Judas Priest Discography Discussion (part 2 starting page 20)

THE 80's first half:

British Steel: With this release Priest's aim was clear: to solidify what the previous release left quite unfinished. Long gone are the 7 minute compositions... the new decade Priest is all about short heavy metal songs jagged as hell and full of hooks that please both headbanger and radio stations alike. I think the rise of the NWOBHM and popularity of AC DC back in the day was pivotal on this paradigm shift.
As for the songs once Breaking The Law starts you notice it's destined be an all time favorite. Then there's the brutal assault of Rapid Fire (that screams "opener" all over - point amended on the cd reissue). Metal Gods comes marching relentlessly with a gigantic chorus and Grinder basicly does what the title states. Then, after a breath taking start, things start to slow down: United is a nice yet quiter corny sing along with flashes of pop metal and Living After Midnight (a fan favorite - not the case) also goes down that road. The rest of the songs are solid but nothing more than that and Steeler is a great finisher.
Overall this is an excellent and pivotal album on the band's carreer but it's a bit too uneven and overrated: while the first half is amazing, the second can't keep that status and features a couple of la la songs. Nevertheless this album is mandatory to every single Metal fan.
Highs: The First 4 songs and Steeler are simply unstopable
Lows: 2 distinct parts regarding quality. Insisting in pop metal (namely Living After Midnight)
Rating: 7.5/10

Point Of Entry: With their new formula the band found a gold mine both in sale numbers and music quality.
So in POE they kept exploring it. Heading Out To The Highway uses that premise on a pretty good note and so does Solar Angels. Desert Plains and Hot Rockin' are a bit more radio friendly but keep the quality level in a respectabele standard. As for the rest of the album... A major letdown. Most songs are rockers that lack the strength of BS and KM and there are some that are quite poor (Don't Go).
There's not much else to say about this album. To sum it all: more a miss than a hit with a few gems. Yet another comercial sucess.
Highs: Solar Angels and Heading Out To The Highway
Lows: Lots of boring, uninspired and even weak songs.
Rating: 6.5/10

Screaming For Vengeance: After releasing a quite forgetable album for their diehard fans expectations and with the rise of younger bands (like Iron Maiden) Priest had to take their next step carefuly yet with determination and force. And the answer to the challenge was nothing short of impressive... another iconic album filled with classics under the name of Screaming For Vengeance!
After the epic intro that is The Hellion, this infectious fast paced metal anthem called Electric Eye comes storming in as an instant classic, followed by the amazing speedster that is Riding On The Wind (one of Halford's best ever performances). The following 3 tracks are cool heavy rockers (resembeling those short cuts from the turn of the decade) and off we go to the title track, a beast made of speed and aggression penned with laser precision skill, where Halford's high pitch shrieking voice (that would figure in some of the band's most noticeable tracks) makes its first proheminent registry. You've Got Another Thing Comin' fills all the requisits to please both metalhaeds and radio stations alike worldwide... plus it turned out to be an amazing live sing along. The album closes in a real great note with Devil's Child, an awesome rocker that mingles a classic Priest with something Angus and Malcom would do for AC/DC. It was also during SFV's storming tour that Judas Priest started to become really popular in the USA. Plus the band recorded their first live concert ever, properly named "Live Vengeance" that many state to be the Priest at its prime.
With Screaming For Vengeance the band learned that you don't have to go full sell out to sell tons of albums (a lession that they seemed to forget a couple of years later). This album is without shadow of doubt a classic and keeps a ridiculous high level of quality for almost 40 minutes. If you like metal and don't have this there's something really wrong with you.
Highs: it features at least a handful of all times classics and the few songs that don't fit that class are quite enjoyable...
Lows: ... except perhaps for the case of Fever that is a bit forgetable.
Rating: 8.25/10
 
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KidInTheDark666 said:
I think Screaming for Vengeance is extremely overrated.
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I think this album has only three not so good songs: Bloodstone (bad chorus, the rest of the song is very good), (Take These) Chains and the absolute filler Pain and Pleasure. Fever is a hidden gem and Devil's Child is also a good song. All other songs are classics.
 
