JUDAS PRIEST ALBUM RANKING GAME: FINAL ENTRY AND RECAP

____no5 said:
I was impressed and jealous that Maiden didn’t come up with such an idea.
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I don't think it would be suitable for Maiden (for Bruce solo would be). And they just put the intros as part of the songs. TFF album is kind of ''different'' for Maiden, even for the Reunion era. SSOASS album on the other hand would have only needed 2 additional longer songs.

I have to say that I really don't like short interludes as individual songs (more than 1 for an album).
____no5 said:
I quite like it especially the atmosphere and the fact that it was something different.
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This. Like Sea Of Red from the previous album. Or like Skunkworks, to make an analogy.
 
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I wonder if the perception of Nostradamus would have changed if they had mounted a full-blown live theatrical production of the album?

Would it have been enhanced by medieval backdrops, representations of the 4 Horsemen thundering across the stage and Rob Halford emoting through visual set pieces against random background actors for all he is worth?

Because it feels like the soundtrack of a Broadway play and lacks the cinematic qualities that separate rock's best concept albums from works like, well, Nostradamus.

If someone else used that overused critical buzzword 'bloated', I missed it. But you won't find many albums to which the word better applies. As a start-to-finish piece, it just doesn't work for me: too many detours and back eddies, too little attention paid to how the pieces line up in service of the whole. The narrative is fuzzy and the build uneven. I don't feel the story.

But as a collection of songs and performances, there's a lot to like here. Songs that tend to get lost in the opaqueness of the overall package tend to jump out when they appear on a random playlist. There are some cool riffs and a lot of nice melodies. And Rob is very much in his element, chewing on the scenery.

Dawn of Creation is a fine scene-setter and Prophecy a very good opener. Revelations lacks a good chorus but the verses, midsection and riffing all work nicely for me. Pestilence is an underrated little rocker, love the way Rob enunciates the Italian chorus. Persecution has some great rapid-fire vocals and riffing. The title track is underappreciated metal monster.

And there's the gorgeous Alone, which I think is the standout track and one the best epics the band ever did, right up there with Blood Red Skies and Beyond the Realms.

Overall, despite its editing flaws, I like the album; to me it marks the spot where we're getting into the good stuff. It hits at 12 on my personal list and this spot feels about right.
 
Turbo came out at the height of my Priest fandom and I've had a real love-hate relationship with it over the years.

From the WTF? of the first time I dropped the needle, to it winning me over as the soundtrack of the party summer that I turned 19, to absolute disdain during my 30s as a symbol of all that went wrong with the musical scene of my youth.

Today, I look at it as an extraordinarily well-crafted and produced collection of songs befitting of its era that lands squarely on the margins of what I like and what I don't. It's a party album and a glam album, but it also retains enough elements of the British classic metal aesthetic to make it sporadically worthwhile.

Turbo Lover is a stone-cold classic, just a textbook example of how to build and release tension within a piece of music. Reckless is about as good as a 4-minute riff-verse-chorus metallic rock song gets. Rock You All Around the World is pretty fucking cringey. And the other songs all fit somewhere in between, often within the same track.

One thing Turbo has going for it is that it's fun — unlike Ram It Down, which is just kinda sleazy. Another way of putting it is I consider Turbo to be Priest's Pyromania attempt, as opposed to Ram It Down which Priest trying to do Girls, Girls, Girls. And I'll take '80s Leppard over '80s Crue any day.

It came in at 15 on my list. It's pleasures are scattered and too many are of the mostly guilty variety.
 
11. Ram It Down
12. Nostradamus
13. Jugulator
14. Firepower
15. Point of Entry
16. Redeemer of Souls
17. Angel of Retribution
18. Demolition


12. Nostradamus.
Well, here it is.. Sorry @Night Prowler but let's see it this way: (although not sure yet about the latest album), this is for me the best post-Painkiller album! Basically: the best of the last 34 years! The major problem, if there is one, is that the absolute highlights take a lot of time (and patience) to reach. I have two and both are on disc two: Alone and The Future of Mankind. Phenomenal choruses, some of the most memorable this band have ever done. I do like all these intermezzo's but I do think some of the other good songs tend to be just a bit too lengthy (e.g. Revelations) or they do not please me (e.g. New Beginnings or the verses in Exiled). Alone is such a good song. Halford sings his guts out so passionately, that vocal melody in the chorus is excellent. The final track is of sublime level from beginning til the last chorus. The choruses are topnotch but the way Halford launches into them with "As my life eVOOOLVES". :notworthy:

Not a huge fan of what comes after the last chorus, but hey, this is peanuts(!) compared to how they finished (fucked up) Lochness. The solo is almost Dave Murray-ish at times. So much feel. Basically I'm a sucker for these two songs, can enjoy quite some others, but on a clearly lower level.

