This was going to be the point of the album. They wanted to make something that spanned all of Judas Priest's different styles over the years. When the record company refused, they decided to just release the commercial sounding songs.
Some songs from the Turbo sessions also appeared on Ram it Down, but more on that next week.
I was under the impression it was meant to be a double, with heavy stuff on one and commercial on the other. Never heard anything about making a career spanning album. Knew the bit about part of RiD being from Turbo leftovers though.
The concept originally was we were going to try and do like a 'history of Priest', and we wrote 19 tracks and we were going to do a double album. It's Priest's 10th album and we wanted to, as a gesture, give the kids something, but unfortunately, when we came to put it together, we couldn't logistically put it out for the price of more than one album and we didn't feel that was achieving what we started out to do, which was to donate something to the kids and our fans who'd stuck with us through 10 years.
Funny, I've never understood the hate for this particular album. Some say it's too poppy, yet everybody and his brother loves Living After Midnight which has chorus that's pretty close to Kiss (not that I complain, but let's be fair). OK, I admit, it is a bit poppier than their previous efforts, but I don't really mind that.
Some say the production is too 80's and too synthesiser-heavy. Well so is the production of Somewhere in Time, and it's still my favourite Maiden album. OK, the atmosphere and sound varies a little less than the Maiden masterpiece, but it's still an interesting diversion.
Musically... I think it's pretty good. Turbo Lover kicks ass, so does Rock You All Around the World. Locked In, Reckless and Private Property are great as well (even despite the occasional Def Leppard overtone) and I also like Parental Guidance, although the Def-Leppardisms reach their peak in this one.
But overall the guitars are alright (Glenn's solo in Private Property is my favourite from the album, currently) and Rob hasn't lost his golden touch.
Yeah, Wild Nights... is monotonous, but so is You Don't Have to Be Old to Be Wise and it still isn't half bad. Wild Nights aren't too, IMHO.
However, Out in the Cold, although quite good, is a tad too long to my liking and as a whole the second side is significantly weaker than the first (the problem that British Steel also shares, to be honest)
Yes, the album as a whole is a slight letdown after the immaculate perfection of Defenders, but just because the quality has dropped down from 10/10 to about 7/10 isn't a reason to write Turbo off as some kind of übershit, as many a metal fan has.
Funny, I've never understood the hate for this particular album. Some say it's too poppy, yet everybody and his brother loves Living After Midnight which has chorus that's pretty close to Kiss (not that I complain, but let's be fair). OK, I admit, it is a bit poppier than their previous efforts, but I don't really mind that.
Some say the production is too 80's and too synthesiser-heavy. Well so is the production of Somewhere in Time, and it's still my favourite Maiden album. OK, the atmosphere and sound varies a little less than the Maiden masterpiece, but it's still an interesting diversion.
Cant say I agree with this. First of all, I don't love Living After Midnight, never been a huge fan of their overly poppy songs, regardless of era. Secondly, the problem with Turbo isn't the production. Far from it actually. The production on that album is nothing short of cutting edge, and for the music they were trying to make, it's perfect. SiT has similar production, yes. But it has great songs to back it up and is overall one of their strongest efforts. Not to mention it still sounds like Maiden. Turbo, while it has its moments, also has a lot of filler, and it sounds too much like they're trying to emulate other bands.
Well, put this way, it's hard for me to argue. You're probably right.
About the poppiness - yes, it's up to listener's tastes.
However, Priest are IMHO one of the few band that can allow themselves to be nearly bubblegummy and not lose their credibility. I mean, yes, they were probably trying to ape Def Leppard, or Mötley Crüe, or Autograph or whoever, but they've still come out high above them. If only for the fact this was the band that had Tipton, Downing and Halford. But also because the tunes sound rather solid to me, or tasteful. I can put this album on and not feel embarrased in the slightest.
The cold synth machines that fire up Turbo Lover may not be the shock they were in 1986, but they remain an oddity in the catalogue.
They also work. This song has such a great build of tension — each verse adds just the right amount of intensity and Rob's vocal is spot-on. Good melodies, catchy chorus and a superior solo that is creative, yet such a perfect fit in the song. Stupid lyric — like most of the album — but overall an adventurous departure, and a choice piece of songwriting, worthy of the title Priest classic.
