Ram It Down is great! Or at least very enjoyable.
I try to listen without prejudice - it's rock'n'roll after all - so it grabs me or doesn't. It needn't always be a masterpiece. And if you don't dig anything else on it, there's Blood Red Skies.

Tipton talks about Parkinsons: https://www.guitarworld.com/artists/her ... ns-disease

He says he's still 99% capable of playing in Judas Priest, but he has good days and bad days, and that's why he didn't want to commit to the tour.

A lot of people are talking about him like he's basically out of the band, which may be premature.

Wow. The hype on this is fucking OTP. This is Redeemer part 2. Generic, decent heavy metal. It's not groundbreaking, and it's not amazing. The biggest complaint about it is that it doesn't even sound like Priest. At tone of writing for this post, the average rating is 88% and that's at least 15% too high.

I should elaborate.

Ram It Down has a genuinely great title track, but as an album it's really only of interest due to its status as the precursor to Painkiller. It's not offensive, but nor is it in any way memorable. To these ears at least, Firepower recalls Ram It Down in that it kicks off with an awesome Painkiller-style opener, but then quickly degenerates into a collection of subpar speed-metal and uninspired groovers and ballads.

Don't get me wrong, this is no St. Firepower. It is by no means a massive turd. Like Ram It Down, it's perfectly fine. At the same time, it possesses none of the freshness, intensity, and song-writing genius of Painkiller, Stained Class, Screaming for Vengeance etc. Those are the albums I would recommend to someone looking to get into Judas Priest. Firepower wouldn't even register.

There have been times when Ram it Down was my favourite Priest - and why not, which song isn't a singalong material. It combines both the heavy metZal and the orgiastic rock'n'roll aspects or Priest, which is probably what appeals to me. The album in its entirety sounds pumped-up, anthemic, and bacchic; it is a heavy rock/metal experience from beginning to end.
The opening tracks of Ram and Painkiller might sound similar, but the rest is a departure. One might say Ram is more "heavy", while Painkiller is designed to define and embody "metal" in its most extreme (I'd assert it doesn't get more extreme than Halford's piercing vocal).
At various points, I prefer one Priest album over another, but tend to think that all their 76-90 output is "classic", with a centre in 82-84. Could it be that I discovered Priest in 84, I've no idea, but Defenders ignites me better than Painkiller; objectively however, isn't its songwriting also better?

Priest is definitely the quintessence of metal to me, so I'm very sad to see them parody themselves (not self-ironically) and the genre they helped create, with Firepower.
Not sure if I've quoted this earlier, but I agree with Fischer here: "I put on Stained Class and what I heard was a completely unknown brand of surgically precise modern metal - there was no other band that had this absolute metal style. That was really the invention of metal, even though of course Black Sabbath were before, but Priest really reinvented themselves with Stained Classs, and they also reinvented the entire genre of heavy rock - this album was a true revelation." http://thequietus.com/articles/23198-to ... en?page=11

For laughs, there's this "metal expert" here who reckons JP is "cheese metal", while Mozart is overrated and ABBA is the Mount Everest of music. "They have song that sounds 100% like ABBA, but like bad ABBA. They suck! Kiddie metal!"
"Music is very rarely good from bands who sing about sex, because they do it to make more money i.e. they're just in it for the money i.e. they are much less likely to create good music. Very logical." - I think he's dissed the majority of blues musicians here. https://rateyourmusic.com/collection/Qw ... s+priest/1

Cheers for that link.

Listening to it again - I'll be really digging a song on here, with the quality production, Halford's killer vocals and the propulsive, energized songwriting. But then I'll realize a few songs later that nothing is exactly sticking with me. It's fun and agreeable and good for a drive or workout. But it just lacks something that their classics had, and there isn't anything wrong with that - the classics are still there. As is it's just a fun bit of nostalgic fluff from a band that just wants to rock out and celebrate everything good about themselves in their last few years. I'm fine with it but not blown away.

"No Surrender" might be the closest to genuine 80s Priest that we get here I think - killer riff.

I still don't understand it; blues greats' albums tend to get better as they age - wisdom, experience, fluency... Why shouldn't Priest let their hair down and produce something they'd really enjoy and be into it in their last years, rather than still cater "for the kids" (to quote Tipton). I bet they could have written another Victim Of Changes if so they wished, and really blown us away.

