JUDAS PRIEST – Screaming For Vengeance (Originally 1982, 2012 Sony 30th Anniversary Edition)
While people recognize British Steel as a platinum Judas Priest landmark, it was Screaming For Vengeance that went double platinum. It introduced Priest to the MTV generation and opened them up to bigger American audiences. But before we get to Screaming For Vengeance itself, a cornerstone Judas Priest album in anyone’s books, the “Special 30th Anniversary Edition” must first be addressed. The extra content is a full concert DVD, and four bonus audio live tracks from the same DVD.
To have Priest live at the US Festival is a wish fulfilled for many. The daylight show with full classic costumes (Rob decked in silver) is a nostalgia blowout. The band look lethal although drummer Dave Holland appears overwhelmed by the demanding tunes. The setlist isn’t half bad, with “Green Manalishi”, “Diamonds and Rust”, and “Victim of Changes” being highlights and filling the need for old classics. The bulk of the set is made up of more recent material from the three 1980s Priest albums thus far. Tempos are fast, cowbells are in the air, and Rob is at his confident shrieking best. The audio is great and the video is well reproduced. Owning this edition of Screaming really is a must since it’s the only official release of this show on DVD.
The re-imagined cover art is nice, fitting in with other Priest deluxe reissues (see images at bottom). In an unfortunate oversight, the clean and sharp original artwork is included nowhere inside this set. They did include the two bonus tracks from the previous remastered CD release, which we’ll get to after we discuss the album in full.
Screaming For Vengeance was a sudden change of style for the Priest, after two rather soundalike albums. Similarly the next album Defenders of the Faith would be cast from the same mold as Screaming. All these albums were produced by Tom Allom. Tempos were turned up, guitars sharpened, and as per the title, Rob Halford screamed. A lot. The refined 80s Priest was evident on the opening duo “The Hellion/Electric Eye”. The guitars are sleeker, the vocals processed and robotic. The riffs are just as sharp. Priest were going for the throat. This opening one-two punch was more punishing than any music I ever heard at that time. Though you could not claim it’s heavier than a Priest oldie like “Saints In Hell”, the production is louder and more in your face than ever before.
Drummer Dave Holland sprays a bloodbath of bashes at the start of “Riding on the Wind”, Priest speeding on the highway once again. With Rob in high register, this catchy tune is perfect for keeping the wind in your face. The first respite in terms of tempo is “Bloodstone”, though its glorious riffs need no accelerant. Halford’s scatting at the end is classic and a rare reappearance of his old sassy self from Hell Bent for Leather.
“(Take These) Chains” is one of the most immediately accessible tracks, a mid-tempo delight as Priest do so well. They end the side with a slow metal grind called “Pain and Pleasure”, drums soaked in echo. Rob alludes to an interest in BDSM again, but with music this heavy most people just headbanged and ignored. (In another sad oversight, the lyrics are not contained within this edition, but were reproduced on the previous CD remaster.) Don’t assume that because it’s a slow one it’s weak. “Pain and Pleasure” is a resounding an d memorable side-ender.
The second side opens with the sudden shock blitzkrieg of the title track. Speed metal turned up to 11, “Screaming For Vengeance” is over the top and almost self-parody. It’s one of Priest’s most overdriven blasts of might, but it also verges on mindlessness if not for a spirited solo section in the middle. But then in another jarring shift, the sleek mid-tempo groove of “You’ve Got Another Thing Comin'” rears its familiar head. When I was a kid, there was no question this was Priest’s “big hit”. It was the song everyone knew, and the music video was on constant rotation. Classic clip. The man pursuing Priest is meant to represent the tax man. When Rob essentially yells at him “no tax man, you will not take my money,” his head blows up. They used a little too much TNT on the mannequin, and so the tax man’s pants fell down in an added humiliation. Such is the power of heavy metal, folks. Got tax problems? Rock and roll right in that tax man’s face. Eventually his head will blow up. If you’re lucky the pants might also fall. This is what Priest have given the world!
“Another Thing Comin'” is a brilliant song. Radio super-saturation cannot dull its simply-constructed hooks. Its placement (second song, side two) is odd but that didn’t stop it to #4 on the US Billboard rock chart, nor did it impede the album rising to #17 on the Billboard 200.
The album begins drawing to a close, with an echoey tremolo effect on “Fever”, one of the album’s best cuts. Then the echo ends, and a clean guitar accompanies a plaintive Rob. Mid-tempo, powerfully built and loaded with hooks, “Fever” is a late-album winner. Then, three quarters in, Halford turns on the high voice and the song transforms into something else equally cool. Finally the echo-guitar returns to help bring the song to its dramatic end.