The synths take away some of the power Locked In would likely have had with different production, but there is still energy there. Very much a pop song structure, but it does a decent job of feeling more metal than it actually is — maybe because of the superior solos. A step down from the opener, but still a good track. Dumb lyric.
The band tried to repeat the same basic songwriting technique of Turbo Lover and transplant it into a more uptempo setting in Private Property. The result is it sounds too much like the pandering it probably was. Def Leppard production is screamingly obvious. The gang vocal chorus, the choral elements of the "Don't take me for a fool..." part, the post-solo get the audience clapping section, the synth percussion elements in the chorus. The song is catchy, but all so calculated and has really suffered from aging.
Another great solo, more bad lyrics.
It's amazing how the album progresses (regresses?) as you move forward. There was a time I would have torn a strip off Priest for coming up with something so puerile as Parental Guidance. Now I have to allow myself a small chuckle about how a band capable of Painkiller also has the ability to craft a song worthy of an Avril Lavigne single. Can I still respect their ability, while mocking their choices? Oh... good solo? Check. Cringeworthy lyrics? Check.
This is the nadir of the album. Rock You All Around the World matches the production pandering of Private Property AND the silly message of Parental Guidance, with the most cringeworthy chorus in the catalogue? Ouch.
"We're gonna rock. We're gonna roll roll roll. We're gonna shake you down. We're gonna lose control." Are you kidding me?
The precipitous slide of Turbo is rescued by Out inThe Cold. The synth intro building to that heavy kick drum has drama more in line with the Priest I love. Good vocal, nice mix of rhythm guitar pieces and a synth that complements the guitars, rather than overpowering them. The chorus is weak, but the verse melodies are excellent. The lyrics are pedestrian rather than outright bad. The solo, as usual, is great.
But with Wild Nights, we are right back into cliched party rock anthem territory. The big drums and the over processed guitars are particularly noticeable and a little grating on this one. Next.
By the time Hot For Love comes around, I am just "worn deadbeat" with this kind of song. The solo is great, among the best on an album full of great solos. But the horrible chorus, stupid lyrics and Mutt Lange studio tricks overpower the tempo, which is like Locked In, in that it's a little more metal. The "nowhere to run" part, however, is great.
Thank God for Reckless. This is the Judas Priest I love. Killer intro riff, with a full, chunky guitar sound. Nice licks prior to a vintage Halford vocal melody, lots of energy. Thematically, the lyrics may be in keeping with the rest of the album, but here Rob writes like Rob, not the guy from Ratt or Motley Crue. And what a kickass melodic solo!
I guess my ultimate take on Turbo is this: overall, it is a well-crafted, professional example of exactly what they set out to do.
Unfortunately, what they set out to do does not correspond very well with what I like to listen to. It sounds dated and juvenile and has elements that represent the worst in that era of music. But it does have its redeeming qualities. Two choice tracks and just enough Priest touches elsewhere save it from being complete disappointment.
I find Rock You All Around the World to be a decent song because of the lead guitar work. It has a great deal of what is one of my favourite Priest elements: mini guitar solos (not to mention the real guitar solos of course). Tipton is busy playing lead pretty much throughout the song and the main solo is very memorable. It has many great licks and the live video version I posted before is just so energetic.
Once you get over the shock of the synths, Turbo is a pretty good album overall. Yes, the lyrics are cheesy in spot, but then again, lyrics were never really Priest's strong suit anyway. The only real dog of a song is Hot For Love, which sounds a lot like an outtake from a mid 80's made for TV movie soundtrack serving as a backdrop of the lone hero wandering the streets at night on his bike or in his sports car.
With that being said, I would have loved to have seen this tour which was awesome, and if Priest ever goes back on the road, I'd like to see them break out a song or two from this album other than Turbo Lover. An updated version of Locked In or Out in the Cold would be pretty awesome.
In general, Turbo was an interesting experiment, but it was great to see them get back to the pure metal sound in Ram it Down--although their cover of Johnny B Goode is more cringeworthy than anything on Turbo.
The first thing listeners are greeted with when listening to Ram It Down is the sound of Rob Halford's piercing scream. A long time since we heard that! Coupled with the rest of the thrashy opening title track and the aggressive album artwork, could it be that the heavy metal Judas Priest is back? The tracklist seems to say so, with titles like 'Ram It Down', 'Heavy Metal', and 'Monsters of Rock'. Now these seem like metal song titles! Much moreso than 'Turbo Lover', 'Private Property', and 'Wild Nights, Hot and Crazy Days'. It's true, this is a much heavier effort than Turbo and overall a step in the right direction, though it still has a very polished production style and the commercial songs are still sprinkled throughout the album. Not to mention a severe lack of real drums, but I'll get to that later. Priest hasn't yet returned to pure metal, but they're halfway there.
