Judas Priest Discography Discussion (part 2 starting page 20)
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Ashes In Your Mouth
Tyrant
I think Saapanael is right about the terrible mix. The clean guitar is out of sync, no doubt about that. Yet, if they were in a rush, who knows. I haven't yet heard this type of entended mix that I would have liked. I like real players, not computers, that's why I listen to metal in the first place
And what's up with butchering the solos to BOTH beyond AND blood red skies? I guess they were way too brilliant for radio so they had to remove the best sections?
I'm guessing the band was not present when the record company decided to "edit" these songs to singles. Feel free to think of another more colourful term for edit...
And what's up with butchering the solos to BOTH beyond AND blood red skies? I guess they were way too brilliant for radio so they had to remove the best sections?I'm guessing the band was not present when the record company decided to "edit" these songs to singles. Feel free to think of another more colourful term for edit...
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Crimson Idol
Caveman
Listening to the Blood Red Skies mix now, the drums over the clean intro really rob it of the atmosphere 
The interruptions in the "Not begging you, I'm telling you!" bit spoil it as well Curious to see what else has changed...
The interruptions in the "Not begging you, I'm telling you!" bit spoil it as well Curious to see what else has changed...
Going way back in the posts here, but I own the vinyl maxi-single of that Freewheel version. Bought it when it was released and always preferred it.
The flip side has Another Thing Coming and Breaking the Law live from the US Festival — the biggest crowd Priest ever played for, at least up to that time.
The flip side has Another Thing Coming and Breaking the Law live from the US Festival — the biggest crowd Priest ever played for, at least up to that time.
Ashes In Your Mouth
Tyrant
Ashes In Your Mouth
Tyrant
Cool! I wonder if I should get one as I currently am missing that version. I wonder if Freewheel-intro has ever been released on cd anywhere.
Ashes In Your Mouth
Tyrant
Decided to take a risk and bought the new Priest album. It was released on the 11th here in Finland.
I was the first (and only?) customer in the store when it opened.
Not Priest's best album, but a good effort considering how old they are. Not many fast songs (shame,,,), but I enjoy the stylish song-writing.
I guess the bonus tracks are okay too - but I need to listen to it more.
Not very exciting, but honest and carries the classic vibes nicely.
I was the first (and only?) customer in the store when it opened.
Not Priest's best album, but a good effort considering how old they are. Not many fast songs (shame,,,), but I enjoy the stylish song-writing.
I guess the bonus tracks are okay too - but I need to listen to it more.
Not very exciting, but honest and carries the classic vibes nicely.
Painkiller (1990)
As Mankind hurled itself forever downwards into the bottomless pit of eternal chaos, the remnants of civilization screamed for salvation. Redemption roared across the burning skies...The Painkiller!
The first thing listeners are greeted with when listening to Painkiller is a heart pounding drum solo. For the entirety of the last decade, Judas Priest was known for many things but drums certainly wasn't one of them. Purposely simplistic drumming by Dave Holland was employed in order to let listeners focus on the singing, the guitar playing, and the songs in general. The overtly technical drumming of Les Binks and Simon Phillips was too distracting. As the decade progressed, the drums became more and more simple until the last album, Ram It Down, where the band began to favor drum machines. So what as this?! Not only were these drums very real, but they were loud and in your face and more importantly, they were opening up the album. It seemed that fans yearning for a straight ahead Metal record from the Priest were finally getting one. And who was this new drummer? From previous success with Paul Gilbert's Racer X, Scott Travis! A very skilled, passionate, and heavy drummer. This was the guy that Priest needed, and it could be argued that without him, Priest would not have been capable of writing such a heavy record.
However, the band was already writing the album when auditions were taking place for a new drummer, so the groundwork was already being laid for Priest's introduction to the new decade. This doesn't mean that Travis was uninvolved in the writing. Quite the opposite, in fact. Travis was given a demo of new material the band had been working on and was asked to come up with his own ideas to go with it. He also caught the attention of the guys while warming up on the drums during pre-production with what would eventually become the intro to Painkiller. That's right, the first thing written was the opening drum solo. The band followed the tone set by Travis and created what would become one of Priest's most iconic songs. The Priest was truly back!
Similarly to the recent Redeemer of Souls, the band approached this album with a "give fans what they want" attitude.
