Disc 1
1. The Hellion
2. Electric Eye
3. Metal Gods
04. Riding On The Wind
05. A Touch Of Evil
06. Judas Rising
07. Revolution
08. Breaking The Law
09. I'm A Rocker
10. Diamonds And Rust
11. The Green Manalishi
12. Beyound The Realms Of Death
13. Turbo Lover

Disc 2
01 - Hellrider
02 - Victim Of Changes
03 - Painkiller
04 - Hell Bent For Leather
05 - Living After Midnight
06 - Halford's Vocal Solo
07 - You've Got Another Thing Comin'

Rob Halford – vocals
Glenn Tipton – guitar
K.K. Downing – guitar
Ian Hill – bass
Scott Travis – drums

Priest are in top form, even after over 30 years together. The concert has the band tearing though several classic songs, and only a few not-so-good sections of the performance. Production wise, the vocals are loud and up front, and the guitars and crisp and tight. Ian Hill's bass is a steady pulse (a good subwoofer is recommended), and the drums are clear.

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CD1:

1. Dragonaut
2. Redeemer of Souls
3. Halls of Valhalla
4. Sword of Damocles
5. March of the Damned
6. Down in Flames
7. Hell & Back
8. Cold Blooded
9. Metalizer
10. Crossfire
11. Secrets of the Dead
12. Battle Cry
13. Beginning of the End

CD2:

1. Snakebite
2. Tears of Blood
3. Creatures
4. Bring It On
5. Never Forget

Rob Halford – Vocals
Richie Faulkner – Guitar
Glenn Tipton – Guitar
Ian Hill - Bass
Scott Travis - Drums

Redeemer of Souls is the new song by heavy metal legends Judas Priest, ahead of the release of the album of the same name on July 14th.

It's the first new Judas Priest song since 2008's Nostradamus, and also the first since the departure of founding guitarist K.K.Downing left the group in 2011 and was replaced by ex-Voodoo Six guitarist Richie Faulkner. The song has all the elements of the classic Priest sound, such as the strong operatic voice of Rob Halford which is much better than expected, a good deal of catchiness in the riffs and the chorus, as well as a strong melodic guitar solo, and there's a strong sense of enthusiasm and passion coming through. But although it contains these elements, what it lacks is power. It might be unfair to ask them to recreate the power and sheer epic sound of Stained Class, or Painkiller, but the track is a little flat, especially in the chorus. It's a little too melodic and commercial sounding, and although he sounds good over the rest of the track, on the chorus Rob's voice is lacking in energy somewhat. And although the riffs in the track are catchy, but they're not particularly fast, they seem to plod along without reaching the powerful sound of earlier output. It's the same with the solo, it sounds nice and melodic, but its ultimately a bit too slow and a little uncreative compared to others in the Priest canon, it's not even close to Beyond the Realms of Death.

Ultimately it's a decent enough track, and it sounds about as good as you would expect Judas Priest to sound in 2014. With most of the band members being in their sixties it's a good effort, and though they've lost a bit of pace and energy compared to the early years, they make up for it with enthusiasm. By slowing it down a little they seem to be playing to their strengths, rather than trying and failing to recreate their older material. It's decent enough, and if they can write some faster, more powerful tracks on the rest of the album then it could very well be an interesting listen. --- metal-archives.com

Na świecie jest tylko kilka zespołów, które odniosły tak ogromny sukces (i wywarły tak olbrzymi wpływ na brzmienie heavymetalu) jak Judas Priest. Ich 17. studyjny album ‘Redeemer Of Souls’ zawiera 13 (a w wersji deluxe az 18) specjalnie na tę okazję nagranych utworów, które sami muzycy uznają za kolejne podniesienie poprzeczki w 40 letniej już karierze. To także logiczna kontynuacja klasycznych brzmień JP, o czym najlepiej świadczy pierwszy singiel ‘March Of The Damned’. Krążek jest już pierwszym nagranym z gitarzystą Richie’m Faulknerem, który przyszedł do zespołu w 2011 roku po odejściu K. K. Downinga. Richie jest też współtwórcą całości materiału wraz z wokalistą Robem Halfordem i drugim gitarzystą Glennem Tiptonem.

Sam zespół określa płytę ‘Redeemer Of Souls’ jako ‘klasyczne połączenie wszystkich deklaracji zespołu z szalonymi solówkami gitarowymi, dudniącymi bębnami, tłustą linią basu i rozdzierającymi wokalami’.

