You’re doing a review for the new Judas Priest record”. That wasn’t a question; it was an announcement! Even though such a commission is a tremendous honour, I’d also like to point out that anyone who denied such a responsibility would be insane. That is because – let’s face it – it’s a great responsibility to take on a review for one of the most legendary bands you grew up listening to. Yet, Judas Priest has eluded me up until now. I must admit that I am extremely lucky since, in their 18th studio album, the emblematic British band that defined the sound of metal -Black Sabbath was the ‘heavy’ and Judas Priest added the ‘metal’, period- are in great shape and they don’t sound like in their 70s at all – it makes me shiver, the fact that they could be our parents or grandparents and that they overshadow the majority of ‘young’ metal out there. I won’t deny that I took on this particular responsibility being fully aware and emotionally prepared to criticize and curse at the great British band if necessary. However, I was indeed very glad that, upon listening to it for the first time, the record made me banish any such thought altogether since, during those 59-ish minutes, its quality and freshness had tipped over, to the point of possibly exceeding even the expectations of the most optimistic fans.
The record begins with a spectacular classic riff and, shortly after, Rob Halford’s scream, and I don’t think you could spoil the works with such an introduction. The fascinating and full-blown title-track, “Firepower”, was recently made available to the public and it was a shock to most. Whether it’s been a day or – more accurately – 40 years, Priest amply demonstrate, once more, that the immortal art of riffs is what made this genre invincible against the ravages of time. It’s as if, for nearly half a century, they’ve been sitting on a chest full of ideas that they unleash on occasion and make audiences go crazy. The explosive start is followed swiftly by the already familiar “Lightning Strike”; rhythmical, submissive, without any obvious need to sprint, yet with an arguable sense of superiority and bearing their unique mark. The fans loved it and, during concerts, it’s going to sound even better. To this point, everything is great as far as the tracks the audience has already heard are concerned. Yet, what about the rest? The best part of this record is that all tracks are equally worth being on a Judas Priest record – some might be more worthy, others less, but ultimately all of them are! Thus, a “hats off” to the band is the least we could say. At the same time, arguing that this record should have been released after “Painkiller” – preferably in 1993 or so – would not be an understatement.
Rob Halford’s leaving changed the course of their history, but after several ups and downs and following the announcement regarding their retirement after the “Epitaph” tour in 2011, here comes their second studio album since. 4 and a half years after the more-than-good “Redeemer Of Souls”, Judas Priest have mended all minor imperfections present on that record, having put together more cohesive material and, this time, with Ritchie Faulkner being on fire. It’s not a mere coincidence that this record’s freshness is due to the ‘youngster’, I believe. Being 38 years old and collaborating with legends, who happen to be twice your age (let’s not forget that Tipton is 70, while both Halford and Hill are 67), then your work is more open to critiques and there’s people waiting around the corner. The young guy has proven that he’s a worthy replacement of my band’s favourite, K. K. Downing, and his presence on this record is outstanding. The base rhythm, with Ian Hill performing even when he’s not playing music – a legend set to survive even a nuclear disaster – and Scott Travis taking the whole project to a new heavenly level with his drum skills, is Metal Base 101 for those who seek to get out there and do what Judas Priest has been doing for almost 50 years. My words, though, are very little compared to what you’re about to hear.
I believe that, on this record, there are tracks which would shine in any kind of release. It would be unfair not to point out the fascinating “Necromancer” as this record’s highlight, full of scorching riffs, with Halford’s eloquent sarcasm and articulation and the rest of the band playing as if they’re going to be the Champions’ League reigning champions once again. Following in the same motif of a metal creation high are – for instance - “Flame Thrower” and “Traitor’s Gate”, while there are also hymns like “Rising From Ruins” which you are bound to adore instantly and believe in the band’s second youth. The album cover prepares the listener for something both modern and traditional, although there are more groovy instances such as “Lone Wolf” before the end of the record, which would once have dissatisfied fans but are part of the whole, showcasing the tracks as a group and not individually. Anyway, if the record’s least good moment is to sound like this, I wouldn’t mind at all. Sharing duties as producers, Tom Allom – 30 years after “Ram It Down” – and Andy Sneap have given the band an amazing sound, crystal-clear yet not polished, modern but not bawdy, typical Judas Priest yet not obsolete; a flawless result which intensifies the need for multiple and repeated listens.
An additional drawback is the short duration of most songs, the longest of which is the ballad-ish “Sea Of Red” at a mere 5:51! Nevertheless, each of these 13 tracks has its own story to tell and is rightfully part of the history written in gold by the Birmingham legends throughout the years. No matter how uncivilized you’ve become along the way, no matter how modern your tastes and how old Judas Priest feel to you, you can’t deny that respect has always been there in you, where it will continue to exist throughout your life. Reporting that this record is worthy of their name is something you are likely to read in hundreds of thousands of other reviews on this album. However, what each of us will experience individually is, in my opinion, a sense of fulfillment and an unexpected joy, not because this British band is now irrelevant or uninspired (with only a few exceptions), but because – here comes the cliché – it’s 2018 and we’re looking for the new Judas Priest who will freshen up their sound- and who are bound to never show up. “Firepower” is the best album in their last 20 years (without overlooking “Jugulator”, which I consider monumental). To the majority, it’s going to be ‘the album which should have been released after “Painkiller” and that wouldn’t have left any room for comparisons’ and, in the meantime, it’s truly moving to notice how they’re taking metal by the hand and leading towards its future in the most traditional way. The old guys are still singing, their status as metal gods is still unchallenged and this record is highly likely to crown the end-of-year lists of most editors.
P.S. 1: The solo parts are truly out of this world in most parts; indeed, you’re going to enjoy every second of it!
P.S. 2: All that experience and hard work shows!
P.S. 3: Saxon’s new album, ''Thunderbolt'', is of equal caliber. What the hell is up with everyone this year?
P.S. 4: Lots of strokes coming up before summertime...
P.S. 5: There are guys pretending to be singers, there are true singers and, then, there’s Rob Halford. Period!
P.S. 6(66): To all aspiring haters who are going to try to make us feel miserable… It’s never too late to stick it all the way up your ass! Kisses!
Rating: 86/100
For Rock Overdose
Dimitris Aloras
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