Questionable methods maybe, but hard to deny that it worked. In order to gain inspiration, the band put together a compilation of their heaviest/fastest tracks and took notes. They also took influence from the thrash/speed Metal bands that were exploding around this time and carrying the flags once held by Judas Priest and their counterparts. It was time for Priest to prove that not only could they keep up with these groups, but they could surpass them.Rob Halford said:
With pre-production and writing completed, it was time for Priest to begin recording. Yet another change was in order for the band, when long time producer Tom Allom was unavailable for this album. Keeping with the "old but new" spirit of the album, Priest employed Sad Wing's producer, Chris Tsangarides, who was also making a name for himself producing the likes of Sabbath and Thin Lizzy. Priest were blown away by his "big" production style as of late, and called him to produce Painkiller.
Chris served as more than a producer for the band, but also a collaborator. He was given a writing credit on the radio potential A Touch of Evil. His contribution was well received and gave Priest a top 30 radio rock track. Aside from that ballad, not one break from the energy and heaviness can be found on this album. Halford's vocals are more aggressive than ever and the guitar is back at the forefront where it belongs. Many great riffs are found throughout this album and the solos are blistering. For this album, KK and Glenn proved that they could keep up with the modern shredders by employing popular contemporarry techniques in to their playing such as sweep picking. The track Metal Meltdown begins with a guitar duel by Glenn and KK, which was actually recorded at the last minute, while the album was being mixed. It is somewhat noticeable that the intro was tacked on, but this doesn't detract from the song and it was quite appropriate. Halford also gets a spotlight earlier in the album with the a Capella first verse of All Guns Blazing. And of course Scott Travis got to take the intro to Painkiller. An interesting and unique addition to this album, to give the drums, guitars, and vocals their own "solo" spots on the record.
Even though it follows the same formula for nearly every track, every song on this album has its own personality and distinction. Hell Patrol is a driving metal track that harkens back to the Screaming For Vengeance/Defenders of the Faith period and One Shot At Glory sounds like what Ram It Down could've been. Of course not every song is a callback to older times, the entire sound of the album is a sound Priest had never adventured before. The writing aesthetic hasn't changed, the riffs still scream Priest but the attitude and sound have been overhauled. Songs like Night Crawler and All Guns Blazing (not to mention the menacing title track) reveal an aggressive side to Priest never heard before. It's the perfect blend of old and new, arguably the peak of their career. Everything the band had done up to this point culminated in a perfect Metal album. So perfect in fact that not every song could be included. Living Bad Dreams was recorded for the album, but was cut for a reason even the band wasn't sure of. When the album was remastered in 2001 along with every album before it (minus the first two, which Priest didn't yet hold the rights to), Living Bad Dreams was restored on this album, albeit a bonus track. But now fans could decide for themselves if it was worth cutting.
Despite the inspirational high being felt by the band at the time with their new lineup and sound, not all things were perfect in the Priest camp. Throughout the making of the album, a court case was being held over the band's head. The band was being blamed for the suicide of two teens (one survived) five years earlier. The main piece of evidence: "subliminal messages" found on the Stained Class album. They were served before a show on the Ram It Down tour and the the trial was set to start in 1990, incidentally as soon as the band finished recording. The release of the album and following tour would have to be delayed because of this court case. I already spent some time talking about this during the Stained Class writeup, as well as posted a documentary about it there, which really explains what happened much better than I ever could. The band opted not to use the court case for publicity, but this didn't stop the label from printing an ad for Painkiller that said "awesome backwards and forwards".
It did influence the band's writing, Between the Hammer and the Anvil using courtroom imagery.
With the court case out of the way, it was time to release the album and embark on a massive world tour. Painkiller was a massive success, quickly achieving gold and spawning two popular singles. It even made the top 30 in the USA. The fans loved it of course and flocked to the shows. Priest were on top of the world and had reclaimed the metal flag. To start the tour, the band attended and performed at the Third Annual Concrete Foundations Forum days before the release of the album. This was Scott's first performance with the band. Rob Halford also got to give the keynote address.
Unfortunately, the glory from the new album and tour wouldn't last forever; this tour ended with Halford announcing his departure from the band. Tensions were bubbling underneath the surface and Halford was dealing with his own personal demons and couldn't take anymore. This combined with his desire to experiment in a new band led to Contractual obligations required him to stay with the band until 1992, but after that he would be out. This left the band in a tight spot, and suddenly the future didn't look too bright.
