Speaking of great ones, can I give a to Mr. Glenn Tipton?
In a genre that pays far more attention to speed and technique than soul, the man is special breed.
The guy has so much melodic sense and feel. He knows just how long to hold a note and just when to pause and let a solo breathe. Realms is his first great solo and among my all-time favourites — breathtaking.
Speaking of great ones, can I give a to Mr. Glenn Tipton?
In a genre that pays far more attention to speed and technique than soul, the man is special breed.
The guy has so much melodic sense and feel. He knows just how long to hold a note and just when to pause and let a solo breathe. Realms is his first great solo and among my all-time favourites — breathtaking.
Glenn Tipton is the best guitarist ever. His solo in "Realms" is breathtaking indeed but only one in his large collection of solos (still among the best). The way I see it, he got especially good in the later eighties, starting to shred and do magnificently fast yet melodic things. This solo, especially its first 20 seconds, is currently stuck in my head (2:42). So disgustingly melodic and original.
Touch of Evil solo is another that I find flows very nicely, and, although most do not like the album, I find the solo in Close to You is great - it's a sad song and the solo manages to fit in some flourishes without feeling out of place. I've always felt that much like H, Tipton's solos feel constructed to fit with the song and flow in/out seemlessly.
What's interesting is that I didn't like the song very much at first (now I like it more but still find it inferior to a lot of their material) but when the solo hit, it hit good. Stuck in my head so badly right now.
Speaking of great ones, can I give a to Mr. Glenn Tipton?
In a genre that pays far more attention to speed and technique than soul, the man is special breed.
The guy has so much melodic sense and feel. He knows just how long to hold a note and just when to pause and let a solo breathe. Realms is his first great solo and among my all-time favourites — breathtaking.
Can't agree with you 100% there, Eric. All Guns has a massively technical solo but not very melodic. It's definitely an awesome challenging solo with cool and memorable licks but one of the least melodic of the album.
@Saapanael I'd have to say you're right actually. I was more finding the memorable licks of the solo to be melodic but you're correct in saying it doesn't carry or develop a melody really. However, it has structure and awesome licks and I feel as if I can follow it, as opposed to a ton of massive shredding that has no soul. I'm not a guitarist so I can't fully appreciate the technical aspects of soloing, so I listen for the melody.
Rob Halford - Vocals
K.K. Downing - Guitar
Glenn Tipton - Guitar
Ian Hill - Guitar
Les Binks - Drums
There's many who tried, to prove that they're faster/But they didn't last and they died as they tried
This album is notable for a number of things, the first -probably most obvious- is that it was released under two different names. In the US, it was renamed to Hell Bent For Leather due to "murderous implications" of the intended title. For everywhere else in the world, it was known as Killing Machine. Perhaps Hell Bent For a Leather was a more appropriate title, as the band had developed their signature leather and studs look by now. The US version also contained an extra song, a Peter Green era Fleetwood Mac cover: The Green Manalishi (With the Two-Pronged Crown). This song would become a live staple for the band.
Killing Machine shows several different sides of the band, who were still trying to define their sound. The commercial influences are stronger than ever; from the anthemic Take On the World to the ballad, Evening Star. However, Judas Priest's aggression is not lost and is shown quite clearly in tracks like Hell Bent For Leather and Delivering the Goods. The progressive elements are pretty much completely gone at this point though, with the band now opting for shorter and simpler structures and themes. Stained Class had only been out for 6 months when Judas Priest got to work on a followup. For the first time, they were recording with the same lineup as the previous album. The result is a more comfortable sounding band and probably the most refined Judas Priest sound so far. For a producer, they went with James Guthrie who worked on their Better By You, Better Than Me cover.
Killing Machine saw the band embrace the mainstream more than ever before. Priest was filming music videos for the first time, appearing on Top of the Pops and writing stadium rock anthems. They had always been an album orientated band, releasing only one or two singles per album. This album had 3 singles though: Rock Forever, Take On the World and Evening Star. Take On the World proved to be a success for the band, charting at number 14 on the UK Top 40. It was the first Priest single to chart. Unfortunately though, it didn't go on to become the singalong classic that they were hoping for.