“Devil’s Child” is the last hurrah, a fun and heavy indictment of an ex-lover who’s “so damn wicked” and “smashed and grabbed all I had”. The album ends as suddenly as it begins; jarring transitions being a sonic theme on Screaming For Vengeance.
Tom Allom’s production is often maligned as inferior to the more raw and loose sounds of Priest on their 70s albums, and there’s certainly an argument to be made there. Screaming For Vengeance is not a warm album. It is cold, sharp and steely. It has a precise, digital undertone. But it’s also heavy, considerably more so than Point of Entry which preceded it. The cover art indicated that we were entering a new phase for Judas Priest; a simpler streamlined 80s phase but still deadly enough for the old fans.
The live bonus tracks included on the CD were not chosen willy-nilly. Instead of including the best hits from the US Festival DVD, they use tracks from a different show in San Antonio, and all from Screaming For Vengeance: “Electric Eye”, “Riding On the Wind”, “You’ve Got Another Thing Comin'” and “Screaming” itself. Watch out for the squealing feedback! Finally the original bonus tracks from the 2001 CD are edition are tacked on so you don’t have to own two copies. These include a raspy, smoking “Devil’s Child” live from another concert, and a demo from the 1985-86 Twin Turbos sessions called “Prisoner of Your Eyes”. I hate when Priest use bonus tracks from the wrong era, but the Screaming For Vengeance reissues are the only place you can get this song. In a stylistic shift, this slick ballad sounds more like “A Touch of Evil” from Painkiller, but far tamer. (The guitar solos were overdubbed and tracks finished in 2001.)
Good special edition, but not great. As these things go I’m sure we can expect a better 40 anniversary edition. It won’t be long now.
25 million copies sold. Seven hit singles. A two year world tour. All done under the most difficult circumstances. Def Leppard’s Hysteria is one of rock’s greatest triumphs.
Although the album was released in 1987, the Hysteria story really begins on December 31, 1984. Drummer Rick Allen lost control of his speeding Corvette, and was thrown from the vehicle due to improper use of seatbelts. His left arm was severed. Doctors attempted to re-attach the arm, but infection set in and it could not be saved. It would be understandable if people thought Rick’s career in music was finished. While many artists from Django Reinhardt to Tony Iommi had dealt with physical disabilities, nobody had ever seen a one-armed rock drummer before.
Undaunted, Allen began working on a way around his disability. The band never considered a future without him, and were disappointed by “ambulance chasers” looking for a gig. Rick Allen wasn’t about to allow himself to go down or dwell in his misery. With an electronic kit triggered by his feet and right hand, Allen eventually regained his ability to not only play drums, but play live. This resulted in an inevitable stylistic change. Allen’s drumming style became more staggered, with emphasis on bigger, spaced out snare hits. His electronic kit was no crutch: singer Joe Elliott said he could play it “and make it really sound terrible”.
The next album was supposed to be a big deal. It was Phil Collen’s first Def Leppard LP as a writer, and Rick’s chance to prove he wasn’t out. Unfortunately, when the band started to record, producer Robert John “Mutt” Lange was not available. Instead the band began to work with Jim Steinman (Meat Loaf), but were underwhelmed by the results they were getting. Leppard’s ambition was not just to make another album, but to make something seriously good, memorable and special. Something to surpass Pyromania. Steinman was let go and the band started working with Nigel Green with no progress being made.
The band were taking so long, and suffered so many setbacks and delays, that eventually Mutt Lange was available again, and together they finally began work on the new Def Leppard LP. Co-writing every song with the band, Mutt provided the focus and intense discipline. The stated goal, following the template of Michael Jackson’s Thriller, was to make an album with 12 potential singles.
The long story of this difficult album (false starts, illnesses, studio problems) is only overshadowed by its success. But it took a while to get there.
Disc One: The original album (Hysteria)
The first single “Women” did well enough, but failed to kickstart the mega album sales needed to recoup the losses. “Women” was an odd choice for a first single: a slow robotic rock track, with a killer comic book-based music video. It introduced the new Def Leppard groove: A simple one or two note bass line, layers upon layers of vocals and chiming guitars, but none of the full-speed-ahead New Wave of British Heavy Metal that Leppard were founded on. The year was 1987 and Def Leppard were on the cutting edge.
To get those chiming bell-like chords, Mutt had them recorded one note at a time! This is very apparent on “Animal”, the second single. It too was mildly successful, but not enough to push the album into orbit. Listen to the guitar chords and you will hear something that sounds more like chimes than strings. This is down to the incredibly detailed and overdubbed recordings. “Animal” was a stellar pop rock track, and a fine example of what Hysteria sounds like.
