The Flash
Dennis Wilcock did 9/11
The actual term is "ephebophilia", sexual attraction to adolescents.
Judas Priest Discography Discussion (part 2 starting page 20)
- Thread starter Mosh
- Start date
The actual term is "ephebophilia", sexual attraction to adolescents.
It's a shame that the Holland discussion dominated this week's album, but I suppose it was inevitable. Also partly my fault, as I didn't have as much time to participate in the British Steel talk as I'd like. Anyway..
Point of Entry (1981)
North America/Japan Artwork
Coming off the heels of the highly successful British Steel album and tour, Judas Priest decided to use a similar formula for their next album. The result is the even more radio friendly Point of Entry. Where the previous album still maintained the rough edge and Metal power, this album showed the band's commercial influence to be higher than ever. Because of this, Point of Entry has been somewhat forgotten, especially compared to the previous and following albums.
Point of Entry was written with a unique approach for the band. Normally, they would write most of the album before hitting the studio, writing maybe one or two songs during the recording sessions. For this album, they decided to write and record everything spontaneously in the studio. Priest did write an entire album's worth of material, but scrapped it before recording sessions began. Perhaps a failed experiment, as far as I know they never did this again.
Despite lacking in the Metal department, Point of Entry is not a bad album, it does have some nice moments. Desert Plains is a stellar live track and Solar Angels is a bit of a hidden gem. Of course the opener, Heading Out to the Highway, became a bit of a Priest "classic". And even if the songs sounded more commercial, they were at least good at writing catchy tunes. But obviously not what most fans look for in good Judas Priest material.
There were some issues with the artwork for this album. The band was unsatisfied with the ambiguous sleeve and attempted to have a new one designed for North America and Japan. Despite being somewhat more appropriate to the music, they found this new artwork to be even worse! Although this new sleeve did introduce the 3D Judas Priest logo that was used throughout the 80's.
Sadly, this album wasn't the big commercial hit that the band hoped for. In fact it was less successful than both the previous album and the following, Screaming for Vengeance. Perhaps this served as a wake up call for the band, that a heavier album was in order. Although Heading Out to the Highway did become a hit in the USA, cracking the top 10 singles chart. Two other singles were released, but were less successful.
In spite of the album's shortcomings, the 1981 World Wide Blitz Tour was a big success for the band and their biggest live show yet. Big lights, massive hydraulic platforms and a star shaped lighting rig helped create an over the top production that characterized the 80's well. Of course many old features were still present, such as Rob Halford's motorcycle. This tour also saw Glenn and KK's switch to wireless guitars, making it easier to run around stage.
Point of Entry might not have the same legacy as other albums from around this time and unfortunately seems to be forgotten by the band itself, but it does have its moments. Despite being a bit of a black sheep in the catalog, it does show the band in a transitional phase and in the grand scheme of things, it makes sense that they'd make this album. Judas Priest was still trying to figure out what worked and what didn't and now they had the experience needed to make the next couple albums. Two albums that are very highly regarded by Priest fans.
Point of Entry (1981)
North America/Japan Artwork
Coming off the heels of the highly successful British Steel album and tour, Judas Priest decided to use a similar formula for their next album. The result is the even more radio friendly Point of Entry. Where the previous album still maintained the rough edge and Metal power, this album showed the band's commercial influence to be higher than ever. Because of this, Point of Entry has been somewhat forgotten, especially compared to the previous and following albums.
Point of Entry was written with a unique approach for the band. Normally, they would write most of the album before hitting the studio, writing maybe one or two songs during the recording sessions. For this album, they decided to write and record everything spontaneously in the studio. Priest did write an entire album's worth of material, but scrapped it before recording sessions began. Perhaps a failed experiment, as far as I know they never did this again.
Judas Priest was not a band to stick to the same sound for too long; they were always willing to update their sound to stay relevant to current trends. While Point of Entry has its heavier moments such as Heading Out to the Highway and Desert Plains, it has a much larger focus on more radio friendly tunes like Don't Go and You Say Yes. Even the heavier songs have big choruses and "hit single" qualities.Glenn Tipton said:
Despite lacking in the Metal department, Point of Entry is not a bad album, it does have some nice moments. Desert Plains is a stellar live track and Solar Angels is a bit of a hidden gem. Of course the opener, Heading Out to the Highway, became a bit of a Priest "classic". And even if the songs sounded more commercial, they were at least good at writing catchy tunes. But obviously not what most fans look for in good Judas Priest material.