11. Ram It Down.
In spite of the fact that it sounds mechanical due to the drum (computer) sound (but also bass guitar at times) and although I think this album has three clearly minor songs (among the worst of everything this band has done in the seventies and eighties), Ram It Down managed to stay above Nostradamus after some lengthy pondering. The bad songs are Love Zone, Come and Get It and Love You to Death. Still, they are over relatively soon and for the rest we get an album with a title track containing a striking instrumental section with solos and otherworldly harmonies. Heavy Metal, I'm a Rocker (good song from start to finish) and even Johnny B. Goode (the least of the best 7 songs) also have very fine lead breaks. Overall, the lead guitars on this album are tasteful. Monsters of Rock is a slow, threatening song. It has atmosphere, it has a solo with a special edge to it. Hard as Iron is template Painkiller album style with great (and vey fast!) riffing and solos. And well, there is Blood Red Skies. I mean: Blood Red Skies! That atmosphere, a bit of a Blade Runner feel. The keyboards (or guitar synths) really lifting it all to a higher level.
Possibly Halford's best performance, at least in the eighties. A far better apotheosis than any best song that followed Painkiller. Enough said! Still a bottom half album, but deservedly beating seven others.


On towards the top 10.... now it's getting difficult... :/
 
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I quite like Turbo. I listen to a lot of glam and I’ve always heard Tubro less as a glam album and more so Priest trying to channel a commercial 80’s metal sound. Mosh hit it right on the head by highlighting some of the great atmospheric parts of the album - that intro to Out in the Cold rules!
 
mckindog said:
Turbo Lover is a stone-cold classic, just a textbook example of how to build and release tension within a piece of music.
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This.
mckindog said:
I wonder if the perception of Nostradamus would have changed if they had mounted a full-blown live theatrical production of the album?
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Who knows, but I doubt it. The dynamics between all songs could have been better. But the album is still one of their most impressive works (along with Painkiller). I also really like that the solos are melodically-driven and there are a lot memorable choruses (some of their best).
mckindog said:
If someone else used that overused critical buzzword 'bloated', I missed it. But you won't find many albums to which the word better applies. As a start-to-finish piece, it just doesn't work for me: too many detours and back eddies, too little attention paid to how the pieces line up in service of the whole. The narrative is fuzzy and the build uneven. I don't feel the story.
But as a collection of songs and performances, there's a lot to like here. Songs that tend to get lost in the opaqueness of the overall package tend to jump out when they appear on a random playlist. There are some cool riffs and a lot of nice melodies. And Rob is very much in his element, chewing on the scenery.
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I agree.
mckindog said:
And there's the gorgeous Alone, which I think is the standout track and one the best epics the band ever did, right up there with Blood Red Skies and Beyond the Realms.
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Their longer ideas are not always that interesting for their length, but in the epic long songs the band allows themselves some tasteful guitar playing and melodies, great atmosphere, different vocals by Rob, longer solos, more dynamics and interesting approaches. Just like Alone (they had the song since 2005). That's why I want them to write longer songs more often.

Songs like Future Of Mankind, Nostradamus (instant classics, like the rest; can't believe they've never been played live), Victim Of Changes, Beyond The Realms Of Death, Blood Red Skies (what a vocals and cool atmosphere), Halls Of Valhalla, Rising From Ruins, Revelations, Sea Of Red.
 
I've never been a Judas Priest fan so I have little to add to this discussion, other than to say that when Turbo was released I went out and bought it because I'd heard Out In the Cold which I thought sounded gorgeous. I recall enjoying something like half of the other songs on the album as well.

This thread has inspired me to give it another listen today after all these decades.
 
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10: Killing Machine
11: Turbo
12: Nostradamus
13: Redeemer of Souls
14: Ram It Down
15: Point of Entry
16: Jugulator
17: Demolition
18: Rocka Rolla

Highest Score: 15 (@Sth2112
Lowest Score: 4 (@DJMayes)

Starting off the top ten we have the first Priest album that could arguably be considered a "classic." I've always seen this one as the scrappy younger brother to British Steel. In addition to establishing the band's leather and studs image, it's a clear push into a more commercial direction that would be fully realized on the following album. The proggy undertones of previous albums are pretty much absent now and the songs are much more immediate and hooky. At the same time though, songs like Rock Forever/the title track, while great tracks, lack the polish and focus that they would achieve on the next album (to say nothing of the production values they achieved on that album). I've always seen Take On the World as the perfect example of where this album falls short of its own reach. It is so bland sounding. It has a fun chorus but the arrangement is really dull. It's like a bad Queen knockoff. But on the next album, United does essentially the same thing 1000 times more effectively.