Refusing to give up, a third single was dropped: the ballad title track “Hysteria” and possibly the finest song on the album. The fact that these singles were not the hits the band hoped for at the time has not diminished them. Today they are all concert classics, radio staples, and beloved fan favourites. Leppard even re-recorded the song in 2013 for release on iTunes. (While the re-recorded version is impressive, it is impossible to exactly recreate the magic on this album.)
Finally, the success that the band and record label were waiting for happened. The track was “Pour Some Sugar On Me” and the North American version of its music video showcased the band’s stunning live show. Def Leppard were playing “in the round” to rave reviews. “Pour Some Sugar”, a retro glam rock tune with a contemporary sound, was a summer smash hit. It was cool, it was catchy, and Joe’s verses almost sounded like rap, although really they had more in common with Marc Bolan of T-Rex.
On a roll, nothing would stop Def Leppard now. Though the goal was an album with 12 potential singles, Hysteria eventually yielded seven. Most rock bands were lucky to squeeze three out of a hit album. Though the album was now becoming a bonafide hit, some critics and fans lamented the death of the original Def Leppard. Others embraced their pop success. The raw edgy guitars were gone and replaced by bright, precise parts working as a whole, in a gigantic pop rock juggernaut. Joe wasn’t screaming out every line, but actually singing now. It hardly matters. With the success of Hysteria, Def Leppard had embarked on a whole new journey and have rarely looked back to their origins.
The singles carried on, through the rest of 1988 and into 1989. “Love Bites” was fifth up, which originated as a country ballad that Mutt wrote and the band Leppardized into something different. It was a hit for the autumn of ’88, a slightly dark ballad for the fall. The victorious glam rock of “Armageddon It” was next, simple and pleasant enough for radio and video, and another huge hit. These were songs that had pep, but wouldn’t frighten mom and dad.
The seventh and final single was a surprise choice: “Rocket”. On album, “Rocket” was 6:37 long, and featured a long experimental middle section. The ambitious mid-section featured loads of NASA samples and sound effects, all backed by the African inspired drum loops of Rick Allen. The song was based a drum beat by Burundi Black, brought in by Joe Elliott, played by Rick Allen and looped. Eventually lyrics were added, inspired by the glitter groups of the 70’s that Leppard grew up with. Lange also used backwards vocals for some of the hooks. The line that opens the track and repeats through the song is the chorus from “Gods of War”, backwards: “Raw fo sdog eht rof gnithgif er’ew.” It was a sharp track to be used as a single, but that unforgettable beat was beyond question.
Hysteria had two more tracks as good as the singles, although they were not. “Gods of War” became a fan favourite, and easily could have been an eighth single. Dark in tone but more epic in quality, it has since become heavily associated with late guitarist Steven Maynard Clark. He was responsible for much of its guitar thunder. The final track that could have worked as a single was the album closer, the ballady “Love and Affection”. As good as any of the actual singles, “Love and Affection” had its own charm and hit potential. It’s long been one of my album favourites, just under “Hysteria” and “Gods of War”.
Rounding out the LP are “Run Riot” and “Don’t Shoot Shotgun”, two rock tracks that would have been highlights on a lesser album. Neither are clearly as brilliant as the hits, but both solidly get the job done with guitar thrills. Finally there is “Excitable”, the only song I’ve never particularly dug. It strikes me as gimmicky and very 80’s, much like “Social Disease” by Bon Jovi. Too reliant on sound effects and gimmicks. So out of 12 tracks, only one was really a dud. That’s not bad by any measure.
Hysteria rode the charts, recouped its costs, and then some. The tour in the round was legendary and resulted in a live video In the Round: In Your Face. Def Leppard were, for a short while anyway, the biggest rock band in the world.
Disc Two & Three: B-Sides and Remixes
As discussed in greater detail in Record Store Tales Part 4: A Word About B-Sides, this album and its singles really clicked with the collector in me. Def Leppard prepared a number of B-sides for Hysteria, and perhaps because these were not produced with Mutt, they all have a harder edge. The four key must-have B-sides were all exclusive studio tracks, and the first four on the second CD of this set.
“Tear It Down” was a speedy but basic rock track considered good enough to include on the next album, and so it was. The B-side version remains its superior, because it is tougher than the one on Adrenalize. The most impressive B-side was probably “I Wanna Be Your Hero”. This B-side from the “Animal” EP has the Hysteria vibe and sound. It easily could have replaced “Excitable” as an LP track, but if it had perhaps Hysteria wouldn’t have sounded as diverse. Dig that false ending! Next, “Ride into the Sun” is a remake of a track from the original 1979 Def Leppard EP. The 1987 update is heavier and far better, a truly impressive upgrade. Finally “Ring of Fire” was even heavier than that, clearly too heavy for what Hysteria became.