In 1987, before the sessions for Ram It Down began, Priest was approached by their manager and asked to record a song for a movie titled Johnny Be Good What better song to record than Chuck Berry's classic 'Johnny B. Goode? True to Priest's aesthetic when recording cover songs, the band decided to put their own spin on the song. Interestingly, the band was asked to use Reckless from the previous album in the movie Top Gun, but they declined due to the fact that they wouldn't be able to include the song on Turbo. Ironically, there was no intent to include Johnny on the next album, but once it was completed, they decided to replace one of the songs (Thunder Road) with Johnny. The band caught some flak for this song, especially from many of their fans at home who felt like Priest was "selling out" to American audiences. It was true that they hadn't toured their home country in 4 years.
The band officially started the sessions for Ram It Down in December of 1987. To contrast Turbo, a songwriting approach similar to the earlier 80's albums was used: Several riffs written and then melded together to create a song. This helped create a more guitar riff driven album and contributed to the heavier sound. There were also some leftover songs from the Turbo sessions that were redone for this albums, including Monsters of Rock, Hard As Iron, and the title track. Interestingly, these are some of the heavier songs on this album. Apparently the band had little say in how the final product came out, presenting more songs to the label than needed, it was ultimately the record company's decision as to what made it on the album and what was left off. So like Turbo, there are a lot of songs from these sessions that never made it on the album. Of course these were later unveiled in box sets and bonus tracks for remasters.
The band intended to make a heavier album with Ram It Down, and there is a slight return to the roots in the lyrical and musical themes. Songs like Ram It Down and Monster of Rock praise the genre in a British Steel type attitude. This album also contains the beastly Blood Red Skies. The 8 minute epic is the 80's answer to Victim of Changes, and features Halford shrieks that hadn't been heard in years. You can also hear a sense of speed and aggression in Hard As Iron, complete with a soaring chorus.
Despite the heavier nature of the album, it still had a very polished sound with processed guitars and there was still a commercial nature to songs like Love Zone, Come and Get It, and of course Johnny B. Goode. To make matters worse, drummer Dave Holland wasn't able to attend most of the sessions so the majority of the album was recorded using a drum machine. Honestly, Holland's drumming was so stale in general that I can't tell which songs use real drums and which songs don't. This would become Holland's last appearance on a Priest album. This was also the band's last collaboration with produce Tom Allom (Not counting work on a live compilation A Touch of Evil). And with that, Ram It Down marks the end of yet another era in Judas Priest history. Appropriately closing out the decade of decadence.
Something strange occurred after Priest had some downtime upon completing Ram It Down. They were asked for a favour by their manager, to record with hit producers S/A/W. This was the company responsible for many of the cookie cutter hits in the 80's, including the internet's beloved Never Gonna Give You Up, by Rick Astley. So what was Judas Priest doing recording for this company? The band themselves never said too much on the subject, mostly writing these sessions off as "experiments" and for use if they were ever asked to record music for soundtracks, since this was a common thing for them at the time. Three songs were recorded during these sessions, two song written by the company titled Runaround and I Will Return, and a third cover song. As far as I know, these songs have never been released and there isn't a whole lot known about them. Even the intention of these recordings remains somewhat unclear. Even the reception of the band to the recordings has seen mixed reports.
Despite heavy promotion for this album constantly describing it as "hardcore metal" record and a return to the metal roots, Ram It Down didn't exactly have the reception the band hoped for. While there was heavier material than on Turbo, it still wasn't the Priest that most people knew and loved. The album was over processed and polished, lyrical themes were still often shallow and juvenile, and even during their heavier moments, anthems like Heavy Metal come off as a parody. Still a step in the right direction, and it's safe to say that on their next album, Judas Priest would finally get it right.
As I said earlier, Ram it Down was a solid return to their metal roots, although it didn't quite match the highs of British Steel, Screaming for Vengeance or Defenders of the Faith. The opening two songs (Ram it Down, Heavy Metal) were awesome, but the rest was hit and miss. And the cover of Johnny B Good was absolutely horrendous. After hearing Thunder Road for the first time, it's an even more puzzling decision as to why that was not included instead. Bands should never cede creative decisions on their albums to their label, and Ram it Down was absolute proof of that.