Where this album shines for me is in its heavier moments. Green Manalishi and Hell Bent For Leather are pretty overplayed, but for good reason. One has a sinister groove and is the model for what makes a great cover while the other is pure Priest heaviness and sets the template for many classic Priest tracks going forward everywhere from Screaming for Vengeance to Freewheel Burning to Ram It Down to Metal Meltdown. I kinda love the way the sound distorts at the beginning of Hell Bent For Leather, it just shows that Priest were too heavy for the recording tech of their time. And the song itself is just totally relentless. On the next album, and certainly on Screaming For Vengeance, Priest would find a way to better fuse the heavy and commercial, but here it's a little awkward.

I also find that a lot of the songs are just kinda forgettable. I've listened to the song Killing Machine many times, but I'm not sure I could sing it for you from memory. Ultimately it is kind of the Point of Entry problem again. They did commercial better on British Steel and they did heavy better on Stained Class. So where does that leave Killing Machine? It's certainly a much better album than Point of Entry, and most of the proceeding albums really. I think it's close between this and Turbo, but Killing Machine probably edges it out just by having more of that authentic heavy Priest sound (not to mention the handful of certified bangers). Interestingly, Killing Machine scored very well among the forum and is only a few points below the next album. It makes sense, this is the most "pure" sounding Priest album we've had so far. No doubt it's a classic, although I think it's just a notch below the other classic albums. I will say there is at least one yet to be revealed album that I would rank below this.
 
Killing Machine, metal title. Strange album for me. I also ranked it at #10 on my list, and tbh that's kind of surprising because (besides the debut), I think it's the most filler-y album of the 70's. At least three of the albums so far are much better than it imo and I also like one more better.
The album is like a preparation for the next one (like in 1988), but it lacks the strong songwriting and catchiness of British Steel. It is regarded as a classic for the band, but I wouldn't rate it as highly (unlike the previous album). That's not my favorite style of the band. Releasing 2 albums in 1978 was not an easy task and a tricky one. But the album is notable for marking the beginning of the band's true sound (heavier!, simpler, catchy-oriented, faster, not proggy; until 1990), completely abandoning their 70's approach. Although the formula will click perfectly a few albums later (more metal and ''commercial''). The band really evolved with every album in the 70's.

The production is a nice mix of polished and raw sound. Since this album I like Rob's vocals better. I can't point out highlights because I like his overall performances. Glenn and KK have their moments with riffs and solos (like Goods, Hell Bent, Running Wild). Les' drumming is very solid.

Hell Bent For Leather is the undisputed classic here. A worthy of a title track. Every part is classic Priest - intro, verses, pre-chorus, chorus, bridge, solos... all are gold. Other highlights for me are: Delivering The Goods (a really good and moving opener, a glimpse of the band's future sound with its riff, verses, chorus, solo, bridge and even the cool outro), Evening Star (catchy and solid commercial Priest) and Running Wild (full-on metal Priest).

Green Manalishi (I've never been a big fan of it, but Priest's version is the best), Rock Forever and Before The Down (nice ballad, but the abandoned longer version would have been better methinks) are nice and kind of enjoyable songs. The title rack is weak imo, Burnin' Up has interesting vocals for the verses and riff but that's it, while Take On The World and Evil Fantasies are two typical 70's songs that I really don't like.

Overall the album is a nice listening and important for the band's sound. The other albums considered as classics are better for me. Most of the songs here are forgettable.
 
Mosh said:
I've always seen Take On the World as the perfect example of where this album falls short of its own reach. It is so bland sounding. It has a fun chorus but the arrangement is really dull.
it just shows that Priest were too heavy for the recording tech of their time.
I also find that a lot of the songs are just kinda forgettable. I've listened to the song Killing Machine many times, but I'm not sure I could sing it for you from memory.
Ultimately it is kind of the Point of Entry problem again. They did commercial better on British Steel and they did heavy better on Stained Class.
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Agreed here.
Mosh said:
this is the most "pure" sounding Priest album we've had so far.
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ROS is for sure Priest. POE too, given the albums before it.
 
10. Screaming for Vengeance
11. Ram It Down
12. Nostradamus
13. Jugulator
14. Firepower
15. Point of Entry
16. Redeemer of Souls
17. Angel of Retribution
18. Demolition

Screaming for Vengeance?! Really? Yes... I'm surprised myself about this. Over the last days I played no less than seven of the not yet listed albums (being sure the three others are not in the danger zone yet) and Priest their one and only double platinum album provided for the least (pain and) pleasure.