Album ukazuje się na płycie CD, dwóch płytach winylowych i specjalnej edycji Deluxe 2CD (elegancka, twarda oprawa, 32-stronicowy booklet i dodakowy krążek CD z aż 5 nowymi utworami, których nie znajdziemy na żadnej innej wersji płyty). --- sonymusic.pl

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01. One For The Road
02. Rocka Rolla
03. Winter
04. Deep Freeze
05. Winter Retreat
06. Cheater
07. Never Satisfied
08. Run Of The Mill
09. Dying To Meet You
10. Caviar And Meths
11. Diamonds And Rust

Bass – Ian Hill
Drums – John Hinch
Guitar – K. K. Downing
Guitar, Synthesizer, Backing Vocals – Glen Tipton
Vocals, Harmonica – Bob Halford

"Rocka Rolla" is the debut studio album by legendary heavy metal band Judas Priest. "Rocka Rolla" shows quite the different Priest compared to their more well known 80's works and even their other 70's albums to some extent. As with many early heavy metal acts, Judas Priest began with a blues-based form of heavy metal. While they would still have hints of this sound on the following few albums, this debut remains a pretty unique album in their discography.

Many of the songs from this album were actually co-written by Al Atkins, who was Judas Priest's frontman and vocalist preceding Rob Halford. However, once he had a family to take care of, he left the band in May 1973. Al Atkins later made his versions of some early Judas Priest songs on his "Victim of Changes" solo album, which includes a longer version of 'Caviar and Meths' which was originally a 14-minute long song to be released on "Rocka Rolla" but sadly shortened down to only the 2-minute long intro as the final song featured on the album. It's a shame, because listening to the longer Al Atkins version, it sounds like it would have been a fantastic epic. The whole history of the album and the early years of Priest are actually quite fascinating, so if that sounds interesting I would highly recommend reading about it. Now that I've finished mentioning some of the history, on to the music.

Most of the songs are bluesy hard rock/heavy metal tunes, with the heavier tracks resembling the likes of Black Sabbath. The opening two tracks, 'One for the Road' and the title track, are examples of the blues-y hard rock sound, the latter in particular being a nice catchy tune. After the 'Winter' suite, one of my favorite songs 'Cheater' comes. There's a nice galloping drum beat, bluesy harmonica, and Halford's vocals are killer. There's also the epic 'Run of the Mill', which has some nice dark diminished chords reminiscent of Sabbath. However, it changes sound quite regularly, with beautiful slow guitar/bass work that reminds me of parts of Eloy epics. There is also some fantastic soloing shortly following, and in typical epic fashion it certainly has a climatic ending with some great screams from Halford.

My favorite on the album has to be 'Dying to Meet You', which opens up with a killer bluesy bassline before getting dark guitar work. Halford's vocals sound pretty different at the beginning, being much more lower-pitched then what he's known for. His low bluesy tone shown here sounds really nice, but he wouldn't really ever sing like this again. However, the song eventually picks up in speed with Halford's classic higher vocals and more great galloping guitar.

Overall, while not my ultimate favorite Judas Priest album, it's still among my favorites and an amazing album especially for a debut. It's interesting to listen to this more blues-y form of the Priest, and I think it's essential listening to hear what this legendary band sounded in the beginning. ---FearAbsentia, metal-archives.com

Judas Priest należy dziś do ikon heavy metalu. Często członkowie tej grupy nazywani są "Metalowymi Bogami". To oni na początku lat 70-tych obok Black Sabbath tworzyli podwaliny do cięższego działu rocka, jakim jest metal. Grupa ta powstała jeszcze w latach 60-tych, jednak dopiero po dołączeniu do niej charyzmatycznego wokalisty Roba Halforda mogła wydać debiutancką płytę i rozpocząć powolny podbój muzycznego świata. W kilku kolejnych recenzjach chciałbym przedstawić jedna z najważniejszych grup metalowych, jej wzloty jak i upadki, lata świetności i próbę powrotu na scenę po kilku latach nieobecności. Zacznę, więc od debiutanckiej płyty tego zespołu "Rocka Rolla" z 1974 roku, która w żaden sposób nie przypomina późniejszych dokonań grupy.

Kiedy ukazywał się ten album, pochodząca z tego samego miasta Birmingham grupa Black Sabbath była u szczytu popularności. Natomiast Judas Priest rozwijał dopiero swoje skrzydła. Bardzo popularnym rodzajem muzyki w tym okresie na terenie Anglii był progresywny blues. Popularność tej muzyki nie trwała długo, jednak odbiła mocne piętno na muzyce Priest.