I'm guessing they don't really want to do anything that different from this album anyway. I don't see why they wouldn't do more bluesy Victim of Changes stuff if they wanted to - this album just is what they want to write.

Here's a thought: maybe this is what they want to sound like.

"Want" is too strong a word; it's more like "this is what they think they should sound like".

I mean yeah in the way that Angel of Retribution and Redeemer of Souls also were, sure. It isn't really a new thing.

This is all very very depressing. K.K.'s ostracism, Glenn's horrible illness, the disingenuousness around the whole affair. Yes, the album is a Ram it Down - it's fine - but I feel, one without "Ram it Down" and "Blood Red Skies". But if they're turning Priest into a work placement scheme, or a borderline cover band (S Club Kids?) at least be open about it. Andy Sneap should not be taking Glenn's place. He's not good enough.

Angel of Retribution was like a best of with all new songs, spanning from British Steel to Painkiller, with the odd reference thrown to the very early, Sin After Sin, days. Redeemer of Souls was more consistent, but with the detriment that the stand-outs (Halls of Vahalla, Sword of Damocles) stood out less. This? Well... it's... fine? But I'm more likely to listen to Delivering the Black when I want some speed metal up my ass, because frankly it's a much better album than Firepower.

I don’t really think they would have made the record if they didn’t have the desire to. They’re at a point where they could easily have toured on old material.

Desire for fire?:) Colour me sceptical where these 70 yo men are concerned. Just like I doubt they had a passion for "dragonauts". But while Redeemer seemed to garner some criticism (from today's perspective, I even enjoy it), Firepower gets nothing but adulation. (Main point being "great production", as if any commercial pop product is produced badly.) I've no idea how doctors and teachers can be excited about "Bring in the foe to be defeated to pulverize from dusk to dawn" (on top of the sterile music), but it's a fact - the record seems the biggest commercial success since British Steel. Meanwhile, the venues they've played so far have hardly been full; in Europe, they cannot charge the same ridiculous prices ($120 to $300 - what is this, Stevie Wonder?!), and they're a medium size act, so could it be they reverse the trend of tours rather than record sales securing profit...



They already did Epitaph. I recall Twisted Sister during their last awesome tour: "Mark my words, we won't be like other effing bands, I won't name names, and do five tours after we retire. This is it, m**f**ers!"
Of course I'm happy to see Halford in such a great shape until he's 90, but like another commenter said, there are too many dark clouds now; the KK situation especially, they could and should have handled it far more gracefully - to ostracise was outrageous.

Really loving this thing. The sounds here are spot on this time. Didn't like the sounds of Redeemer, made it drag, at least in my stereos. And the songs are more catchy too. Maybe one or two tracks could've been left off, but that seems to be always the case with old big bands. 87% for Firepower after few listens.

Since Rob wisely uses his middle and lower range these days, I think Priest should have dug back into their musical closet and found a true rarity. Playing Saints In Hell is okay I guess, even though the high quality video of the performance on YouTube was not all that great, but if they really wanted to do "[i]something for the fans![i]" they would finally record an original version of Caviar And Meths. Does not need to be the complete 14 minute version that was done before Rob joined.

Judas Priest have high quality demos of both Mother Sun and Caviar And Meths with Halford on vocals. Mother Sun may be out of Rob's range now but CaM is not. If Alan Atkins can hit the emotional pull of the lyrics with that gritty but soulful voice, Rob should be able to. Right?


Imo, Caviar And Meths is the best Judas Priest song that Judas Priest never truly recorded. The two minutes of noodling found on Rocka Rolla most people think was meant to be an intro but that section actually was supposed to start just shy of the four minute mark.

Halford should do Freewheel Burning one last time and retire.

If this band cared about their fans, Tipton would have addressed us in all honesty, perhaps even asked who we fancied as his replacement, instead of delegated all the talking to the Downing clone - who, no doubt, is being compensated for quickly becoming disposable.

You've got to be joking.

Why?

Because in a thread littered with some of the most egotistical, conceited, pompous comments, suggestions and reviews I have ever read on this site, that's got to be the cherry to top the cunt-cake.

Not the penis-cake?

I love this album, their best since Painkiller. A lot of finesse here as well - maybe that was what was missing from their previous efforts and also from a lot of artists who are throwback acts who just play heavy riffs in sequence making sure it is aggressive enough to get you pumped and little else. I can say that even if this was an unknown band it would still make me give a thumbs up for doing it right based on music alone.