There were some issues with the artwork for this album. The band was unsatisfied with the ambiguous sleeve and attempted to have a new one designed for North America and Japan. Despite being somewhat more appropriate to the music, they found this new artwork to be even worse! Although this new sleeve did introduce the 3D Judas Priest logo that was used throughout the 80's.
Sadly, this album wasn't the big commercial hit that the band hoped for. In fact it was less successful than both the previous album and the following, Screaming for Vengeance. Perhaps this served as a wake up call for the band, that a heavier album was in order. Although Heading Out to the Highway did become a hit in the USA, cracking the top 10 singles chart. Two other singles were released, but were less successful.
In spite of the album's shortcomings, the 1981 World Wide Blitz Tour was a big success for the band and their biggest live show yet. Big lights, massive hydraulic platforms and a star shaped lighting rig helped create an over the top production that characterized the 80's well. Of course many old features were still present, such as Rob Halford's motorcycle. This tour also saw Glenn and KK's switch to wireless guitars, making it easier to run around stage.
Point of Entry might not have the same legacy as other albums from around this time and unfortunately seems to be forgotten by the band itself, but it does have its moments. Despite being a bit of a black sheep in the catalog, it does show the band in a transitional phase and in the grand scheme of things, it makes sense that they'd make this album. Judas Priest was still trying to figure out what worked and what didn't and now they had the experience needed to make the next couple albums. Two albums that are very highly regarded by Priest fans.
The Flash
Dennis Wilcock did 9/11
I had no idea they wrote this album in the studio. Definitely a failed experiment, one of the weakest Priest albums. Impossible for me to get through in its entirety, many songs are flat out boring. I like the artwork (the original), though, I like those dreamy album covers.
Cosmiceddie
Back From The Edge
I find that 'Point Of Entry' is one of the best Priest albums. 'Desert Plains' is a top ten song, that's for sure. 'Solar Angels', 'Troubleshooter', 'Turning Circles', 'Heading Out On The Highway' and 'On The Run' are other great songs. 'Don't Go' has an awesome chorus. 'Hot Rockin', 'You Say Yes' and 'All The Way' are plain fillers, though.
Buy the way, I really like the production of the album.
'Solar Angels' was the perfect opener throughout the World Tour.
Buy the way, I really like the production of the album.
'Solar Angels' was the perfect opener throughout the World Tour.
Saapanael
Ancient Mariner
Alright, a few thoughts.
The album is shorter than the average album (37 minutes) but still manages to get boring at some point. There are a few very good songs, examples being Heading out to the Highway (memorable riffs and a great harmony) and Desert Plains (simple but nice riffs and awesome solos), a few enjoyable and lots of crappy ones. The riffs are way too simple and generic and make Priest sound like an "ordinary band". I don't like the production very much, guitar sound is kind of metallic and the quality seems to be worse. But in the end, every bad song has at least one good moment in it PoE is still an okay album, but nothing more.
Priest really shouldn't have sounded so commercial imo, but luckily their next albums proved what they were capable of.
There is something to the original cover, something nice in it. About the highway picture though, I always used to think that the picture depicted two hills touching each other in the middle, thus being the POINT of Entry. I thought the blue strip in the middle was just the air between the hills.
The album is shorter than the average album (37 minutes) but still manages to get boring at some point. There are a few very good songs, examples being Heading out to the Highway (memorable riffs and a great harmony) and Desert Plains (simple but nice riffs and awesome solos), a few enjoyable and lots of crappy ones. The riffs are way too simple and generic and make Priest sound like an "ordinary band". I don't like the production very much, guitar sound is kind of metallic and the quality seems to be worse. But in the end, every bad song has at least one good moment in it PoE is still an okay album, but nothing more.
Priest really shouldn't have sounded so commercial imo, but luckily their next albums proved what they were capable of.
There is something to the original cover, something nice in it. About the highway picture though, I always used to think that the picture depicted two hills touching each other in the middle, thus being the POINT of Entry. I thought the blue strip in the middle was just the air between the hills.
Point of Entry is a very good album; It's just not a very good Judas Priest album.
It has no rip-the-doors-off metal rockers, no progressive song structures, no shrieks nor extended instrumental sections — things that we count on from Priest.
