Forostar
Ancient Mariner
Painkiller (1990)
Who would have thought that after twenty years of existence and 11 released studio albums the Priest would come up with such a powerful and energetic 12th record? Important reason should be new member Scott Travis. With him on drums, the horizons of speed and heaviness became broader in an instant. Also the production contributed to a great sounding record. Every piece fell in its right place. Is everything on Painkiller completely new? On the previous album, Ram it Down, there were already some signs. Listen to Hard as Iron, the intro of Heavy Metal and the title track. Surely Priest must have thought that these elements should be kept to make something special.
All this resulted in the best combination of aggression & melody imaginable. The riffs, the solos, the vocals, the song material, it's all spellbinding. I advise everyone to hear this album with headphones, if you haven’t yet. The guitars on the left and right side are interesting to follow. Let’s do a song by song review.
Painkiller
The title track has Rob Halford at his most menacing. Perhaps his continuous screaming is hard to bear for some, but always keep in mind: there’s music with tremendous drive underneath and a certain instrumental midsection coming up. So I’d say his vocals fit and they take a good break as well. When Halford retreats (right after his “Brighter than a thousans suns…” delivery) something awesome is coming up. Glenn Tipton does his part 1 solo, which is pretty cool already, but part 2 is the better one, and for many an early and strong highlight of the whole album. It starts @ 2:41 in this clip:
The solo has a lot going on, so much that I find it hard to describe (I love the echoing high notes), but there are other factors that make this part so awesome. Tipton’s solos are panned somewhat to the right, so we can focus very well on K.K Downing’s rhythm choppings on the left. This form of merciless scything is a feast by itself. It’s probably not the most difficult piece of rhythm guitar, but it’s the combination of playing a catchy chord scheme with cool power chords, alternating with slightly more open chords. The rhythm section underneath locks in as one unit. What a drive, what a spirit.
Hell Patrol
This short song has an interesting rhythm and tempo, rare in the Priest catalogue. Halford switches back to his “normal” voice but it contains lots of expression and shows a good range.
The “Brutalize you..” and the “Chrome monsters, steel warriors” parts are particularly cool.
Nice harmony in the middle.
All Guns Blazing
I find this song a bit less impressive after having heard the title track. It’s less aggressive and the solo (again a lengthy Tipton solo) is less impressive. The solo comes in quite early. Right after it we get a slower part with some screaming licks, before we return to the second couplet. It ends with another Tipton solo and heavy gun (cannon!?) shots.
Leather Rebel
This song is an echo of Hard as Iron, rhythmwise, but for the rest it doesn't remind me that much of it. I particularly like the guitar harmony, which lacks(!) rhythm guitars.
These last two songs were IMO the least good ones. So from now on it gets only better.
Metal Meltdown
Like on the song Heavy Metal from the previous album, this one also starts with a cappella soloing. Last time it was only Glenn Tipton, but this time K.K. Downing starts and Tipton follows. I am especially impressed by Halford in the pre-choruses and bridge before another round of guitar duels (KK/Glenn/KK/Glenn) starts. Then comes an unusual harmony, quickly followed by a slower part.
Night Crawler
After the meltdown sounds fade away, a short soundtrack serves as interlude for this little tale of horror. The drums are dynamic. They leave some bass drums out in the couplets, giving some contrast to the continuing rhythm guitars, plus more room to Halford who sings in a lower tempo. In the pre-chorus the instruments and voice (“Straight out of hell, one of a kind..”) accentuate in unison again.
Absolute highlight is the speech in the middle. Very atmospheric. I always have an urge to “speech” along with it (I rarely have that with vocals but this grabs me quite a bit).
The content of the words might be cheesy, but the way he does this shows how many things Halford can do with his voice.
Between the Hammer & the Anvil
A personal favourite of mine. The beginning is quite original. It starts with pure chords joined by Ian Hill’s bass giving a special edge to it. Then the drums fade in and an unexpected mid tempo starts. A hammer sounds on an anvil and Halford does a well timed scream.
In this song, the main role is not for Halford. The x-factor in this song are the rhythm guitars in the couplets! It was a great decision to sing short sentences on top of these incredibly melodic/harmonic chords. The riffs have Halford alternated with instrumental moments. In addition, from the second couplets on we also will hear nice guitar melodies, played by Tipton. Let’s not underestimate Halford though. I don’t know how he does it but the drama he injects into those short sentences is very convincing.