Fortunately, the band would really come back a few years later with one of their most definitive metal statements ever in Painkiller.
The sound on Ram It Down is horrible.
Not muddy production, just the way they choose to make the instruments sound - artificial and cheesily bright.
The drums are awful, and even rob's voice is soaked in dated amusement park software.
Ram It Down is perhaps the most difficult album to dissect in Priest's entire discography. I've always viewed it as like a mixture of Turbo and Painkiller. It does have a very artificial sound to it, but somehow is also a touch rawer than the previous album. It retains some of the sun-drenched Californian beach feel of Turbo, but in parts it is faster, and has a harsher edge to it. It has a bit of cold, machine-like quality to it also, which I think is mostly down to the use of a drum machine. Like a lot of other albums in Priest's discography, it has it's own sound, and identity whilst retaining elements from past albums.
The "Johnny B. Goode" cover is ridiculous, but is charming in a rather silly way. It also features a tremendous lead break which sounds way out of place with the rest of the song, and deserves to have been placed in a better quality song. But I never skip it whilst listening to the album. It's amusing and cheesy, but also totally inoffensive. "Thunder Road" should definitely have been on the album instead though, as it's a much better song. And I've always disliked the practice of putting cover songs on a studio album, unless it's on an album of covers, or is a bonus track.
"Love Zone" is another song which sounds incredibly silly, and accentuated all the more by probably Rob's most camp vocal performance ever. Again, a very good, and totally out of place lead break saves the song, but it's definitely amongst Priest's weaker moments, that's for sure! "Love You To Death" also features a camp vocal performance, but musically the song is much better than "Love Zone", with some bruising riffs and a cracking solo by K.K. There's also a wicked edge to the vocal performance, especially during the song's finale which is actually awesome, and is a goosebumps inducing moment. Elsewhere, songs like the anthemic "Heavy Metal", and the rollicking "Hard As Iron", are highly underrated Priest classics, whilst the title track welds together the more commercial feel of Turbo with the more intense feel of Painkiller to wonderful effect. And the lead break in the latter song is simply phenomenal!
The jewel in the crown of this album though, is the amazing "Blood Red Skies". Somehow, the artificial, cold sound fits this song like a glove, and gives off the impression of being part of the soundtrack to an epic, futuristic movie from the 80's. It's just a magical song, and definitely one of the band's all time great songs.
Overall, this is probably the strangest album in the band's catalogue (with the possible exception of "Demolition"), but it's uniqueness also helps it to stand out in the Priest canon, for better or for worse. Quality wise, it's not amongst the band's best works, but it has enough positive attributes to make it a worthy addition to the Priest canon, and does feature some of the band's most underrated work. It's an interesting album!
I just have to say that the Johnny B Goode is offensive to my ears and is easily the worst thing they've done to this date. Yeah much worse than the worst songs from Turbo, Point of Entry and Rocka Rolla combined. That said there is something later that eclipses it...
Thanks. Yep, the production just adds to the dystopian, futuristic vibe of the song. It's the one song on the album that actually benefits from the cold production. Whereas songs like Hard As Iron would have benefitted from a warmer, more organic production, and having Scott Travis behind the kit.
I actually like and enjoy the Johnny B Goode cover, even if it is cheesy! (I've also seen the film, which is far less memorable or good ;p)
For a long time RiD was my favourite Priest album, and I would still probably put it in the upper half, the only songs that I don't really care for are Love Zone/Love you to Death. Monster of Rock is a decent track but can get a bit dull at times, When I first saw Priest on the AoR tour and they played I'm a Rocker I was ecstatic, it may not be the most exciting song in the world and probably a little cheesy but I view it as a form of metal anthem lyrically (which is why it's cheesy).
My feelings towards the album haven't changed over the years, but it has dropped in rankings because I've appreciated others more... amongst the 80's stuff I actually find it really hard to place them, they're all so different and I enjoy each of them in a different way. I agree with Sara that having Scott Travis around for this would've made it much better. It really is an album that feels like a transition into a heavier side of the band, the benefit of having a better drummer would've really had an impact on it, and is likely the single biggest factor in why Painkiller turned out as awesome as it is.