The band hadn't appeared on British TV since 1975 when they performed on The Old Grey Whistle Test. They made their long awaited return in 1978 when they performed on Top of the Pops for the first time. Although a mimed performance, people got to take a look at the band's new look and helped propel their eventual mainstream success. Not all features from the new Judas Priest live show were featured though, as Rob Halford wasn't allowed to use his whip due to objections from Marie Osmond, who was sharing the stage with Judas Priest.
The whips and leather weren't the only new addition to Judas Priest's stage show; this also saw the debut of Halford's motorcycle, which he bought for only $1. The company who sold hoped that it would serve as a promotional tool for their sinking business. Halford was also known to shoot blanks from a machine gun into the audience during Genocide. However this received complaints from the fire marshall and was quickly put to an end.
Killing Machine marked the start of a new era for the band. One filled with mainstream success, classic albums, and memorable world tours. The band was instrumental in making Heavy Metal a genre that could be enjoyed by the masses and Killing Machine is the start of that. This album may be overshadowed by its followup, but it very much sets the stage for British Steel and the 80's in general.
As the decade began to draw to a close and with 5 albums under their belt, it became time for Judas Priest to release their very first live album. Recorded live in Japan, Unleashed in the East has gone on to become a classic live album. It covers a good chunk of material, although it has nothing from the debut and is oddly lacking in material from the most recent album: Killing Machine. The original album only had 2 Killing Machine songs! Although the Japanese version contained a bonus 7" with 4 extra songs, including 3 from that album. These extra songs were later included on the 2001 remaster.
What I find particularly strange is the lack of Take On the World, given the band's intention of making it into a live favorite. Putting it on the live album would've probably helped its status.
The album is heavy on Sin After Sin and Sad Wings Of Destiny material though, which is nice because we get to hear how refined these songs have become after a few years. Especially the Sad Wings songs are heavily improved compared to their studio counterparts. The improved production also helps quite a bit.
Like most live albums, the authenticity of this recording remains to be a point of controversy among fans. Rob Halford eventually confirmed that while the music was indeed recorded live, the vocals had to be redone due to him suffering from a cold that compromised his performance.
Unleashed in the East became a massive success for the band. It was their highest selling album to date, reaching the US Top 100, the UK Top 10, and even achieved platinum status. It was the first of only 5 Judas Priest albums to do so. It remains a favorite among fans and is considered one of the classic live albums.
Sadly, this would go on to be the last release to feature Les Binks. With the band's increasingly commercial direction, the need was for less technical drumming and a more direct, simpler style. Binks and the band agreed that it was time to move on and the band began searching for a new drummer. Fortunately, he was not forgotten and his playing on the three albums he appeared on is still loved by the fans.
Binks stayed active after Judas Priest and was even a brief member of Lionheart in 1981 with Dennis Stratton from Iron Maiden. He's been in a number of bands in the British Metal underground and also worked with Tony Parsons, another Maiden veteran. Before Judas Priest, he played on Roger Glover's The Butterfly Ball and the Grasshopper's Feast, a concept album that was eventually staged in an opera. This album also featured the talents of Glenn Hughes, David Coverdale, and Ronnie James Dio.
Sadly, this would go on to be the last release to feature Les Binks. With the band's increasingly commercial direction, the need was for less technical drumming and a more direct, simpler style. Binks and the band agreed that it was time to move on and the band began searching for a new drummer. Fortunately, he was not forgotten and his playing on the three albums he appeared on is still loved by the fans.
Binks stayed active after Judas Priest and was even a brief member of Lionheart in 1981 with Dennis Stratton from Iron Maiden. He's been in a number of bands in the British Metal underground and also worked with Tony Parsons, another Maiden veteran. Before Judas Priest, he played on Roger Glover's The Butterfly Ball and the Grasshopper's Feast, a concept album that was eventually staged in an opera. This album also featured the talents of Glenn Hughes, David Coverdale, and Ronnie James Dio.
Interesting bit on Binks! And cool clips I have never seen before!
Later I'd like to say a few words on why he had to leave. I will quote an interview with Neal Kay, from the book The Clairvoyant.
Quite revealing, and annoying to be honest. To be continued.
Hell Bent For Leather is a better title than Killing Machine and Green Manalishi is worth the price of the CD alone.
Win, North America
This an uneven album to be sure, but pretty damn cool overall.