Muzyka zawarta na "Rocka Rolla" na pewno nazwać można rockiem z dużą mieszanką bluesowego grania. Dużo jest tu bluesowych zagrywek, Halford czasem używa harmonijki ustnej ("Cheater"). Są tutaj też bardziej rockowe utwory jak np. tytułowy, wspomniany "Cheater" czy "One For The Road", choć w tym ostatnim czuć ducha bluesa. Warto zwrócić uwagę na rodzący się geniusz wokalny Roba Halforda. Niestety nie pokazuje on jeszcze swych możliwości wokalnych nie używając charakterystycznych dla niego górnych rejestrów. Jednak już na tej płycie staje się on bardzo charakterystyczny i niepowtarzalny. Troszeczkę słabiej wypadają tu gitarzyści. Ken i Glenn grają w bardziej ubogi sposób opierając się bardziej na trzymaniu rytmu i riffach, a mniej na popisach solowych. Na ich wirtuozerskie popisy przyjdzie jeszcze czas na późniejszych płytach. Szkoda też, że album jest tak niedoceniany przez samą grupę i utwory z niego grane były ostatnio w 1975 roku (!!!). Jedynie "Never Satisfied" wykonane było przez Roba podczas jego solowej trasy po wydaniu "Crucible".

Album ten ginie gdzieś wśród pozostałych dokonań grupy. Nie jest on jakiś odkrywczy. Dla fanów Judas Priest z czasów "Painkiller" czy nawet "British Steel" może okazać się zbyt nudny, pozbawiony żywiołowości. Jednak dla osób, którym bliższe są lata 70-te może okazać się miłą ciekawostką. Myślę, że warto go przesłuchać chociażby raz, aby przekonać się jak rodzili się Metalowi Bogowie. ---Danko, metalside.pl

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1.	Judas Rising
2.	Deal With The Devil
3.	Revolution
4.	Worth Fighting For
5.	Demonizer
6.	Wheels Of Fire
7.	Angel
8.	Hellrider
9.	Eulogy
10.	Loch Ness

Bass Guitar – Ian Hill
Drums – Scott Travis
Guitar – Glenn Tipton, K. K. Downing
Producer – Judas Priest, Roy Z
Vocals – Rob Halford 

Described by the newly reunited band as "the second (and final) part of 1976's pseudo-conceptual Sad Wings of Destiny," 2005's Angel of Retribution is a halfhearted attempt at recapturing the band's pre-Turbo heydays. The only thing that these two records have in common, though, is the winged avatar that graces their respective covers -- Retribution's angel is adorned with gun metal instead of flesh. Judas Priest's 16th studio album will be a frustrating one for fans, as the leadoff track, "Judas Rising," promises great things -- the swirling guitar intro that slowly reveals a mammoth, multi-tracked Rob Halford scream is positively goosebump-inducing -- but what follows is textbook heavy metal played with precision by a group that doesn't have the slightest interest in challenging anybody, least of all itself. Priest have never been poets, but their lyrics were always far removed from the Dungeons & Dragons musings of similar artists like Dio or Manowar, so when these New Wave of British Heavy Metal pioneers offer up a 12-minute epic about the Loch Ness monster ("Lochness"), complete with the chorus "Lochness protects monstrosity/Lochness confess to me," it all feels a little too Spinal Tap. This is a shame because Halford is still a force of nature and Glenn Tipton and K.K. Downing are still the most underrated dual-guitar attack in the genre. These are not "bad" songs, however, especially for a band in its 28th year, so never mind that "Revolution" is essentially a rewrite of Jane's Addiction's "Mountain Song" or that "Eulogy," a ballad that makes references to numerous songs from the group's past, ends up sounding like it's directed at the band itself rather than the listener. Angel of Retribution does indeed rock just hard enough to please longtime fans and convert a few new ones along the way. "Here they come, these Gods of steel/Megatron/devouring what's concealed." ---James Christopher Monger, AllMusic Review

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30th Anniversary
01. Rapid Fire
02. Metal Gods
03. Breaking The Law
04. Grinder
05. United
06. You Don’t Have To Be Old To Be Wise
07. Living After Midnight
08. The Rage
09. Steeler
10. The Ripper
11. Hell Patrol
12. Victim Of Changes
13. Freewheel Burning
14. Diamonds And Rust
15. You’ve Got Another Thing Comin’

Remastered CD
01. Rapid Fire
02. Metal Gods
03. Breaking The Law
04. Grinder
05. United
06. You Don’t Have To Be Old To Be Wise
07. Living After Midnight
08. The Rage
09. Steeler
10. Red White & Blue
11. Grinder (Live)

Bass – Ian Hill
Drums – Dave Holland 
Lead Guitar – Glenn Tipton, K. K. Downing
Lead Vocals – Rob Halford 

You don’t have to look far to see that heavy metal is once again in rude health. It has regained poll position as the biggest-selling genre in the world, with only hip hop giving it a run for its money. Long hairs in denim and leather are all across the pages of fashion mags and broadsheets, and have even invaded such magazines as NME and The Wire. But this media-friendly tip of the iceberg that is represented by diamante studded Motörhead t-shirts and ironic appreciation of corpse paint in hipster magazines is a mile away from the un-co-opted likes of Judas Priest.

