Sorry for the delay in updates! Been a very busy month so far and by the looks of it, it's not going to get less busy for awhile. However, I should have time to write about the next album on Sunday and hopefully resume normal updates from there.
There was a short discussion here on the fact that Screaming for Vengeance has a much more polished sound than Defenders of the Faith. As I just read in the album notes, the latter was recorded in a warehouse after the studio they were working in was moved. The situation was temporary but the band liked the warehouse so much that they decided to stay.
And we're back! Sorry for the huge delay; March through May are usually my busiest months and combine all the normal concert business with High School Junior things such as college entrance exams and you have a very busy Mosh. Since I probably won't be less busy anytime soon, I probably won't update these on a regular schedule, and just do them whenever I can. This will bring less delays hopefully. Anyway:
Defenders of the Faith (1984)
Rob Halford - Vocals
K.K. Downing - Guitar
Glenn Tipton - Guitar
Ian Hill - Bass
Dave Holland - Drums "Rising from darkness where Hell hath no mercy and the screams for vengeance echo on forever. Only those who keep the faith shall escape the wrath of the Metallian... Master of all metal."
(back sleeve)
In 1984, Judas Priest was on top of the world. Solidifying themselves as Rock heavyweights, things could only go up from here. The band decided to use a similar approach to their next effort as with Screaming for Vengeance, recording in the same studio and working for a similar mix of heavy and commercial sounds. The difference was a less polished production that was more in line with British Steel, sonically. Putting it in an interesting place in the Judas Priest timeline.
The band began work on this album just days after finishing their monumental Us Festival concert. This helped keep the momentum of the band and to channel the energy from their successful tour into a new studio album. This was one of their longer studio sessions, due to some setbacks such as equipment breaking and procrastination, but this only helped the band to create a really strong and focused effort.
Another obstacle came when K.K. Downing was hit by a taxi nearby the studio, not just once but three times! The taxi driver even had the nerve to ask the band to pay for the windshield that was broken in the process. Amazingly, K.K. came out of the accident without a scratch. Doesn't get much more metal than that.
The album's working title was Keep the Faith and this was meant to be the final title until the band finished recording the anthemic Defenders of the Faith. They decided this was a much powerful title and decided to make it the album title. The artwork was done by Doug Johnson, who also designed the Screaming For Vengeance cover.
This album also became the subject for controversy when Eat Me Alive was placed on Tipper Gore's "Filthy Fifteen". The band would respond to this during their next album with the song Parental Guidance. The song wasn't advocating "forced oral sex at gun point" as the PMRC claimed, but was rather a tongue-in-cheek parody.
This also marked the band's second collaboration with songwriter Robert Halligan Jr. who wrote Some Heads Are Gonna Roll. Arguably a much more memorable contribution from him, a song that remained in the set for quite some time after the initial Defenders tour. It was also the album's only hit song and garnered more controversy, especially for the songwriter who had worked with Christian acts before.
Speaking of setlists, this album is one of the few that has had every song played live at some point. On the Defenders tour, every song was played except Eat Me Alive, which was played for the first time during 2008's Nostradamus tour. For the Defenders tour, the band decided to play smaller venues.
The album sold well, breaking the top 20 in the USA. However it did receive its share of criticism, being labeled as "Screaming For Vengeance II" as many of its detractors felt that it was a similar, yet more commercial, album. The album still has a large following, however. Many songs have become Priest classics, such as Freewheel Burning and the epic Sentinel. It may not have the same legacy, but it's still an immense album and another great effort from the Priest.
Note: Oddly I can't find the promo video for Freewheel Burning on youtube. Unless I'm getting it confused with something else, I know it exists as I've seen it on the Electric Eye dvd. Very strange.
I consider the 70's to generally be the golden era for Judas Priest, with the "S" trilogy being a perfect trio of classic heavy metal albums and Unleashed in the East being one of the greatest live albums ever. Not to mention their brief renaissance in the 90's with Painkiller. But truth be told... I'm not a big fan of British Steel or Screaming for Vengeance. I find both albums to be rather overrated. That being said, I absolutely love Defenders of the Faith. It's a much heavier and darker affair from the band and I find it to be the pinnacle of the band's 80's sound.