I agree it has one of the most badass album covers ever. But I am a sucker for that fatter, wetter sound — the chorus riff of Killing Machine is right there with Wheels of Steel as the epitome of what I hear when I think of what a classic metal rhythm guitar should sound like.
Delivering the Goods is a statement song and a great opener: I think it set the tone for the New Wave of British Heavy Metal that was about to erupt. Green Manalishi is my favourite cover ever: the riff is iconic, as are the duelling guitar solos. I've noticed it doesn't get as much love on this forum as it does in other Priest circles, and I don't get it. Hell Bent For Leather is heavy, aggressive and unique — one the greatest short, fast songs of all time
This might be (one of) the least of the seventies but it still a very enjoyable album.
Also lesser famous material like Burning Up, Rock Forever and Evening Star... all energizing songs. Not a big fan of Take on the World (am I glad it didn't come on Unleashed!) and Evil Fantasies. Also not a fan of the indolent Before the Dawn.
From an interview with Neal Kay, from the book Steve Harris : The Clairvoyant:
... At that time, the record labels were becoming more and more open towards me, and sometimes I used to play the main role in some of their decisions. For example, I composed the setlist for Judas Priest's tour according to the requests from the fans in my club. They had asked me from CBS to make a list of songs I thought should be played live. After that, they took me to a Priest show and asked me who I thought was the weak link in the band. I told them it was Les Binks, the drummer. I had no idea why they were asking me that, nor what it was about, but soon enough, Les was kicked out of the band. It was a pretty deceitful thing that they did, making me pick someone without telling me anything else ...
I almost choked when I read this. I mean, Les was a really great drummer. Alright, maybe Priest wanted to play more straight ahead music later on, and sure Dave Holland fitted very well, but to call Binks the weak link??
By the way, I can really recommend that drum solo Mosh posted. If you rather not spend the time to see the whole thing, pick it up a couple minutes from the end. Some great grooves and "still" (the solo was recorded 20 years ago) that excellent double bass playing.
Green Manalishi is my favourite cover ever: the riff is iconic, as are the duelling guitar solos. I've noticed it doesn't get as much love on this forum as it does in other Priest circles, and I don't get it.
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This might be (one of) the least of the seventies but it still a very enjoyable album.
Also lesser famous material like Burning Up, Rock Forever and Evening Star... all energizing songs. Not a big fan of Take on the World (am I glad it didn't come on Unleashed!) and Evil Fantasies. Also not a fan of the indolent Before the Dawn.
From an interview with Neal Kay, from the book Steve Harris : The Clairvoyant:
... At that time, the record labels were becoming more and more open towards me, and sometimes I used to play the main role in some of their decisions. For example, I composed the setlist for Judas Priest's tour according to the requests from the fans in my club. They had asked me from CBS to make a list of songs I thought should be played live. After that, they took me to a Priest show and asked me who I thought was the weak link in the band. I told them it was Les Binks, the drummer. I had no idea why they were asking me that, nor what it was about, but soon enough, Les was kicked out of the band. It was a pretty deceitful thing that they did, making me pick someone without telling me anything else ...
I almost choked when I read this. I mean, Les was a really great drummer. Alright, maybe Priest wanted to play more straight ahead music later on, and sure Dave Holland fitted very well, but to call Binks the weak link??
By the way, I can really recommend that drum solo Mosh posted. If you rather not spend the time to see the whole thing, pick it up a couple minutes from the end. Some great grooves and "still" (the solo was recorded 20 years ago) that excellent double bass playing.
I doubt les was fired because of Neal Kay. More like there were perceived issues and the record execs were doing their homework by asking around.
I don't get the opinion, or agree with it, but interesting stuff. Of course given what happened next, the record execs would say they were right.
Also on the ex-Priest drummer front, check out the Michael Schenker Into the Arena link I posted on the instrumentals thread. Simon Phillips kicking some serious ass.
Who knows. Priest changed their music and Holland fitted very well at that. I have read 1983/1984 gig reviews (from ordered old hard rock mags) and they were always praising Holland's fat sounding drum work. However, I wonder if Binks couldn't play like that? Perhaps the guys in Priest knew, or even Kay, but can you imagine Rapid Fire with Binks? I sure can. Anyway, I guess Neal Kay never heard Unleashed in the East, or had his eyes and ears in his ass when he saw the Priest live, for real.