Regardless of all of this, the band did have a great record in their hands and were able to enjoy the successes until the very end. For the first time in what seemed like a very long time, the Priest was truly back!
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As many of you probably know, there was quite a big gap in between Painkiller and Judas Priest's next album. I've decided that instead of jumping into Jugulator, I'll do an installment focusing on what the Priest guys did in between. There's some interesting stuff in there. 
Unknown One
I see the ghost of navigators.
Painkiller is without a doubt a masterpiece. The thundering drums, blistering guitars, heavy production and screeching vocals (in a good way) all serve to complement the riff feast and amazing solos that is Painkiller. The album definitely showcases that Priest could keep up with the speed and heaviness of bands from the late 80s and even surpass them. Even A Touch of Evil is insanely heavy for a ballad, I don't even think it's really a break from the relentless speed and heaviness.
Living Bad Dreams is definitely one of the best b-sides around, but since Painkiller is so strong as an album I'm not even sure how many songs it is better than on the actual album. It's better than the worst song on the album, Leather Rebel which is still really good, but not even sure about the rest. Most albums would love to have Leather Rebel as the worst song off the album.
However my favourite track from the album (and Priest themselves) is Night Crawler, sure the title track along with half the album are classics, but Night Crawler is something that Priest hasn't really done before. The track is completely menacing, with the intro and the bridge giving the track a haunting and threatening atmosphere. The lyrics and vocals just add to this feeling and even though the solos on the album are superb, this track shows that it doesn't need them.
Living Bad Dreams is definitely one of the best b-sides around, but since Painkiller is so strong as an album I'm not even sure how many songs it is better than on the actual album. It's better than the worst song on the album, Leather Rebel which is still really good, but not even sure about the rest. Most albums would love to have Leather Rebel as the worst song off the album.
However my favourite track from the album (and Priest themselves) is Night Crawler, sure the title track along with half the album are classics, but Night Crawler is something that Priest hasn't really done before. The track is completely menacing, with the intro and the bridge giving the track a haunting and threatening atmosphere. The lyrics and vocals just add to this feeling and even though the solos on the album are superb, this track shows that it doesn't need them.
Ashes In Your Mouth
Tyrant
I'm pretty sure the Turbo-fans must have had a heart attack when they heard this the first time!
What a killer album! Probably the most metallic set of songs they ever did, yet (unlike Jugulator) they managed to retain the classic melodies and high level of songwriting. I especially enjoy the a-side, which is slightly faster, they absolutely destroy on that one, each song faster than the other. However, b-side is brilliant, too. In my opinion, there are no fillers. Tsangarides' production is also crisp and clear, giving it that extra edge.
What a killer album! Probably the most metallic set of songs they ever did, yet (unlike Jugulator) they managed to retain the classic melodies and high level of songwriting. I especially enjoy the a-side, which is slightly faster, they absolutely destroy on that one, each song faster than the other. However, b-side is brilliant, too. In my opinion, there are no fillers. Tsangarides' production is also crisp and clear, giving it that extra edge.
Cornfed Hick
Ancient Mariner
My 7-year-old daughter asks to hear Night Crawler whenever she rides in my car. Good taste. Agree with Unknown One, this is my favorite track too. Genuinely creepy.
Also, I think the decision to cut Living Bad Dreams was the right one.
Also, I think the decision to cut Living Bad Dreams was the right one.
Forostar
Ancient Mariner
Living Bad Dreams was not a b-side. It was a never released before until it came out on the re-release of the album, in 2001.
"Scott Travis means a lot to Judas Priest - a great deal! I think Painkiller, for me, is as much a drum-album as it is like, a guitar-album or a vocal-album. We made the drums a lead instrument on this record. Without Scott, there's no way Painkiller would have been as powerful or as strong. He has the ability to make something very, very exciting and very explosive with the way he interpreted the songs that we wrote. "It doesn't matter to me that Scott's an American. He could have been Swedish, he could have been French, he could have been from Holland, it doesn't matter. It's the quality of the work that matters, and he was the best heavy metal drummer we could find."
Rob Halford, Radio MCB, February 2, 1991
+ check this out, from the same interview!