But if you forget about what is missing and you take it for what it is — a collection of conventional hard rock songs — on those terms, it is pretty damn solid.
It hits two home runs:
Heading Out to the Highway is about as good as an in-the-car rock anthem gets, with that cruise-control bottom powering along an expressive vocal, with a catchy main riff and chorus. Those drum fills before the choruses and the harmony guitar mid-section are pure bliss.
Desert Plains has so much emotion. Again, the bottom end puts you cruising along the highway. But instead of the freedom and sunshine of Heading Out we get moonlight and quiet desperation. Great riff, one of Halford's best vocals (restrained, but still intense, always at point of breaking) and killer duelling guitar solos.
After that, it doesn't have any special songs, but there are a lot of nice moments if you are paying attention:
The choruses in Don't Go and Troubleshooter, the solos in Hot Rockin', the atmospheric mid-sections in Turning Circles and You Say Yes, and the grand sweep of Solar Angels.
The rhythm guitars sound great, the leads are tasty, the vocals are some of Rob's most nuanced, and the rhythm section is so big and steady.
Overall though, it's too simplistic and there's just not enough variety from song to song. If they had replaced a couple of the more generic tracks with a Nightcrawler and a Blood Red Skies, this album would probably would be a lot more acclaimed. As it is, I still think it's much more hit than miss.
(But those videos are soooo bad!)
It has no rip-the-doors-off metal rockers, no progressive song structures, no shrieks nor extended instrumental sections — things that we count on from Priest.
But if you forget about what is missing and you take it for what it is — a collection of conventional hard rock songs — on those terms, it is pretty damn solid.
It hits two home runs:
Heading Out to the Highway is about as good as an in-the-car rock anthem gets, with that cruise-control bottom powering along an expressive vocal, with a catchy main riff and chorus. Those drum fills before the choruses and the harmony guitar mid-section are pure bliss.
Desert Plains has so much emotion. Again, the bottom end puts you cruising along the highway. But instead of the freedom and sunshine of Heading Out we get moonlight and quiet desperation. Great riff, one of Halford's best vocals (restrained, but still intense, always at point of breaking) and killer duelling guitar solos.
After that, it doesn't have any special songs, but there are a lot of nice moments if you are paying attention:
The choruses in Don't Go and Troubleshooter, the solos in Hot Rockin', the atmospheric mid-sections in Turning Circles and You Say Yes, and the grand sweep of Solar Angels.
The rhythm guitars sound great, the leads are tasty, the vocals are some of Rob's most nuanced, and the rhythm section is so big and steady.
Overall though, it's too simplistic and there's just not enough variety from song to song. If they had replaced a couple of the more generic tracks with a Nightcrawler and a Blood Red Skies, this album would probably would be a lot more acclaimed. As it is, I still think it's much more hit than miss.
(But those videos are soooo bad!)
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Screaming for Vengeance (1982)
2012 30th Anniversary Re-release
From an unknown land and through distant skies came a winged warrior. Nothing remained sacred, no one was safe from the Hellion as it uttered its battle cry...Screaming for Vengeance.
Screaming for Vengeance is probably Judas Priest's most well known album. At this point the band had maintained the same lineup for 3 albums (a new record) and were feeling comfortable with their high powered, yet slightly commercial, metal sound. This doesn't sound like a band finding their direction, but a band who are certain of their sound and are ready to conquer the globe. And that's what happened.
This album was recorded in Spain, in the same studio as Point of Entry. Also similar to the previous album, the band initially wrote a portion of the album before going on a short tour, upon returning they decided the material wasn't up to standard and scrapped the songs. The band was extra cautious about Screaming, wanting to make up for their previous commercial failure. The goal was to create an album that matched Priest's live sound.
Musically, Screaming for Vengeance maintains the commercial appeal of the previous two albums, but with much more energy and power. You know that this is Priest's heaviest effort so far from just the first few seconds of the album. Like British Steel, it was an album that could be appreciated by Metal and commercial Rock fans alike, but this time the Metal was kicked up a notch.
Ironically, what is probably the most famous track on the album: You've Got Another Thing Coming, was recorded as an afterthought. Written while the album was being mixed in Florida, the band liked it so much that they decided to record it at the mixing studio. It was finished quickly, with only one take. It's a good thing that this song was recorded, as it became a massive hit and really pushed sales for Screaming for Vengeance, especially in the USA. It became the band's only single to chart in the USA.