The remaining 80's and Painkiller:

Defenders Of The Faith: You know what's even harder than creating a state of the art record? Keeping the level of quality on the next one or perhaps even beating it. First things first: musically Defenders Of The Faith is quite similar to its predecesor. But, surprisingly, the band seems to perfect the already excellence of SFV even acouple of notches.
"Born to Lead, at breakneck speed, with high octane, we're spitting flames" says the bridge of its supersonic monster opener - Freewheel Burning - and man does this song do justice to its lyrics. And when you're still recovering from the adrenaline the metal assault of Jawbreaker comes storming in (another song which title is completely justifiable). Rock Hard Ride Free is the first of the easy listening hard rockers here - others being Love Bites, Some Heads Are Gona Roll and Night Comes Down - and, unlike many other times, even the majority of these songs are stellar. The Sentinel is one of the best songs Priest ever wrote, let's put it that simple (that interlude) and Eat Me Alive is another fast, heavy as hell and really great tune. Heavy Duty/Defenders Of The Faith closes this maelstrom in an anthemic fashion making clear to everyone this is one of Priest's best albums. By this time Priest were probably the most successful metal act on the globe and were getting huge in the USA (justifiably so). The band performed in the Live Aid charity concert what increased even more their popularity Ironically I think this proved to be quite harmful for the band's next releases as we're about to see.
Neverthelesh Defenders Of The Faith is easily one of Priest's best works ever (no matter what era) and that alone speaks for itself.
Highs: in all honesty everything...
Lows: ... because when your lowpoint is a song with the quality of Night Comes Down, you know how high the bar is raised.
Rating: 9/10

Turbo: You know what's even harder than creating two state of the art records in a row? To follow it up with one of the most cheesy, radio-cash-grabbing, corny-sell-outs of all time.
Yet Turbo starts quite nicelly. The guitar synths of Turbo Lover give this odd choice of an opener quite an ambiance and is really enjoyable. While reminding a bit of Love Bites, this is a complete new approach to Priest's sound and comes out as an all time classic. Locked In is an hard-rockish fast paced tune, reminding a bit of Point Of Entry's Hot Rockin' (which is fine yet forgettable). And then..... then things start to go south in a 180º degree angle. All the listener's lef with is a bunch of poorly written 3rd-class-AOR-with-synths pile of garbage. The only exception is Out In The Cold, that reminds something out of Queensryche's Rage For Order (and that's awesome, especially in a disc that sucks so much). Plus the band recorded their 2nd live album (Priest Live) on this abomination's tour.
Ah... how the mighty have fallen! Yet props to the remastered version that features the bonus leftover "All Fired Up", an amazing speedster that's easily a million times better than the majority of the tracks on this turd put together. Notice that Turbo was intended to be a double album, but the band decided to make two separated releases because the material was really diverse. Well, good! If the other half is way different than this one, we can only assume Priest won't sound any worst... or will they?
Highs: Turbo Lover, Out In The Cold.
Lows: Basically almost everything else is utter trash!!!!
Rating: 3.75/10

Ram It Down: After a worldwide successful tour and live release, the second half of studio recordings from Turbo was to be released under a wave of suspicion by long time fans.
Nevertheless as the first seconds of the title track hit the speakers, you know what you're in for... and a colective sigh of relief is heard all over the Priest community. The Priest was indeed back! After an high pitch screaming fast paced opener that brings back the quality and adrenaline Priest always managed to deliver, an overlengthed solo gives way to this sleazy heavy tune justifiably called Heavy Metal. No traces of guitar synths or keys until we bump intoUnder Blood Red Skies, where the said instruments are used in a superb way along with the conventional rock hardware to create a monster of epic proportions. Hard As Iron shows the band claiming the label of grandparents of speed/power metal and I'm A Rocker is a really cool heavy metal sing along. The problem with Ram It Down are the remainding songs: appart from a cheesy yet cool metalized cover of Chuck Berry's legenderay Johny B Goode all we have is an handful of hollow tunes that show a band that's aging badly.
Were Priest still able to create another metal cornerstone as the ones back in the first half of the 80's or would they settle for this level of quality and give place to younger bands on the pantheon of Metal? To stregthen this apparent crisis The late Dave Holland decided to leave the band before the recordings of the new album. What would the next release bring? Well I think no one even imagined what was to come...
Highs: Ram It Down, Heavy Metal, Hard As Iron, I'm A Rocker, Under Blood Red Skies.
Lows: the rest of the album is quite forgetable
Rating: 7/10

