Judas+priest

A sketchy and underfocused debut, Rocka Rolla nonetheless begins to delineate the musical territory Judas Priest would explore over the remainder of the decade: frighteningly dark in its effect, tight in its grooves, and capable of expanding to epic song lengths. On the other hand, Rocka Rolla is also murkier, less precise and powerful in its riff attack, and more blues-based; the stylistic debts to Black Sabbath and Deep Purple are obvious at this juncture, although they would become much less apparent on subsequent releases. The compositions alternate between short songs and extended suites; some are decent, but overall they don't establish a real direction and tend to plod aimlessly in many of the longer pieces.

Judas Priest's 18th studio album, FIREPOWER began under inauspicious circumstances. First, guitarist Glenn Tipton, diagnosed with Parkinson's disease a decade ago, found it necessary to retire from the road; second, they lost out to Bon Jovi for induction into the Rock and Roll Hall of Fame; and finally, former drummer Dave Holland passed on before this set's issue. But the sound of FIREPOWER remains unbowed. Its undiminished power and assaultive mayhem are somewhat tempered in its slower moments by slowly unfurling rage, loss, and menace. It was begun in 2016 by Rob Halford, Tipton, and new guitarist Richie Faulkner.

The year 1976 was crucial for the evolution of heavy metal, as landmark albums like Rainbow's Rising and Scorpions' Virgin Killer began to reshape the genre. Perhaps none was quite as important as Judas Priest's sophomore effort, Sad Wings of Destiny, which simultaneously took heavy metal to new depths of darkness and new heights of technical precision. Building on the hard prog of bands like Queen and Wishbone Ash, plus the twin-guitar innovations of the latter and Thin Lizzy, Sad Wings fused these new influences with the gothic doom of Black Sabbath, the classical precision of Deep Purple, and the tight riffery of the more compact Led Zeppelin tunes.

More than 50 years into their heavy metal legacy, Judas Priest are still screaming at full power on their 19th studio full-length Invincible Shield. The album, their first studio effort of its kind since 2018's Firepower, is again produced by the band's touring guitarist Andy Sneap, and its 14 songs stretch out at over just an hour-long runtime. The album charges out of the gate with the dumbfounding riffery of "Panic Attack." The song touches on all the now-signature elements of Priest's sound, with dizzying harmonic guitar solos, a relentlessly pushy beat, and layers of Rob Halford's vocals, part winking metal theater, part authentic menace.

A sketchy and underfocused debut, Rocka Rolla nonetheless begins to delineate the musical territory Judas Priest would explore over the remainder of the decade: frighteningly dark in its effect, tight in its grooves, and capable of expanding to epic song lengths. On the other hand, Rocka Rolla is also murkier, less precise and powerful in its riff attack, and more blues-based; the stylistic debts to Black Sabbath and Deep Purple are obvious at this juncture, although they would become much less apparent on subsequent releases. The compositions alternate between short songs and extended suites; some are decent, but overall they don't establish a real direction and tend to plod aimlessly in many of the longer pieces. Mostly a curiosity for hardcore fans, Rocka Rolla definitely hints at Judas Priest's potential and originality, but doesn't always suggest the quantum leap in vision that would occur with their very next record.

Judas Priest rebounded from the shaky Point of Entry with Screaming for Vengeance, arguably the strongest album of their early-'80s commercial period. Having moved a bit too far into simplistic hard rock, Vengeance found the band refocusing on heavy metal, and achieving a greater balance between commercialism and creativity. The results were catchy and accessible, yet harder-hitting, and without the awkwardly apparent calculation that informed the weakest moments of the album's two predecessors. Ultimately, Screaming for Vengeance hangs together better than even the undeniable landmark British Steel, both thematically and musically.

Judas Priest's major-label debut Sin After Sin marks their only recording with then-teenage session drummer Simon Phillips, whose technical prowess helps push the band's burgeoning aggression into overdrive. For their part, K.K. Downing and Glenn Tipton employ a great deal more of the driving, palm-muted power-chord picking that would provide the basic rhythmic foundation of all but the most extreme heavy metal from here on out. Sin After Sin finds Priest still experimenting with their range, and thus ends up as perhaps their most varied outing. Yet despite the undeniably tremendous peaks here, the overall package doesn't cohere quite as well as on Sad Wings of Destiny, simply because the heavy moments are so recognizable as the metal we know today that the detours stick out as greater interruptions of the album's flow.

While the '80s may have been littered with many second-rate pop-metal knockoffs of little musical merit, Judas Priest, decked out in leather and studs, always stood tall above the pretenders as the genuine article of metal greatness. Along with Iron Maiden, they helped lead the way of the New Wave of British Heavy Metal and are certainly one of the best and most influential metal bands ever. The Best of Judas Priest: Living After Midnight provides fans with a collection of late-'70s/early-'80s hard-rocking classics by one of the best in the metal business. This collection focuses on the hits of Judas Priest's career, which came mostly during the early '80s, their artistic and commercial peak.

Predating Metallica's self-titled blockbuster by 11 years, Judas Priest's British Steel was a similarly pitched landmark boasting many of the same accomplishments. It streamlined and simplified the progressive intricacies of a band fresh off of revolutionizing the entire heavy metal genre; it brought an aggressive, underground metal subgenre crashing into the mainstream (in Priest's case, the NWOBHM; in Metallica's, thrash); and it greatly expanded the possibilities for heavy metal's commercial viability as a whole. Of course, British Steel was nowhere near the sales juggernaut that Metallica was, but in catapulting Judas Priest to the status of stadium headliners, it was the first salvo fired in heavy metal's ultimate takeover of the hard rock landscape during the 1980s.