The song returns to the chords of the intro, the hammer strikes on the anvil…. and then…
The best solo K.K. Downing ever recorded! On top of that great rhythm guitar pattern from the couplets.
Tipton continues with some spellbinding tapping over some descending doomy chords, but it can’t match K.K. this time. Love the way the rhythm guitars come back. First Glenn, then K.K. locking in. Halford ends with superb screaming, a few more lines, and the song fades out as it begun.
A Touch of Evil
Without a break the song flows into the winds of the next song intro. This is the slowest song, and the only one with keyboards. Very dramatic with once again a very convincing Halford.
There’s a certain suspense in this song that does it. The solo with the wonderful supporting guitar melody (also played on acoustic guitar if you listen well) has a great build-up.
If you think that was all, you’re wrong. Halford comes in singing over a completely different bridge. It’s bombastic and fits the lyrics well. It ends with the a cappella “You’re possessing me!”. Neatly done, it pierces straight through the heart.
Battle Hymn / One Shot at Glory
The best album closer on a Priest record, and with the exception of Rime of the Ancient Mariner (yeah I still have love for Maiden left after writing all this), One Shot at Glory is the best album closer on any record. Battle Hymn serves not only as an intro but also as the base for an instrumental part later on.
Starting with the rhythm guitars, we’re getting ready for a spectacle of epic proportions.
Tipton takes us on the road with his short solo and Halford starts. He actually uses various techniques throughout the whole song. Impressive, but probably so difficult to do live that the song was never done on stage. The song has a Maidenish chorus with galloping rhythm guitars. Before the second couplet we get a touch-of-lightning solo by K.K.
After the second chorus we’re in for a lead guitar feast. K.K. really does it again.
The way he enters is awesome (@ 42.57). So sharp and bright. He continues with mind dazzling shredding, alternating high, shorter and lengthier parts with also lower hacking stuff. Guitar wankery? Guitar wankery of the highest order then. Again he steals the show although Glenn’s solo is very nice as well (great ending)!
Right after that there’s an interesting part. The chords of the intro return and the guitarists play their baroque melody in a 1,2,3,1,2,3 tempo while the double bass drums go slightly faster 1,2,3,4,1,2,3,4.
Cool patterns! Not sure if this explanation made any sense, but play the song and you’ll hear the differences.
This ends quite a ride. What an album.
In the hope that it survives a little longer, I vote for Powerslave.
Who would have thought that after twenty years of existence and 11 released studio albums the Priest would come up with such a powerful and energetic 12th record? Important reason should be new member Scott Travis. With him on drums, the horizons of speed and heaviness became broader in an instant. Also the production contributed to a great sounding record. Every piece fell in its right place. Is everything on Painkiller completely new? On the previous album, Ram it Down, there were already some signs. Listen to Hard as Iron, the intro of Heavy Metal and the title track. Surely Priest must have thought that these elements should be kept to make something special.
All this resulted in the best combination of aggression & melody imaginable. The riffs, the solos, the vocals, the song material, it's all spellbinding. I advise everyone to hear this album with headphones, if you haven’t yet. The guitars on the left and right side are interesting to follow. Let’s do a song by song review.
Painkiller
The title track has Rob Halford at his most menacing. Perhaps his continuous screaming is hard to bear for some, but always keep in mind: there’s music with tremendous drive underneath and a certain instrumental midsection coming up. So I’d say his vocals fit and they take a good break as well. When Halford retreats (right after his “Brighter than a thousans suns…” delivery) something awesome is coming up. Glenn Tipton does his part 1 solo, which is pretty cool already, but part 2 is the better one, and for many an early and strong highlight of the whole album. It starts @ 2:41 in this clip:
Hell Patrol
This short song has an interesting rhythm and tempo, rare in the Priest catalogue. Halford switches back to his “normal” voice but it contains lots of expression and shows a good range.
The “Brutalize you..” and the “Chrome monsters, steel warriors” parts are particularly cool.
Nice harmony in the middle.
All Guns Blazing
I find this song a bit less impressive after having heard the title track. It’s less aggressive and the solo (again a lengthy Tipton solo) is less impressive. The solo comes in quite early. Right after it we get a slower part with some screaming licks, before we return to the second couplet. It ends with another Tipton solo and heavy gun (cannon!?) shots.