Painkiller: Enters a new decade and Priest had some work to do after 2 lackluster albums and a line up quitting for the first time in 10 years. And also enters Racer-X's phenomenon Scot Travis. Comes the long waited new album and man, what an impact the youngest member has from the get go.
The title track kicks in with a drum solo where, in a few seconds the band shows two things to the heavy metal community: 1) Scott Travis was the right guy for the job 2) if you thought they would settle and become a piece of nostalgic metal memorabilia you better think again, because the rest of the song is nothing short of a mind blowing, fast and aggressive as hell heavy metal stravaganza. Make no mistake: this is one of the best metal songs EVER! So the only relevant question for the rest of the album is how much the quality will drop from here, right? Wrong... it doesn't. Hell Patrol is one of the most anthemic metal tunes ever made, All Guns Blazing makes way through everything after Halford's hear piercieng high pitched warcry, Leather Rebell triplets leaves us in awe while Metal Meltdown is fury and speed condensed. Night Crawler and Between The Hammer And The Anvil are easily two of the best classic metal compositions the band has ever made. A Touch Of Evil builds an unique ambiance displaying the band at a peak of mastery of all their potencial and goes through the many facets of Priests sound in little more than a handful of amazing minutes (with the help of late Mr. Chris Tsangarides that also produced the record). This wonder closes with the two part epic Battle Hymn/ One shot at Glory, an exquisite war epic Priest composition, and once the last seconds fade you come to the conclusion you just witnessed 46 minutes of the most defining moments in Heavy Metal ever made (if not the most defining!).
An equally mind blowing tour would cement Painkiller as one of the best records ever made and, when everything seemed stellar for the band, Rob Halford announced he'll be leaving the band in search of a more modern approach to metal. This left the metal community in shock and Judas Priest with an enourmously hard question to answer. was there any singer skilled enough to fill the huge space left by the metal god himself?... Let the tapes begin to rain.
Highs: Painkiller, Hell Patrol, All Guns Blazing... wtf! This record is flawless!
Lows: I can't find anything that qualifies as a low point.
Rating: 9.25/10
 
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My review of Redeemer Of Souls five bonus songs [5 Souls EP]:

1.Snakebite - great start of the song (classic Priest), great rhythm, the chorus is ok, the solo is typical Priest and I like the part of the song from 1:59 to 2:14 a lot. This song easily can fit on SFV album. 8/10

2.Tears Of Blood - the intro and the whole twin-lead guitar harmony through the song are AMAZING ! Fantastic tempo and pre-chorus, the actual chorus is also good. This song is a must to be on the album!!! Again it has a very good middle part of the song, the sliding solos are also fantastic. A song full of melody..... 9/10

3.Creatures - creepy song, very heavy riff. The pre-chorus is mystic and interesting and very cool, the chorus is a bit weak though and slow down the song, but the whole mood through the song is mid-tempo. The solo is good and fits the song well. 7/10

4.Bring It On - this song along with TOB would have became a classic. Classic sounding Priest with a more modern sound. Fantastic riff, tempo, groove and pre-chorus, the actual chorus is also very good (the intro is also classic Priest). I like both solos a lot. The chorus is repeated many times through this short song, which is not that good, but still is an awesome song - they could add a melodic harmony instead. 9/10

5.Never Forget - I love this song ! A fantastic ballad full of emotion and melancholic feel to it. It is way better than the ballad that closes the album. Great intro, fantastic chorus and solo - brutally amazing.... and the pre-chorus is also amazing. One of my favorite Priest songs, close to enter my Top 10 list. The first time I heard that song, a little tears to my eyes has appeared. 10/10

EP rating - 8.6/10

Overall, very good 5 songs, which should have been added to the album - they're better than half of it ! This deluxe edition bonus disc is worth it.
Here are my suggestions for which song should be swapped for one of these songs: get rid of Cold Blooded, Metalizer, Crossfire, Hell & Back and Beginning Of The End.... and add these five songs.
 