Note: Oddly I can't find the promo video for Freewheel Burning on youtube. Unless I'm getting it confused with something else, I know it exists as I've seen it on the Electric Eye dvd. Very strange.
Recommended:
Judas Priest, Long Beach Arena, 5-5-1984 (audio only). My favourite and probably the best sounding Priest bootleg. The setlist is really good as well:
1. Love Bites
2. Jawbreaker
3. Metal Gods
4. Grinder
5. Breaking The Law
6. Sinner
7. Desert Plains
8. Some Heads Are Gonna Roll
9. The Sentinel
10. Rock Hard Ride Free
11. Night Comes Down
12. The Hellion / Electric Eye
13. Heavy Duty / Defenders Of The Faith
14. Freewheel Burning
15. Victim Of Changes
16. The Green Manalishi
17. Living After Midnight
18. Hell Bent For Leather
19. You've Got Another Thing Comin'
@Chained Prometheus check these live versions of the British Steel songs. Just like with NOTB, they have everlasting live value. The more rare songs (lesser played) are pretty strong and interesting as well (e.g. The Rage, Rapid Fire).
I saw that Defenders set in Tacoma just a few weeks later.
It was, at the time, it was the biggest crowd ever to see Priest and remains my all-time favourite concert.
@Chained Prometheus check these live versions of the British Steel songs. Just like with NOTB, they have everlasting live value. The more rare songs (lesser played) are pretty strong and interesting as well (e.g. The Rage, Rapid Fire).
I'm still sticking with Moving Pictures side A as the best album side of all time.
But Defenders side A is its only competition.
Freewheel Burning is a kickass thrash opener with a cool harmony section and that great rapid-fire vocal bridge.
It doesn't get near enough attention or applause and needs to be added to the live set again.
The tension on Jawbreaker is brilliant. Great variety of riffs and subtle tempo changes with a desperate vocal line.
I love KK's noisy solo.
I'm not sure if there is a better showcase of Priest's melodic guitar attack than Rock Hard, Ride Free.
Just a great mix of tasty harmonies and a brilliant mid-section. Nice, anthemic chorus that should be cheesy, but instead sounds heartfelt.
And The Sentinel is so dramatic and epic — such a riff-fest and maybe the band's most cinematic song.
Deservedly one of the Priest's most acclaimed tracks.
Rock Hard Ride Free is probably my favourite Priest song of the 1980s. Great description mckindog! And yes, this album has my favourite (thus I find it the best!) A-side of all albums I have ever heard.
Side B has a lot to offer as well. E.g. Night Comes Down, the beautiful ballad with calm and subtle guitar work, and a rare moment of space for Ian Hill's bass. Some Heads Are Gonna Role is really superb. The tension, the accents in these ultra cool guitar riffs and vocals, the beautiful solos. Drums and bass may sound simple but they provide perfect 'killing' ground. I really don't know what else a song needs.
Just go to the clip I posted in the previous post and go to 35.50. And play it on 11!
The Sentinel is a beast of a song. Riffs are awesome but more importantly, the chorus is incredibly powerful. One of my favorite choruses of all time. Both Freewheel Burning and Rock Hard Ride Free are very rich songs in terms of melodies, with the latter especially having a tremendous intro section. It's a shame that Side B isn't as good.
Nailed it. Night Comes Down is a vastly underrated song. Very standard composition, but what a great feel! Emotional solo and a heartbreaking vocal from Rob.
It has a rare sound for a ballad, in that there is nothing soft about it.
For me, the pacing of Some Heads Are Going to Roll is a touch slow to give it top marks, but it is another very solid song, with more great soloing; This may be Priest's best album for solos.
Love Bites was a great concert opener. It is another one that is generally underrated — lots of fun in a wicked, tongue-in-cheek way.
They were probably going for that same feel with Eat Me Alive, but failed. Musically, it's OK, but lyrically and melodically it's just kinda crude and stupid.
Heavy Duty/Defenders of the Faith is ridiculously simplistic and cheesy, but it really worked live. I still remember the smile on Rob's face as shook his head, put the mike down and just basked like a gospel preacher in the glow of 25,000 fans giving it back to him.
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However, I should have time to write about the next album on Sunday and hopefully resume normal updates from there.