Even though I've essentially given the band some leeway because they're getting up there in years, I was still thoroughly impressed by the album. The title track just works so goddamn well, and having two excellent tracks called "Traitor's Gate" in just the first 3 months of 2018 is an odd synchronicity, I must say.

"Traitor's Gate" by JP counds like a mix of Alexander, Mariner, and Run to the hills.

Forgot the Battle Hymn intro.

Thanks, that's verbatim! Had to hear it, I haven't listened to Manowar since 87.

If Rob's voice since returning to the band was strongest in 2009 and he did the song there, there is no hope he can do that song anymore.Not really and this seems a little harsh.Besides having blonde hair and playing in the band, how exactly is Richie a K.K. clone? Richie is too intelligent a guy to try and be on K.K.'s level, I am sure he realizes that for all of his skill, he would never be, in this band, the same force as K.K. was. K.K. was not only a part of the band for more than years than Richie Faulker has been alive, he is literally responsible for the band even existing.

Beyond all that, Faulkner has his own style and is a very good guitarist, it is just that the music made since his arrival is average, at best. Priest is in a masterclass at crafting music but nothing has been revolutionary. Nothing about the last two releases have made the era unique, nothing remarkable. The Ripper Era at least brought in someone who could be both himself and a clone of the man who previously held the job. It also showed the band at some of their most eclectic and aggressive, almost committing a metamorphosis. The entire era from 2004 to present, which would include the Faulkner era, has only one album worth mentioning. Every second of studio output the band has done since Demolition has been kind of boring and usually pretty forgettable.

I haven't seen Halford in 2009, but saw him in 2008 and he sang terribly; he seems to be constantly improving since then.
As a lifelong fan, I'd have indeed expected honesty - not because the band owes me anything, but because I thought I was fan of that kind of people. If we were indeed to be "family" (as the band claims, not me), there had to be some trust and affection. Art is an experience where shouldn't be room for deception. KK seems to be fortright and intelligent; I came across a Woody Harrelson interview entitled "Never trust someone who talks to you while wearing shades" (or something).
Richie doesn't speak to me - neither with his guitar nor with his (perpetually grinning) expression. He obviously appeals to the kids. Anyway, Tipton could address the fans on issues other than his health, since he does appear in interviews. When an interviewer asks the question about KK and Tipton is sitting right there, I don't see why Halford and Richie must necessarily do all the talking.
A masterclass at crafting music? Wish I knew who was the craftsman that was such a fan of Manowar and Metallica, he nicked entire passages to put on 'Firepower'.
"...someone who could be both himself and a clone" is a contradiction.

.

Did KK want them to tour Nostradamus theatrically? I enjoyed the Epitaph tour, but that'd have been great.
I don't think a song like Prophecy could be even remotely tepid; glad they retained it until last tour. I thought ROS was barely tolerable, but in comparison with the new one I like it. March of the Damned is okay.

Keep posting _flow. I'm enjoying the tedium.

It's full of vastly entertaining forums.

I can't tell whether _flow likes the album or not yet. Just not clear to me...

Flamethrower should be on the setlist.

P.S. Some may get lucky enough to hear Before The Dawn live.

#5 on Billboard 200, with 48,000 copies sold.

https://www.billboard.com/articles/colu ... bums-chart

They didn't quite match Iron Maiden (Book of Souls was #4, and sold about 25k more), and certainly not Black Sabbath (13 was #1, with ~150k copies sold), which will likely forever be the high water mark for old-school British heavy metal in today's music market.

I can't remember one song off 13.

I saw JP on the Epitaph tour and it was sensational. The tour before that I thought Rob looked like he was on the way out - could barely move. Assume he had some health problems he has since recovered from because he's a non stop fighter.

Obviously the songwriting is down to one's own opinion, but there is no way AoR has weak production. It's a Roy Z production job, and he's possibly the best in the business. It sounds great.

Nostradamus does have a weaker production, though, which lessens its power somewhat - they should have used Roy Z for that one also.

If that's true, it's... hm, "America first":
"I bought 4 tickets, which got me 2 hard copies. I had no choice. It wasn’t free, it was built into the ticket price. Bon Jovi just did the same thing. Their tour went on sale, the album debuted at #1. The next week it dropped out of the top 200, setting a billboard record. Google it." (from blabbermouth http://www.blabbermouth.net/news/judas- ... /#comments)