JUDAS PRIEST - DEMOLITION

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Jugulator was one of the worst albums I've ever heard, so hopefully in the second go-around, Ripper-era Priest upped the game a bit to rebound with a better album all-round. Hopefully. The following consists of my thoughts during a first listen, so bear with me here.
  1. "Machine Man" - Interesting opening, I like the build-up. I like how the drums kick in and lead into the riff, which is pretty cool. Ripper sounds pretty good here, too. Not sure about the lyrics, but everything else is actually quite strong. Yeah the lyrics here aren't great. Some interesting effects in the instrumental section. Great solo. I think they leveled-up in every category outside of lyrics. This is better than every song on Jugulator. 8/10
  2. "One On One" - Really weird opening but I like it. Great build-up before the riff comes in. Kinda growly Ripper vocals. Again, lyrics aren't 'excellent' but the music makes the song better anyway. The simplistic chorus is this song's only real downside, otherwise it's pretty great. 8/10
  3. "Hell Is Home" - Ooh, an acoustic intro. Feels like kind of a souped-up metal song version of a western. It's not quite as good as the others - the lyrics seem to run together at times - but there's nothing terrible about it. 7.5/10
  4. "Jekyll And Hyde" - Nice heavy opening, leading to a pretty great verse. I actually really like this song! It's heavy, it's brutal, it's a good take on the classic novella, and it's the best song on here so far. 9/10
  5. "Close To You" - Cool soft opening leads into a really mellow song and I'm liking this quite a lot. I guess it's about the loss of someone? They've done a fairly good job with it and as a song it's pretty great. 9/10
  6. "Devil Digger" - Interesting opening riff, but I like how it feels like a thousand bricks thrown at you. I like this one too, though the chorus is another simplistic one, though better than "One On One's". The lyrics are pretty decent here, mainly because the song is intending to be nothing much more than a balls-out slaughterhouse. Pretty great song! Again, only detracting factor is the chorus, otherwise it's pretty strong. 8.5/10
  7. "Bloodsuckers" - Oooh, I like this opening. The build-up here is awesome. When the actual riff comes in, it keeps the momentum going well. Lyrics here aren't great, but the rest is good. I like Ripper's high notes in the chorus. Everything after the last chorus could've been disposed of, and the lyrics could've used some more time in the oven, but otherwise it's pretty strong. Maybe not as good as most of the other songs so far, though. 7.5/10
  8. "In Between" - Holy shit, I love this opening. The verse isn't as good, but it's not terrible. I like when it comes back to heaviness. It gets kinda messy towards the middle, but I like the growly piece there. This is the worst song so far, but it's got some good moments nonetheless. 7/10
  9. "Feed On Me" - Cool opening, cool riffing. Not a fan of the verses, but the pre-chorus / chorus piece is pretty cool. It's kinda weaker like the last one, but again, enough good moments keep it pretty strong throughout. 7/10
  10. "Subterfuge" - Wow, that opening is great. This song is quite the banger. I like this overall. Quite strong. 8/10
  11. "Lost And Found" - Ooh, another acoustic opening. Pretty great verse here. I like this song quite a bit more than some of the others here, though it's not as good a ballad as "Close To You" was. Still, I like it. 8.5/10
  12. "Cyberface" - Sounds like a rocket ship / robot awakening / something to that effect. Kinda Terminator-like stuff here. Pretty cool. Interesting verse that culminates in an awesome scream. Chorus isn't the best thing ever, but the pre-chorus preceding it is great. It's a pretty strong song, I think. 8/10
  13. "Metal Messiah" - Cool opening riff here. Holy shit, I wasn't expecting this sort of verse. Is that... rapping? I'm... it doesn't sound bad. At all. I actually like it. And the chorus is pretty great too! Nice eastern piece here. This bit after the third chorus sounds like something straight out of a classic horror film. Great ending! I liked this song a lot. Not as good as "Jekyll And Hyde" and "Close To You", but still quite great! 8.5/10
Song Rating Average: 8.04/10

Yeah, I'd say this album is a solid 8/10 for me. Way better than I ever expected, with every song being a good step above every song from the previous album. Somehow, they took some of the same techniques from Jugulator and yet added in a lot of other elements and the whole thing is a really cool, metallic album. Some of the songs could use a shave, the lyrics could be better, but despite its runtime, it kinda whipped by! I liked it a bit and it's a step above some of the Halford albums too. Good stuff.
 
I've listened to the song Reckless from Turbo album and wow, fantastic solo.

One of the best solos in the Priest discography. And the song itself is a hidden gem.

 
Is it safe to say that Sad Wings Of Destiny was the very first heavy metal album.