Leather Rebel
This song is an echo of Hard as Iron, rhythmwise, but for the rest it doesn't remind me that much of it. I particularly like the guitar harmony, which lacks(!) rhythm guitars.
These last two songs were IMO the least good ones. So from now on it gets only better.
Metal Meltdown
Like on the song Heavy Metal from the previous album, this one also starts with a cappella soloing. Last time it was only Glenn Tipton, but this time K.K. Downing starts and Tipton follows. I am especially impressed by Halford in the pre-choruses and bridge before another round of guitar duels (KK/Glenn/KK/Glenn) starts. Then comes an unusual harmony, quickly followed by a slower part.
Night Crawler
After the meltdown sounds fade away, a short soundtrack serves as interlude for this little tale of horror. The drums are dynamic. They leave some bass drums out in the couplets, giving some contrast to the continuing rhythm guitars, plus more room to Halford who sings in a lower tempo. In the pre-chorus the instruments and voice (“Straight out of hell, one of a kind..”) accentuate in unison again.
Absolute highlight is the speech in the middle. Very atmospheric. I always have an urge to “speech” along with it (I rarely have that with vocals but this grabs me quite a bit).
The content of the words might be cheesy, but the way he does this shows how many things Halford can do with his voice.
Between the Hammer & the Anvil
A personal favourite of mine. The beginning is quite original. It starts with pure chords joined by Ian Hill’s bass giving a special edge to it. Then the drums fade in and an unexpected mid tempo starts. A hammer sounds on an anvil and Halford does a well timed scream.
In this song, the main role is not for Halford. The x-factor in this song are the rhythm guitars in the couplets! It was a great decision to sing short sentences on top of these incredibly melodic/harmonic chords. The riffs have Halford alternated with instrumental moments. In addition, from the second couplets on we also will hear nice guitar melodies, played by Tipton. Let’s not underestimate Halford though. I don’t know how he does it but the drama he injects into those short sentences is very convincing.
The song returns to the chords of the intro, the hammer strikes on the anvil…. and then…
The best solo K.K. Downing ever recorded! On top of that great rhythm guitar pattern from the couplets.
Tipton continues with some spellbinding tapping over some descending doomy chords, but it can’t match K.K. this time. Love the way the rhythm guitars come back. First Glenn, then K.K. locking in. Halford ends with superb screaming, a few more lines, and the song fades out as it begun.
A Touch of Evil
Without a break the song flows into the winds of the next song intro. This is the slowest song, and the only one with keyboards. Very dramatic with once again a very convincing Halford.
There’s a certain suspense in this song that does it. The solo with the wonderful supporting guitar melody (also played on acoustic guitar if you listen well) has a great build-up.
If you think that was all, you’re wrong. Halford comes in singing over a completely different bridge. It’s bombastic and fits the lyrics well. It ends with the a cappella “You’re possessing me!”. Neatly done, it pierces straight through the heart.
Battle Hymn / One Shot at Glory
The best album closer on a Priest record, and with the exception of Rime of the Ancient Mariner (yeah I still have love for Maiden left after writing all this), One Shot at Glory is the best album closer on any record. Battle Hymn serves not only as an intro but also as the base for an instrumental part later on.
Starting with the rhythm guitars, we’re getting ready for a spectacle of epic proportions.
Tipton takes us on the road with his short solo and Halford starts. He actually uses various techniques throughout the whole song. Impressive, but probably so difficult to do live that the song was never done on stage. The song has a Maidenish chorus with galloping rhythm guitars. Before the second couplet we get a touch-of-lightning solo by K.K.
After the second chorus we’re in for a lead guitar feast. K.K. really does it again.
The way he enters is awesome (@ 42.57). So sharp and bright. He continues with mind dazzling shredding, alternating high, shorter and lengthier parts with also lower hacking stuff. Guitar wankery? Guitar wankery of the highest order then. Again he steals the show although Glenn’s solo is very nice as well (great ending)!
Right after that there’s an interesting part. The chords of the intro return and the guitarists play their baroque melody in a 1,2,3,1,2,3 tempo while the double bass drums go slightly faster 1,2,3,4,1,2,3,4.
Cool patterns! Not sure if this explanation made any sense, but play the song and you’ll hear the differences.
This ends quite a ride. What an album.
In the hope that it survives a little longer, I vote for Powerslave.