Of course The Hellion is an excellent start and I totally worship the eeriness of the melodic, haunting music in Fever and (Take These) Chains (absolutely my 2 favs of the album). You've Got Another Thing Coming and Electric Eye are fine, there's the awesome bridge in the otherwise relatively dull AC/DC-ish Devil's Child, and I surely dig the guitar harmony in an otherwise not that impressive title track, but... well... most of this record does not make my heart go faster, compared to the other played albums. As a whole, it isn't very special. Not very special music wise, not grabbing riff and melody wise. Coming in at 10, indeed a middle of the road album, in the Priest catalogue that is.
 
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Mosh said:
At the same time though, songs like Rock Forever/the title track, while great tracks, lack the polish and focus that they would achieve on the next album (to say nothing of the production values they achieved on that album).
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Hmm, perhaps you solely mean these two mentioned songs and interpretations can differ of course, but I'd say the Killing Machine album is more polished than British Steel which sounds a lot rougher and stripped from all kinds of (production) effects/layers and keyboards. Although the latter features Living After Midnight, United and Breaking the Law, Killing Machine has more commercial sounding songs, feels as a whole as a more commercial (and softer, easier to take) and warmer product.

(polished is for me less edgy, less heavy, easier to digest and I also associate the term with more produced and even more commercial but this can be my flawed English language)
 
I think Killing Machine is a bit of a black sheep in the discography. The production is great and it’s a very enjoyable album.

Delivering the Goods and Hell Bent for Leather are top tier, Green Manalishi, Running Wild, and Before the Dawn (what a beautiful, lush tune!) are right below them, and the title track is also great fun. The guitar playing is biting and calculated, truly some of Priest’s best work. Tipton and Downing are firing on all cylinders here, even on the mid songs like Rock Forever and Burnin’ Up. Halford sounds particularly menacing, using a gruffer tone that has more depth than a lot of his other recordings. Hell, on Evil Fantasies (which is sadly a nothingburger of a song) he sounds like The Cult’s Ian Astbury. I think Halford’s tone on this album is a big reason why I like it so much.

That said, the entire album is dragged down to the depths of hell by the abysmal Take On All The World, another contender for worst Judas Priest song of all time.

And still, despite my praise here, this album dropped about half a point for me, landing at 7.2/10. Definitely the best score yet for a record in the game, so I feel it’s pretty rightfully placed. Killing Machine is a good Priest record, not a great one.
 
My couple of spicy takes:
1 - Killing Machine, like most of Priests 70's output, is bland and forgettable.
2 - Take On All The World is actually the song I like most from the album.
 
Production by Guthrie, who totally outshone Mackay on the dull sounding Stained Class, making for an enjoyable half hour.
Got it 3rd favorite in the '70's
 
DJMayes said:
Killing Machine, like most of Priests 70's output, is bland and forgettable.
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I can agree with that (although not fully and it's a different era), but oddly enough, Killing Machine is probably the album that works best as a whole piece for me.
MrKnickerbocker said:
I think Halford’s tone on this album is a big reason why I like it so much.
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I guess for me too. The production also helps, the ''best'' from the 70's albums.
 
The best thing about Hell Bent For Leather (it's how I've always known the album title) is the sound.

The two previous albums sound good, but also dry and remote and bleak. For this one they leaned hard into the more full, warm and crunchy rhythm guitar sounds that bands like ZZ Top and AC/DC were electrifying basements and dive bars with at the time. But instead of the boogie swings driving those bands, they inject a sense of punk energy, and metal menace. It's immediate and it's in your face.

In a sense they come down off the mountain and step into our cars. There are certainly moments from other bands and other albums, but to me this record is the first full representation of the excitement and fan ownership that was the New Wave of British Heavy Metal.

Halford is just feeling it here; he's no longer trying to impress the listener, he's trying to connect with the listener, and it shows. He was absolutely paying attention to Queen and tapping into Freddie's theatricality, just as the band was clearly listening to things like Stone Cold Crazy and We Will Rock You.

Song-wise, it's a transition album, and that makes it uneven. Delivering the Goods and Hell Bent for Leather are the signature songs, just crackling with energy. Manalishi is so good. Killing Machine is comic book nasty, Before the Dawn comic book gorgeous. Fantasies is the only mis-step for me.

There's a lot of cheese here, but it's Priestly good cheese. This is not a great album, but it is good album and a fun album. Ranks 9th on my list.
 
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