Fun fact: three songs form this album were leftovers from the debut album (Tyrant, Genocide and The Ripper).
 
terrell39 said:
Never heard of Black Sabbath? 1st lp released six years earlier than SWOD
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Yes, their first album is considered to be the start of the heavy metal genre, but I think SWOD fit better for this statement.

Stained Class and Killing Machine/HBFL albums are also strong contenders.
 
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I wouldn't got that far as to suggest SWOD as the first metal album.

But I think probably as much of the elements that became known as "heavy metal" were invented on SWOD as on the first 6 Sabbath albums, and certainly how metal developed over the next 15 or so years sounded more like SWOD than Sabbath.
 
The solo (or solos?) in Rock Hard Ride Free is one of my favorites ever. So typical solo for the 80's.

Sometimes it's hard to me to distinguish K.K. and Glenn solos, but I think the first solo in this song (the one that I speak above) is K.K. then Glenn. I never have a problem with that with Maiden. Faulkner solos are also very recognizable.

 
But maybe the best Priest solo/s (aside from Glenn's Painkiller one) are the solos in Ram It Down (brutal solos) - fantastic song that is a little bit underrated, I think and it is the best song from the weak album RID.

 
Kalata said:
The solo (or solos?) in Rock Hard Ride Free is one of my favorites ever. So typical solo for the 80's.

Sometimes it's hard to me to distinguish K.K. and Glenn solos, but I think the first solo in this song (the one that I speak above) is K.K. then Glenn. I never have a problem with that with Maiden. Faulkner solos are also very recognizable.

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now... THIS is REAL Priest!
 
Angel of Retribution (2005)

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Coming off of two indescribably terrible albums with a sub-par singer, poor songwriting, and abusive production, Angel of Retribution hits like a metric fuckton of quality bricks.

Judas Rising
We fade in with a flurry of legato lines and a tempered, structured melodic guitar layer. A vocal scream breaks the night, followed by double bass and heavy riffs, and fucking Rob Halford is back. I don’t mean that as a slight to Ripper, because the music here is so much better and so much more “Priest” than it was on the previous two albums. No, the difference here is melody and power, and these things were simply lacking during Ripper’s tenure with the band. This song, though maybe a little one-dimensional, hits like a fucking sledgehammer. KK’s solo leaves something to be desired considering Glenn’s amazing intro work, but it’s still fitting and powerful. Judas Rising slays with power, hooks, and beautiful production from Roy Z. 10/10

Deal With The Devil
When I first heard this, and I’ve spun this album at least 7 times now, I said, “This music would fit on a Bruce solo album.” Upon further research I discovered that it was co-written by Roy Z and that makes a ton of sense. It’s sharp, it’s fun, it’s interesting, yet dark…it’s Judas Priest. It’s self-referential, sure, but it just rocks from start to finish. It’s as hooky as anything and the performances are top notch all around. For the first time ever I can’t immediately pick out what’s being played by KK and what’s being played by Glenn (sure, that harmony part helps). It’s simply seamless; the band playing 100% naturally. If you slowed this down by 15 bpm it could be a British Steel hit. 9/10

Revolution
The bass intro almost sounds like a mistake at first, but that makes it so much more raw. Once again, Roy Z’s production is phenomenal. This one sounds the most hodgepodge here, i.e. the verses sound like 70s Priest and the chorus like 90s Priest, but I kind of dig that. It’s flawed in construction, but still pretty cool. The drums are pulling in that classic 80s Priest boom-bap, it’s like a “previously on…” segment for their whole career. Halford turns in another great performance. "Revolution" won’t stick with me like these other songs, mostly because of the annoying Robert Plant/Axl Rose outro, but it’s still a solid tune. 7/10

Worth Fighting For
We once again harken back to the days of 80s cheese with the boom-bap, eighth-note bass song, but this one is catchy as hell. If not for the stellar production this easily could have been a track from Point of Entry or Turbo. I really love the bluesy, strolling guitar riffs. It’s a little laidback all around, but the vocal layers, Rob’s melodies, and Roy’s production push this tune to the next level. His level of layered production really cannot be overstated here. There’s a vaguely Bon Jovi or Megadeth’s Risk vibe happening here, but I don’t care. 8/10

