Throughout the years, I have read many Judas Priest CD and vinyl reviews, and have come realize each and every time the writer proclaims Judas Priest to yet again prove they are the masters of metal. In all honesty, the Birmingham-based metal icons almost proclaim the crown by default. Iron Maiden, for example, have long since become pretentious and self-serving (Read: boring). Black Sabbath is a nostalgia act, riding on the coat-tails of the success of their most successful member. And, please don’t even suggest Metallica. Those multi-millionaires are so dependent on the three aforementioned acts, that alone disqualifies them (and here comes the hate mail).
So, yeah, Priest could easily put their music into neutral and head on down the highway (sorry, unintentional pun). The fans would not like it, but that wouldn’t stop them from buying the product anyways. Judas Priest does not operate with that game-plan. They don’t put out good albums simply because they have to, but because they want to. It’s in their blood, they don’t know any different. Priest are, for all intents and purposes, a hybrid of gladiator and warrior, trained to do battle.
Redeemer Of Souls is Priest’s 17th studio album, and, not surprisingly, they continue their musical dominance with 13 tracks of exactly what you’d expect: Head-banging heavy metal. “Dragonaut” kicks it all off, with a blistering guitar riff, and vocalist Rob Halford proving again why he is the over lord in the world of rock and metal. Priest, on this track, and all that follow, deliver a confident air about them, that only a band 40 + years in the business can offer.
The album’s title track is a driving, majestic triple-note feel with “Halls Of Valhalla” following. This one would make a dynamic live set opener. Halford comes in with an ear-piercing high-note, and off he goes (and get ready at 4:40 of the track as Halford really shows he hasn’t lost a step, even after all these years). Scott Travis drives it with his double-bass fills, and it is all blanketed with razor-edged guitar work courtesy of Richie Faulkner and Glen Tipton. That is as heavy as you can go, without losing touch of melody (a mistake too many metal bands make).
The opening riff to “Down In Flames” bears a bit of self hat-tipping to 1976’s The Ripper, Priest obviously not forgetting their early days. Call it stealing from yourself, if you wish, I see it more as claiming a riff they created. “Down In Flames” is a bit more commercial Priest, circa Screaming for Vengeance era. “Metalizer” has Travis really playing some of his best driving percussion. I have to admit, as forceful as this cut is, I get a feel the band may have hung back just a wee bit. This track is not unlike a caged beast, aggressively fighting to get out, but something holds it back from truly unleashing. “Hell And Back” starts slow, but, thankfully, gets going before the listener can skip it. Not a fast rocker, but a heavy plodding track, similar to the British Steel‘s “Metal Gods.”
“Crossfire” opens with a bit of Southern-fried rock that seems a bit adventurous, but not really. After all, Priest and Southern rock get their roots from the blues. The song stays in overdrive, never letting up, and remaining footed in the band’s true influences. The Mighty Priest do, to a forgivable degree, lose just a bit of steam, on the final three tracks. “Secrets Of The Devil” and “Battle Cry” would be strong enough tracks for a “lesser” metal band, like oh, say, Saxon, but, with the momentum they possess on this album, the band does let up the foot up off the gas. As a matter of fact, the final track “Beginning Of The End” brings everything almost to a crashing halt. A ballad, if you will, with a melancholic, nostalgic feel, it isn’t really Priest’s strong point. These are not bad cuts, just a bit anti-climactic.
So, overall, here is my analysis, broken down into several observations. If we wish to touch upon lyrics, this is a point that is left up to the listener’s own personal perspective. Though cliché-ridden and predictable, it still works for Priest. The lyrics may come off sounding a bit silly and forceful for other acts, but Priest gets away with it. After all, it’s the perfect accompaniment to the music. Sure, it’s all machismo chest-thumping stuff, but that’s to be expected of Priest. After all, it is heavy metal and flowery lyrics regarding love just do not apply here.
Let’s focus on guitar. Unfortunately, there is no credit anywhere on the CD or liner notes designating who plays what guitar-wise. KK Downing left the band three years ago for the housing development industry (seriously?). Faulkner is the new kid in town, and he bares a strong resemblance to Downing in the band’s promo photos. He has big shoes to fill, and what he actually plays is a mystery. I would have to take a guess, and say Tipton is handling the majority of the lead guitar work. If so, then it appears he has a lot more breathing room. Downing and Tipton made for an amazing duo guitar team, and always pushed each other in friendly, yet challenging ways. Here, Tipton leans back a bit, and resists going six-string crazy. He sounds relaxed and confident, and, as a result, we get treated to some of his best work in quite some time.
The rhythm section of bassist Ian Hill (over 40 years of Priest service) and drummer Scott Travis is solid and precise. There are no Maiden-style galloping bass riffs. Hill simply is the glue to hold it all down. As for Travis, well, he’s a rare breed. That is to say, he is a smart drummer. Metal drummers too often feel a temptation to really overplay, a distracting insistence that the listener hears they are there. Travis keeps his playing in a zone and unlashes only when the song calls for it. I wish more drummers could take a page out of his book and better understand their role. Together with Hill, this is one dynamic, percussive duo.
The big question remains: What about Halford? Relax, I can safely assure you, Rob Halford can still shatter glass. Maybe some force of nature is looking out for him, because somehow, he never fails to impress. He may not be unleashing his top capacity on every song (and he was never the type of vocalist inclined to show off), but Halford really isn’t showing signs of aging, vocal-wise.
Co-produced by Tipton and Mike Exeter, Redeemer Of Souls offers 13 tracks (five more if you purchase the bonus disc) that are extremely high polished, slick and potent. It’s like piano wire slicing through bone. Overall, there really are no surprises here. That’s not to imply it’s all paint-by-the-numbers and disappointing. Hell, no. This is Judas Priest delivering Judas Priest music. It’s heavy, kicks like a mule, and fully satisfies. Yes, you have heard all these songs before, in a sense. A band that’s been around as long as Priest will get to a level where the originality may no longer be there, but it’s up to a band to take that as a challenge. By virtue of innovative guitar riffs, power chords, an aggressive rhythm section, and multi-level parts, it all sounds brand new, and fresh. Only Priest truly know how to pull off this magic trick (and a damned good producer always helps). Bottom line: You get what you expect, and that is, in this case, Redeemer Of Souls is another excellent Judas Priest release.
~ Bruce Forrest