The also iconic artwork was airbrushed by Doug Johnson, a popular artist from New York. It's actually what inspired the album title.
Rob Halford said:
This album also saw Priest work with outside songwriters. The song (Take These) Chains was written by Bob Halligan Jr., not the band. He would write for Priest again on the next album, Defenders of the Faith. Released as a single, it was expected to be the album's breakout song. This did not go as planned and the song was very much forgotten. They never even played it live. This is one of only two songs (not counting covers) where the band used an outside songwriter with no input.
Screaming for Vengeance was a massive success for the band and has become a classic Metal album. Most consider it one of, if not the best Priest album and many songs have really stood the test of time. The pairing of The Hellion and Electric Eye is nothing short of iconic, as well as a must for any live Priest show. This was really their breakthrough effort in the USA and was followed by a very successful tour. Including appearances at the Us festival and support from Uriah Heep and Iron Maiden. They also recorded their first live video on this tour, which was later re-released on DVD as Live Vengeance '82.
Forostar
Ancient Mariner
Sure Fight for your Life was a SFV outtake? You can really hear Rock Hard Ride Free in this song.
The whole sound (also recording sound) is quite Defenderish.
So it could have been a SFV outtake and picked up again two years later when they were busy for DOTF, but when hearing it, I honestly think it's more likely that it is an early version for Rock Hard recorded for the corresponding album.
The whole sound (also recording sound) is quite Defenderish.
So it could have been a SFV outtake and picked up again two years later when they were busy for DOTF, but when hearing it, I honestly think it's more likely that it is an early version for Rock Hard recorded for the corresponding album.
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Crimson Idol
Caveman
It is definitely Rock Hard Ride Free with a different chorus and missing some of the extra leadwork if I recall, wiki says it was from SFV sessions but there is nothing on the CD booklet that says so. "Prisoner of Your Eyes" bonus on SFV mentions that it was written in early years and recorded in 1985, whereas Killing Machine booklet just says "recorded during the earlier years of our career" with no date given.
Definitely an early version of RHRF, which would make it being written during SFV and kept for later use quite likely.
Definitely an early version of RHRF, which would make it being written during SFV and kept for later use quite likely.
I think it makes sense. They probably didn't like it when recording SFV and revisited the verses for Rock Hard Ride Free.
Though I agree that the recording sound is a bit Denderish. Maybe it's just because the sound isn't as polished. I feel like SFV has a very overproduced (not a bad thing) sound compared to Defenders.
Cosmiceddie
Back From The Edge
'Screaming For Vengeance' has a couple of really good songs. 'The Hellion/Electric Eye' is a top ten song, hands-down. 'Riding On The Wind', 'Bloodstone' and 'Devil's Child' are other highlights. I don't like the title track at all, though. Together with 'You've Got Another Thing Coming' it's the worst song from the album.
I'm not fond of the production as well. Above all I detest the artificial sound of the guitar solos. They have that shrill synthesiser sound to me.
I'm not fond of the production as well. Above all I detest the artificial sound of the guitar solos. They have that shrill synthesiser sound to me.
I used to really like the production, I still do to some extent, but I agree about the guitar solos. They're way too polished and it sucks out the character. They sound less like guitars and more like a synthesizer.
Love the album though, it's my second favorite behind Painkiller. The only song I don't like is Fever, everything else rages from good to awesome. Wish they would've brought back Devil's Child or Bloodstone for the last tour.
Love the album though, it's my second favorite behind Painkiller. The only song I don't like is Fever, everything else rages from good to awesome. Wish they would've brought back Devil's Child or Bloodstone for the last tour.
Saapanael
Ancient Mariner
Time to share my feelings about Screaming For Vengeance, track by track.
The Hellion is a great intro to this album, both heavy and melodic, with a slightly epic feel to it. Electric Eye has an iconic intro riff but although the song is a classic, I feel that it doesn't quite live up to its fame, comparing it to other top songs by Judas Priest.
Riding on the Wind is a nice fast track with cool riffs and especially cool solos. The song is short and simple but manages to entertain the listener.
Bloodstone features many great riffs and has an interesting solo, in a positive way. The ending draws out a bit long "Blooooodstoooone..." but nevertheless a good song.
(Take These) Chains is one of my faves on SFV. The clean intro is very atmospheric and emotional. I'm glad that they used clean guitars on many songs on SFV, the tone is beautiful.