---
D: I read an interview where you said that the day that Judas Priest doesn't get a commercial success with an album, that's the day when you'll quit...
R: Well, that doesn't sound like me. Maybe I've been misquoted or maybe I was in a strange mood, because I think commercial success isn't really important. I think the solid hardcore following that you have from your fans is the most important thing. I get misquoted on a lot of things, and I don't know where that came from...
[It was Swedish music-mag OKEJ... - Daniela]
Commercial success to me is Guns n' Roses.. You know.. Commercial success to me is Iron Maiden. That's not Judas Priest! We're an album-orientated band, and.. You know, "British Steel", we had a few singles... And... That helped us to some extent, but...Our basic hardcore following is with the records, the LP's. Nothing else. And... I'd much rather be in that situation than be in a fashionable commercial heavy metal band that's famous for ten minutes and then disappears.
---
"Scott Travis means a lot to Judas Priest - a great deal! I think Painkiller, for me, is as much a drum-album as it is like, a guitar-album or a vocal-album. We made the drums a lead instrument on this record. Without Scott, there's no way Painkiller would have been as powerful or as strong. He has the ability to make something very, very exciting and very explosive with the way he interpreted the songs that we wrote. "It doesn't matter to me that Scott's an American. He could have been Swedish, he could have been French, he could have been from Holland, it doesn't matter. It's the quality of the work that matters, and he was the best heavy metal drummer we could find."
Rob Halford, Radio MCB, February 2, 1991
+ check this out, from the same interview!
---
D: I read an interview where you said that the day that Judas Priest doesn't get a commercial success with an album, that's the day when you'll quit...
R: Well, that doesn't sound like me. Maybe I've been misquoted or maybe I was in a strange mood, because I think commercial success isn't really important. I think the solid hardcore following that you have from your fans is the most important thing. I get misquoted on a lot of things, and I don't know where that came from...
[It was Swedish music-mag OKEJ... - Daniela]
Commercial success to me is Guns n' Roses.. You know.. Commercial success to me is Iron Maiden. That's not Judas Priest! We're an album-orientated band, and.. You know, "British Steel", we had a few singles... And... That helped us to some extent, but...Our basic hardcore following is with the records, the LP's. Nothing else. And... I'd much rather be in that situation than be in a fashionable commercial heavy metal band that's famous for ten minutes and then disappears.
---
What some people might not know is the importance of Attie Bauw's role. Attie Bauw engineered and mixed the album and basically was (co-) responsible for the sound of the end product. He also did Fight's debut album and you can hear that.
(on Nostradamus)
When it comes to the sound on the album, Halford is quick to give producer Attie Bauw credit, "Oh yes, he's an untapped genius. He's got an amazing ear for sound."
Rob Halford, Judas Priest, Fight
Attie Bauw, (SCORPIONS), who came in on the Painkiller album and he´s worked with Rob on some of his FIGHT stuff - he´s a great guy and a great understander of music. He helped us mix and master the record - it was a lot of work to get everything to be as right as it can be technically.
K.K. Downing, guitarist of Judas Priest , in a special BW&BK report by "Metal" Tim Henderson about the Nostradamus album
When it comes to the sound on the album, Halford is quick to give producer Attie Bauw credit, "Oh yes, he's an untapped genius. He's got an amazing ear for sound."
Rob Halford, Judas Priest, Fight
Attie Bauw, (SCORPIONS), who came in on the Painkiller album and he´s worked with Rob on some of his FIGHT stuff - he´s a great guy and a great understander of music. He helped us mix and master the record - it was a lot of work to get everything to be as right as it can be technically.
K.K. Downing, guitarist of Judas Priest , in a special BW&BK report by "Metal" Tim Henderson about the Nostradamus album
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I've always found this to be such a strange quote. Iron Maiden has always been more album oriented than Judas Priest I think. If you were to ask me which of the two are more "commercial" I'd say Judas Priest no question. I wish he would've elaborated further on that. The attitude makes sense for Painkiller though since that was a good example of Priest being an album-orientated band.
Cornfed Hick
Ancient Mariner
I do think Iron Maiden was far more commercially successful, then and now, which probably pissed Priest off a bit because Priest came first. But you're right, the implicit suggestion that Maiden were more focused on commercial hit singles than on album oriented music is ludicrous.