Demonizer
Maybe the most “nü-Priest” sounding song here, this one still kicks some ass. The riffs are heavy and atonal, the drums are pounding, Rob is shredding his voice…it’s pretty damn heavy. Although the verses try so hard to remind us of Painkiller (including the literal name drop), the best thing is the hooky chorus. Scott’s drumming is a little much during the crammed verses, but that chorus brings it home. It’s not a classic, but like “Revolution” it’s a solid tune that I wouldn’t skip. Halford’s final title wails are impressively demonic. 7/10

Wheels of Fire
Another “fun” track for the album, with a twinge of Harley-riding darkness, this is another decent song but probably the weakest here. The lyrics are very lazy and the chorus sounds identical to Metallica’s “Attitude”. The bridge lyrics ape “Aces High”, too. It’s overall a throwaway song, but, as with everything else on this record, I wouldn’t turn it off. 6/10

Angel
A very pretty song that gets better with each listen. The acoustic playing is quite nice. Halford’s vocals are just stunning on this song. He sounds like a man half his age. Honestly, I know Rob acts every song like it’s a Broadway musical, but he really pulls out all the stops here. Glenn’s solo is lovely, even if the FX patch isn’t my favorite. 9/10

Hellrider
I feel like this song tries to recapture the same energy and glory as “Judas Rising”, but it tries too hard. It’s a fine song, just a little overblown and underdeveloped. The main riff (after the intro) is average and only Scott’s drumming improves it. The verses have that early Nightwish, Tool-style vocal writing where syl-ah-bulls are-sung like-this and I don’t love it. The music pummels and Rob’s vocal layers are cool, but most of this song is average. The guitar riffs starting around 4:15 (melodic riff over the tremolo-picked Mustaine section) is amazing and the harmonized legato section following is even better, especially the neo-classical tonality. I don’t love Halford singing along with the guitar melody, but oh well, this is heavy metal. 7/10

Eulogy
The only downside to this quiet, moody interlude piece is the self-referential lyrics. We get it, Rob: you left the band and now you’re back. You don’t need to name drop every goddamned song you ever wrote in the lyrics of a new song. Your career is not a concept album. I don’t really know how to rate this song. It serves the purpose of the interludes on the early Opeth records, but it’s very affecting. 6/10, I guess.

Lochness
Just…oh, Dio, fucking hell, how do I even…this song is…….it exists. I know that most people probably laugh or hate this tune, but holy crap, I love it. It’s so overblown and absurd and stupid that it should be terrible, but the chorus is outstanding, the mood is incredible (minus that stupid pick-squeal main riff), and it’s just such a behemoth. The main portion of this song sounds like something from a latter-years Dio Sabbath record (and honestly would have sounded incredible). It’s hulking, and giant, and ludicrous. I seriously think the prechorus and chorus are among the catchiest melodies Priest have ever recorded. The solos are huge and melodic and wonderful. Could it have been 5 minutes shorter? Sure. But also could we stop arguing about a dinosaur in a very small lake? Of course. Just, everyone shut up. I fucking love this jam. 9/10

This is a solid record through-and-through. I get the same feeling here that I get from Brave New World of renewed energy and a sense of vigor that was sorely lacking on the previous couple albums. Angel of Retribution is nowhere near as good as BNW, but the feeling is there.

Album rating 7.8/10
 
Guys, what are your thoughts about the song Dissident Aggressor from Sin After Sin '77 album ?

The song won a Grammy in 2010, thirty-three years late after its release ! Yeah, for a live version of it from the last (live) album with K.K. - A Touch Of Evil: Live [2009], but I still wonder how this song won a Grammy. It's nothing special, only the chorus is great.... and the brutal scream from Rob at the start of the song (maybe his highest note? - pretty high and hard song for him to sing live). I was very surprised that they played it during the Nostradamus tour in 2008 (and a couple of shows in 2009 too), the last time they played it was in 1977/1978.

I think some of the songs from Firepower album will win a Grammy Award for 2019.
 
Same way El Dorado won in 2011. Grammy Awards for Best Metal Performance are given to Metallica followed by whoever's turn it is. In 2010 it was Judas Priest's turn.
 
LooseCannon said:
Same way El Dorado won in 2011. Grammy Awards for Best Metal Performance are given to Metallica followed by whoever's turn it is. In 2010 it was Judas Priest's turn.
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Yeah, Metallica are full of them, even for Hard Rock... :lol:

But do you like the song ?
 
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