I like the chorus of Pain and Pleasure but the song overall isn't as good as the majority of the album. Same goes for the title track, which could be the worst song of the album - could you imagine, the title track, of ALL tracks, is the worst. It has one great part which is the harmony but the rest is just unmelodic and perhaps even weird.
You've Got Another Thing Coming is a very fun one, memorable and catchy but I imagine it more as a live performance song than one on an album.
Fever's clean intro is just marvellous, as is most of the song, really. Not an overall Priest favourite but still one of the best among the album.
Devil's Child has some sweet rocking backing vocals (Eat my diamonds!). The middle part gets a bit boring but that part after the solos features some powerful vocals by Halford.
Overall, I can say that SFV is what I would call a "classic rock" album, with simple yet catchy riffs and rather short tracks. The album is consistent, most songs are good quality but there's that bit missing which Priest found in the following years
. More on this, there are no huge classics and best-of-the-best songs on the album (not Electric Eye for me) but neither are there songs of the lowest degree. The production is nice and clean, could be one of their best. The guitar solos, as some previous posters pointed out, don't sound the best, but I would say that neither do they sound the worst. A bit "thin" and treble-y, especially KK (as always), but an improvement from some of their previous albums, as the solos themselves: faster and more masterful but still looking forward to improvement.
Screaming For Vengeance is among the better (or best) Priest albums and an important improvement point in their career in the 80s. They really found the way they needed to head with their style.
NB! Question about Painkiller since I don't want to wait until we get to the album: is there an original version of the album on Youtube or are they all remastered versions? Could I get to listen to the original one? My shelf only has the 2001 remaster.
The Hellion is a great intro to this album, both heavy and melodic, with a slightly epic feel to it. Electric Eye has an iconic intro riff but although the song is a classic, I feel that it doesn't quite live up to its fame, comparing it to other top songs by Judas Priest.
Riding on the Wind is a nice fast track with cool riffs and especially cool solos. The song is short and simple but manages to entertain the listener.
Bloodstone features many great riffs and has an interesting solo, in a positive way. The ending draws out a bit long "Blooooodstoooone..." but nevertheless a good song.
(Take These) Chains is one of my faves on SFV. The clean intro is very atmospheric and emotional. I'm glad that they used clean guitars on many songs on SFV, the tone is beautiful.
I like the chorus of Pain and Pleasure but the song overall isn't as good as the majority of the album. Same goes for the title track, which could be the worst song of the album - could you imagine, the title track, of ALL tracks, is the worst. It has one great part which is the harmony but the rest is just unmelodic and perhaps even weird.
You've Got Another Thing Coming is a very fun one, memorable and catchy but I imagine it more as a live performance song than one on an album.
Fever's clean intro is just marvellous, as is most of the song, really. Not an overall Priest favourite but still one of the best among the album.
Devil's Child has some sweet rocking backing vocals (Eat my diamonds!). The middle part gets a bit boring but that part after the solos features some powerful vocals by Halford.
Overall, I can say that SFV is what I would call a "classic rock" album, with simple yet catchy riffs and rather short tracks. The album is consistent, most songs are good quality but there's that bit missing which Priest found in the following years
. More on this, there are no huge classics and best-of-the-best songs on the album (not Electric Eye for me) but neither are there songs of the lowest degree. The production is nice and clean, could be one of their best. The guitar solos, as some previous posters pointed out, don't sound the best, but I would say that neither do they sound the worst. A bit "thin" and treble-y, especially KK (as always), but an improvement from some of their previous albums, as the solos themselves: faster and more masterful but still looking forward to improvement.Screaming For Vengeance is among the better (or best) Priest albums and an important improvement point in their career in the 80s. They really found the way they needed to head with their style.
NB! Question about Painkiller since I don't want to wait until we get to the album: is there an original version of the album on Youtube or are they all remastered versions? Could I get to listen to the original one? My shelf only has the 2001 remaster.
Forostar
Ancient Mariner
Good to see that pointed out. This clean sound is for me the best aspect from this album. It comes back on Fever which is another diamond.
You're quite polite here IMO.
Screaming for Vengeance is my favourite Priest album.
Interesting takes here on the sound. I love it, but you can see it trending in the direction of over processing that plagued Turbo and particularly Ram it Down. But those drums! So huge! And there is so much space between the instruments. Everything is big and powerful, but also pristine, and there is so much room.