Priest's real big break came with Screaming for Vengeance.. and that was indeed with Holland. Still, I think the change of music (and lyrics) mattered a lot.
Also on the ex-Priest drummer front, check out the Michael Schenker Into the Arena link I posted on the instrumentals thread. Simon Phillips kicking some serious ass.
Rob Halford - Vocals
K.K. Downing - Guitar
Glenn Tipton - Guitar
Ian Hill - Bass
Dave Holland - Drums
1980 was an exciting time for Metal. Black Sabbath proved that they could not only continue without Ozzy, but they could they could release arguably their best album yet, Iron Maiden was leading the charge of the NWOBHM with their debut album, and of course Judas Priest released British Steel. Not to mention all these albums came out in the same month! Can you imagine?
Judas Priest started the decade with a brand new drummer: Dave Holland from a band called Trapeze. Holland's style was much less technical than Bink's and was more direct and simple. Perfect for the type of music Priest wanted to make. No more epic ballads and complicated thrashers, it was time to make an album that rocked hard from start to finish.
British Steel was recorded at Ringo Starr's Startling Studios in England, a location that had quite a large effect on the music. In lieu of sampling -which wasn't available at the time- the band used resources at the house to create various sound effects. Cutlery was dropped on marble floor for Metal Gods to emulate the steel mills and milk bottles were smashed on the porch for Breaking the Law, among other things. Different rooms were also used for recording to naturally change the reverberation and timbre; drums were recorded in the stairwell and vocals were recorded in the living room. All these things help to create a sound that is unique to this album and contribute to its nature as a massive, heavy album.
Musically, British Steel is a more focused effort than it predecessor, focusing on the more commercial elements found on Killing Machine, but also combining them with the band's knack for heaviness. The result is songs such as Breaking the Law, Living After Midnight, and Metal Gods. All songs that would go on to become Metal classics. Though there are also songs that show the band is still capable of writing speedy thrashers, such as Rapid Fire and Steeler. And there are some songs that are just straight up commercial, like the spiritual successor to Take On the World: United.
Though this album does show them trying new things as well. The Rage is a good example of a type of song we've never heard before from Priest. It almost has a reggae feel to it!
Up until that point, Judas Priest had very much been an album oriented band. Every album had its highlights, such as Victim of Changes, Beyond the Realms of Death, and Hell Bent For Leather, but these were albums that were meant to be taken as a whole. This is probably part of the reason why not many live staples came out of the 70's. With British Steel, Priest created an album that not only stood strongly on its own, but also had songs that worked incredibly well out of context. There isn't one clear highlight on this album and several of the songs remained as live staples. You wouldn't be able to see a Judas Priest show without hearing Breaking the Law or Living After Midnight. Metal Gods is another signature song for the band and Rapid Fire has been a common opener recently. It also one of only three albums (the others being Defenders of the Faith and Rocka Rolla) to have every performed live.
British Steel became a breakout for the band. It was their highest charting album to date, debuting at #4 on the British charts and #34 on the US Billboard Pop Charts. They had finally created an album that dominated in both the USA and their home soil in England. Of course British Steel went on to become a classic Metal album and arguably their most well known. With this album, Priest proved that Metal could be a genre enjoyed by the masses, not just a niche genre. In the USA at least, songs like Breaking the Law are known almost universally, not just by Metal/Hard Rock fans. It was followed with the band's most massive tour yet, including a performance at the first annual Monsters of Rock festival.
The band also started filming music videos with plots around this time, which was a trend of the 80's. Their first real video was for Breaking the Law, which has since become sort of an iconic Metal video. It certainly captured what Judas Priest had become in the early 80's and shows that they were not afraid to be accepted by mainstream audiences. Living After Midnight does the same thing, but it also shows the band's loyalty to the fans as well as giving a glimpse of the growing Heavy Metal culture.
The band celebrated the album in 2009 with the British Steel 30th Anniversary Tour, where the entire album was played live start to finish for the very first time. This tour was captured on a DVD that was included with a new 30th Anniversary edition of the album.
Judas Priest started the 80's with a bang and British Steel was really only a small look at what was about to erupt. Not just in the world of Judas Priest, but in Heavy Metal as a whole.
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to Mr. Glenn Tipton?
Anyway, I guess Neal Kay never heard Unleashed in the East, or had his eyes and ears in his ass when he saw the Priest live, for real. 