Hi! Sorry if I screw your conversation, I only noticed this thread now, and being a blue-eyed Priest fan boy, had to comment. So, just ignore me, if I am bothering you in any way.
Being born in 1982, it is weird that almost all my favourite Priest albums are from the seventies - with the exception of Painkiller.
If I can only choose one album, I would have to go with Unleashed. Those versions kill anything they ever did, before or after. But, I still enjoy the experimental and melodic values of Sad Wings and Sin After Sin. Each song seems to have it's own important place and role - the quick and heavy openers (Tyrant, Sinner, Let Us Prey...) , the melodic suites like Last Rose or Epitaph... but I am surprised very few of you seem to enjoy the riff-fests Genocide and Raw Deal? Definitely brilliant, both include a staggering number of riffs... and then some! I also enjoy Stained Class, it does indeed have a more metallic edge to it and less experimenting. White Heat is great, how about that weird time change after the last chorus? Binks delivers a change in the drum beat that complements the riff perfectly. Also notable are the wonderful breakdown in Saints in Hell and the "piledriver"-section in Heroes End! Killing Machine is simple, but still surprisingly entertaining.
Not a big fan of British Steel, the song writing seems too straight-forward, even if the sound is more metal (and yes, I do know I am in the minority with my opinion...). Entry is not my mug of beer. Screaming and Defenders are great, though there are obvious fillers in there, too. Turbo, to me, is the hideous sell-out album. I don't even like Turbo Lover... but Reckless is catchy, IMO. I guess the slick production throughout the 80s albums make them hard for me to enjoy. Sure, the 70s album sound muddy/dry/bad/whatever, but there seems to be a certain honesty about them. The 80s stuff... hmmm... I think especially Turbo and Ram suffer from this. And the drum machine (Can you imagine Holland playing Hard as Iron live?). Or that "cybernetic" drumbeat on "Blood Red Skies"... I get the Terminator reference, but it makes the song sound VERY awkward. Which is a shame, as it is an okay attempt to make the 80s Beyond the Realms of Death.
Heavy Metal is a hilariously idiotic title for a song and is, in fact, a guilty pleasure of mine from this album. Hard as Iron I also enjoy, but it takes an effort not to notice the computerised dada... like a tasty cake covered in manure...
Sorry my comment is so long. Priest IS my all-time favourite. (Iron Maiden and Black Sabbath coming very close, though).
I shall contribute with a word or two of my own.
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I like Ram it Down more than the average person in this thread seems to. There is plenty of crap to be found on RiD but the better songs are very good. Ram it Down opens with a promising scream and has one of the best guitar duels in the band's history. It's wonderful to hear this lightning-fast, and at the same time, diverse playing.
Same goes for Heavy Metal where Tipton is at his best. The opening solo is heavy and powerful with a really smooth ascension while the solo in the middle of the song is well-constructed and melodic. For both of these two songs, you need to be able to sit through the cheese to get to the best parts. I find the rhythm guitar riffs very enjoyable as well but the vocals are definitely over-the-top every now and then.
So the album starts out strong. Love Zone, Come and Get It and Hard as Iron are much weaker (especially Love Zone) but, honestly, nothing I find unbearable to listen to. In fact, Come and Get It has a cool opening solo and I actually like the singing and rhythm. The part that starts around 2:20 is kind of ridiculous but also powerful and the production gives it this hugeness if you know what I mean.
I used to enjoy Hard as Iron more than I do now. I pretty much never listen to it anymore, I find that the loud production makes the cymbals sound very harsh. The bridge before the solo is nice and the high guitar harmony as well, something Priest wouldn't do every day, but as I said, the song doesn't interest me as much as it used to.
With Blood Red Skies we get to the arguable peak of the album. The ambient intro is so very atmospheric with Halford's emotional vocals and everything else. The drums never really disturbed me in this track. Sure, Travis could've probably done a better job but the cybernetic drumbeat kind of fits the mood of Blood Red Skies. The song is one good riff after another, leading into a darn amazing solo. Who the hell plays this solo by the way, is it KK? If yes then this is one of the best leads KK has ever done.
If that's not enough, next up is I'm a Rocker. I love listening to this song. It has a nice rhythm, plenty of melody in mini-solos and the awesome Tipton main solo. Would be good to see this song played live.