It's hard to picture a better way to open an album (or concert) than The Hellion: big, dramatic, portentous. The song order is perfect: Electric Eye is frenetic with great riffs and solos and a menacing vocal, fully worthy of its reputation. I love the way the ending just kinda drifts away with guitar feedback before the speed kicks up a notch with Riding on the Wind, a fireball of a song, with a time signature that seems odd to my ears, one I can't stop head banging to. It has one of KK's best solos and ends with a bang, perfectly setting up that magnificent Bloodstone guitar intro. I'm glad to see not everyone is as down on Bloodstone as Foro is. I think it has a nice mid-tempo groove, and, like Saap says, an interesting solo. The best part for me is the emotional vocal touches Rob adds to verses. That same kind of vocal nuance is part of the appeal of (Take These) Chains. It's a pretty conventional hard rock song, but a very good one and its cleaner, melodic approach hits at a perfect moment in the album. Pain and Pleasure adds a bit of AC/DC-style dirt and grit with a slogging Zeppelin/Sabbath rhythm, with Halford having so much fun with the vocal part.
And just when the album threatens to bog down, they slam into Screaming For Vengeance, a relentless whipcrack with that awesome mix of of Halford screams and those percussive vocal parts on the verses. The harmony part kills. Who would have thought a thrash song could have so much melody? Just as its final squeal threatens to hang on forever, the battering-ram bass of Another Thing Coming thunders through. This song deserved to be a hit. It's just so much fun with that great riff and delicious solo. Fever is, as Foro says, a diamond. The opening is beautiful, the build dramatic, the payoff powerful and the performances perfect. One of the band's more underrated ballads. And Devil's Child, just plain rocks. The way the vocal, the spare drum fills and the riff take turns occupying the verses is sublime.
Overall the band is hitting on all cylinders. The performances are so tight, the sound so powerful and the songwriting strength and variety is exquisite. There isn't a bad solo on the album and there are many great ones. One of my favourite albums ever.
Interesting takes here on the sound. I love it, but you can see it trending in the direction of over processing that plagued Turbo and particularly Ram it Down. But those drums! So huge! And there is so much space between the instruments. Everything is big and powerful, but also pristine, and there is so much room.
It's hard to picture a better way to open an album (or concert) than The Hellion: big, dramatic, portentous. The song order is perfect: Electric Eye is frenetic with great riffs and solos and a menacing vocal, fully worthy of its reputation. I love the way the ending just kinda drifts away with guitar feedback before the speed kicks up a notch with Riding on the Wind, a fireball of a song, with a time signature that seems odd to my ears, one I can't stop head banging to. It has one of KK's best solos and ends with a bang, perfectly setting up that magnificent Bloodstone guitar intro. I'm glad to see not everyone is as down on Bloodstone as Foro is. I think it has a nice mid-tempo groove, and, like Saap says, an interesting solo. The best part for me is the emotional vocal touches Rob adds to verses. That same kind of vocal nuance is part of the appeal of (Take These) Chains. It's a pretty conventional hard rock song, but a very good one and its cleaner, melodic approach hits at a perfect moment in the album. Pain and Pleasure adds a bit of AC/DC-style dirt and grit with a slogging Zeppelin/Sabbath rhythm, with Halford having so much fun with the vocal part.
And just when the album threatens to bog down, they slam into Screaming For Vengeance, a relentless whipcrack with that awesome mix of of Halford screams and those percussive vocal parts on the verses. The harmony part kills. Who would have thought a thrash song could have so much melody? Just as its final squeal threatens to hang on forever, the battering-ram bass of Another Thing Coming thunders through. This song deserved to be a hit. It's just so much fun with that great riff and delicious solo. Fever is, as Foro says, a diamond. The opening is beautiful, the build dramatic, the payoff powerful and the performances perfect. One of the band's more underrated ballads. And Devil's Child, just plain rocks. The way the vocal, the spare drum fills and the riff take turns occupying the verses is sublime.
Overall the band is hitting on all cylinders. The performances are so tight, the sound so powerful and the songwriting strength and variety is exquisite. There isn't a bad solo on the album and there are many great ones. One of my favourite albums ever.
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national acrobat
Ancient Mariner
Not one of my more favourite albums. However, a couple of weeks ago I was screaming out Devil's Child at the top of my voice while driving to work, despite not listening to it since I know not when.