The mighty Priest are everything that makes heavy metal the last true youth tribe. To the uninitiated they represent the naffness of the genre: the leather, denim, studs and spandex uniform and the harsh, histrionic, almost operatic vocal delivery. To their legions of fans, however, they will always remain the most important of all heavy metal groups. They represent the bridging point between the heavy doom rock of Black Sabbath et al and the myriad forms of extreme metal that came after the late 80s. They basically laid the bedrock for thrash, death and black metal. Also aiding the genre’s longevity is the uniform, which was popularised and codified by the group who combined the Hells Angels uniform with Viking and fetish elements.

But if Judas Priest are the gatekeepers of real metal, even they have an entry drug and that is British Steel, which here receives the lavish 30th anniversary treatment. The band was already 11 years old and onto their second (and most famous) vocalist, Rob Halford, by the time they released this revolutionary album. In very loose terms it represented a new found maturity and individualism in metal, as it severed the last remaining links to the blues that had informed earlier albums by fellow Black Country bands Sabbath and Led Zeppelin.

The showy virtuosity of previous albums was replaced by the chugga-chug riffola of Rapid Fire. The twin guitar assault of Glen Tipton and KK Downing was promoted to the fore on tracks like Metal Gods – meaning this would be the first album which would break the New Wave of British Heavy Metal (NWOBHM) into the mainstream. But mainly it was Priest’s continued ability to pen stone cold classics like Breaking the Law, Grinder and Living After Midnight that saw them move into the 80s at the top of their game.

This is an essential heavy metal artefact, packaged here with a live disc and accompanying DVD, recorded in 2009. The bonus content gives an important album of the past some contemporary context, rendering it every bit as relevant as fare from today’s younger pretenders. ---John Doran, BBC Review

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01. Dawn of Creation
02. Prophecy
03. Awakening
04. Revelations
05. The Four Horsemen
06. War
07. Sands of Time
08. Pestilence and Plague
09. Death
10. Peace
11. Conquest
12. Lost Love
13. Persecution
14. Solitude
15. Exiled
16. Alone
17. Shadows In the Flame
18. Visions
19. Hope
20. New Beginnings
21. Calm Before The Storm
22. Nostradamus
23. Future Of Mankind

Bass – Ian Hill 
Drums – Scott Travis
Guitar [Guitars & Synthesized Guitars] – Glenn Tipton, K. K. Downing
Strings – Pete Whitfield
Vocals – Rob Halford 

On 2005's (almost) divine comeback album Angel of Retribution, Judas Priest fans got a modern day update of the band's genre-bending 1976 classic, Sad Wings of Destiny. The New Wave of British Heavy Metal legends return to the mines for 2008's Nostradamus, though this time it's another band's treasure they're looting, specifically Iron Maiden's 1988 concept album, Seventh Son of a Seventh Son. Heavy metal's obsession with seers, sorcery, and anything else that falls under the nebulous blanket of the "dark arts" is legendary, and Maiden's loosely knit tale of a visionary "chosen one" provided listeners with one of the last great albums of the pre-grunge, epic metal era, due in part to some truly memorable songs that remain fan favorites even to this day. Nostradamus, on the other hand, manages to live up to nearly every Spinal Tap cliché (non-deliberate, laugh-inducing cover art; melodramatic spoken word interludes; rhyming "fire" with desire). At nearly two hours long, one expects a certain amount of filler, but the dated keyboard strings, soft piano, and bluesy, minor-key guitar licks that populate every nook and cranny in between (and often throughout) each track sound like discarded incidental music from The X-Files or an RPG video game "cut scene." The songs themselves are hit or miss, with the emphasis falling on the latter, due mostly to an over-reliance on three-chord, midtempo filler, but as is the case with nearly every Priest offering, when they're on they're dead on. Disc one closer "Persecution," after a lengthy organ/guitar intro, unleashes Nostradamus' finest six minutes, boasting one of the best choruses the band has produced since 1988's "Hard as Iron" (few things sound as natural and satisfying as Rob Halford's metallic voice running through a phaser, and his signature scream, when it arises, still has no equal). The predictable but effectively apocalyptic "War" (taking a cue from Holst's Mars, Bringer of War) spawns one of the few great orchestral breakdowns on the record, while both "Death" and the nearly seven-minute title track feature stunning guitar work from Glenn Tipton and K.K. Downing. None of this, however, can save Nostradamus from the fact that even if it were reduced to a single album (it should have been), its flaws would far outweigh its triumphs. Excess and metal go together like blood and guts, but even gore loses its ability to draw a reaction after the umpteenth beheading. ---James Christopher Monger, AllMusic Review

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