At one point, I actually liked Johnny B Goode a lot. I realise now that I thought too good of it but I probably wouldn't go as far as to call it the worst Priest song ever. It has a nice harmony riff at least. Once again, I'm amazed by how Tipton can put emotion and passion into every lead, even in lesser songs.
I won't talk long about Love You to Death. Weird Halford sexual fantasy, poor song...
The closer is nice. Monsters of Rock is such a powerful song. The slow tempo adds to the heaviness of the guitars and it's also pretty atmospheric. Haven't gone far into the lyrics, don't care too much for them anyway. I like the riffs and the interesting harmonies.
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Ram it Down is pretty badly produced. The sound is, as someone said, cold and artificial. I do like how some (parts in some) songs gain a huge area sound from lots of reverb, I guess? At other times, RiD is just too loud and lacks dynamics. The crunchy guitar sound is pretty nice but then again the drums...no explanation needed. Halford does a lot of high vocals and screams on the album but they really would need to sound warmer and friendlier to one's ears.
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In total, that is 5 very good songs against 2 mediocre/good and 3 bad songs. Not the best Priest album but probably better than most.
@Ashes In Your Mouth You've been registered for over 1 and 1/2 years and this is your first post? Cool!
I find a lot of this album to be forgettable. Despite this being one of the very first Priest albums I ever heard and having listened to it a lot more than the rest of their discography (save for Vengeance, Painkiller, and Turbo), there are still more than one song on this album that if you asked me to hum a few bars, I simply wouldn't be able to do it. And they don't sound very familiar even when revisiting them. So with that in mind, when it came time to do a writeup for this album, I had to listen to it quite a bit to make sure I could give it a respectful summary.
Despite not having a lot of memorability, this isn't necessarily a bad album. Definitely not their worst and really a step in the right direction. However it still has a ton of flaws that make me hesitate to consider this a good album. I've already touched on how forgettable it is, I paid more attention to the forgettable songs this week and I have to say there are really no redeeming qualities to them. They're just generic and boring tracks. I'm thinking Love Zone, I'm a Rocker, Love You to Death, and Come and Get It. All unremarkable. Not bad, just don't really have anything going on. The Johnny cover is memorable, but awful.
Now the rest of the songs on here are actually not bad at all. Heavy Metal is cheesy and fails in its efforts to create a metal anthem akin to Metal Gods, but it's still catchy and like Ashes In Your Mouth says, a guilty pleasure (as much as I don't really like that phrase). Monster of Rock has some nice moments as well. That leaves three songs that, in my opinion, qualify as "upper tier" Priest. The title track, Hard As Iron, and Blood Red Skies. Yes! This is the Priest I know and love. Screaming guitars, slaying riffs, and epic soaring vocals. Halford really shows off his chops here. These three tracks alone really redeem the album, and are tracked in such a way that it actually makes the whole album more worthwhile for me than Turbo, which has two of the three good songs stuck at the front, and the third to start side B making it so that I only really have to listen to the start of each side and that's all. RiD has some low moments too but at the very least, I usually know that there's a good, or even great song coming up soon. It has peaks and valleys.
The biggest problem with this album is that its issues are not only present in the bad songs, but the good songs too. These have already been touched upon so I won't really go into them. I'm thinking the cold/artificial production, the drum machines, and the fact that while Priest was trying to make a heavier album, it still seems like they were trying to be commercial friendly. I don't have a problem with commercial, Priest are actually quite good at it usually, but on this album it just creates a weird imbalance. I hear two albums trying to come out here, which is bizarre and makes the album difficult for me to enjoy. And overall, the cold style of this album causes a lot of the songs to lose their power. Can you imagine hearing Ram It Down, Hard As Iron, and Blood Red Skies on Painkiller? That would be intense. Seeing Blood Red Skies live on the Epitaph tour made me realize how much potential this album could've had with better production and more focused songwriting. Instead we got Priest in a bit of an identity crisis.
So would I consider this a good album? No. But would I consider it a bad album? Absolutely not. It's like a good album and a bad album combined to create something that's just..well, there. It exists in the Priest catalog and is a nice piece of Metal history, but there isn't much reason to listen to it. If I want something overly commercial and 80's sounding, Turbo works pretty well for that. If I want something heavy, I'm going with Painkiller no question. So where does that leave Ram It Down? I can listen to it when there's a survivor and I need to revisit it or when threads like this pop up. Otherwise, I really have no use for it. I can listen to my 3 favorite songs individually.
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