The second disc features all the radio edits done for Hysteria‘s singles. Even to collectors, this is padding. Only one radio edit seems to hit the nostalgic notes, which is “Women” with a fade out ending. Incidentally, the only single from Hysteria that didn’t get a single edit was “Animal”, already short at 4:04.
Most important is the cover version of “Release Me”. This track was initially released on the “Armageddon It” picture disc single, but not credited to Def Leppard. Much like their later acoustic B-sides credited to the Acoustic Hippies from Hell, “Release Me” is credited to “Stumpus Maximus and the Good Ol’ Boys”. Engelbert Humperdinck is responsible for the most famous version of “Release Me”, but Stumpus Maximus is definitely responsible for the most twisted. Featuring Def Leppard’s roadie Malvin Mortimer on lead vocals and the rest of the band goofing around on each others’ instruments, “Release Me” is a hoot. Mortimer breaks all known sound barriers with his screaming (and burping) of the lyrics. I was absolutely confused beyond belief upon hearing this for the first time, since I didn’t catch on to this actually being Def Leppard in disguise. They absolutely fooled me; I thought whoever they were, Stumpus Maximus and the Good Ol’ Boys sucked! A hilarious novelty.
Disc two concludes with an 18 minute radio special from the BBC, going through Hysteria‘s songs with Joe Elliott. The third disc consists of remixes and live B-sides from the period. Extended versions of “Animal”, “Pour Some Sugar”, “Armageddon It”, “Rocket” and even “Excitable” all come from 12” singles. A welcome inclusion is the single edit of “Rocket”, the short version of the “lunar mix” . This was excluded from the previous 2 CD deluxe of Hysteria. The video mix of “Pour Some Sugar” is still missing, but that track is on so many albums including the five-million-selling Vault, so we’re not going to worry about it. These extended remixes are, not surprisingly, pretty much for the fans and collectors.
The live B-sides feature the fascinating “Rock of Ages” medley. It seamlessly captures key riffs of classic rock tunes: “Not Fade Away” (Buddy Holly), “My Generation” (The Who), “Radar Love” (Golden Earring), “Come Together” (The Beatles) and “Whole Lotta Love” (Zeppelin). This is all done to the tempo and style of “Rock of Ages”, and quite well, too. Then it’s a lively cut of “Love and Affection”, which was also utilised as the album’s Japanese bonus track. It’s very rare to hear this song done live, and definitely rare to hear a great vintage version done live. Finally there’s a so-so “Billy’s Got a Gun” (same gig). One live B-side is missing, though you can understand why, it is still annoying. “Elected”, the live Alice Cooper cover (same gig again), was on the 2 CD deluxe edition. It was recorded during this period but released in 1993 on the “Heaven Is” single. Because it’s not from a Hysteria single, it was dropped from this box set. Too bad.
Disc Four & Five: In the Round In Your Face (Live)
When I was a young fella, massively into Def Leppard, In the Round In Your Face (taped in Denver over two nights) was the very first live home video I ever bought. To finally, finally have a proper audio edition…there are no words to express the happiness! It always should have been a double live album release and not just a video, but hindsight is always 20/20.
The legendary set consists of hits from Hysteria, Pyromania, and “Bringin’ On the Heartbreak” from High N’ Dry. From the unforgettable Clint Eastwood “Dirty Harry” intro, to the final song “Photograph”, it’s non-stop fun. Though today there is plenty of live Leppard available, nothing tops vintage Joe Elliott screaming like a kid. Aside from a flawless track selection, highlights of the concert include Phil Collen’s new acoustic intro to “Heartbreak”. “Gods of War” is heavy and powerful. “Too Late For Love” gives me chills. Of the newer songs, “Women” is notable for being included as one of the B-sides for “Rocket”. Instead of putting it on the previous disc, it was left intact here, with the concert it came from. Of course, we mustn’t forget what really makes this concert special. Steven Maynard Clark didn’t survive to do another tour with Def Leppard, and this would be the last live recording with him on it.
DVD Disc One: Visual Hysteria
This disc is a new compilation of video clips, the first four of which are previously unreleased. Leppard have three Hysteria-related appearances on Top of the Pops: “Animal”, “Pour Some Sugar On Me”, “and “Rocket”. These lip-synced television appearances are almost comical as people scream for a band miming a hit song. The showmanship of Steve Clark, in his billowy white pants, is sorely missed. What a rock star! On “Animal”, frontman Joe Elliott appears to have pulled a Derek Smalls and stuffed his trousers. Note Phil’s ahead-of-the-times Metallica shirt during “Sugar”. Unfortunately “Rocket” fades out early. Though these videos are old and washed-out, it’s a hoot to have them. Leppard lip-sync again on a familiar video of “Sugar” from the Brit awards.
Music videos were a huge part of the marketing for Hysteria, and a key component to its success. Each one is here, including both the UK and US versions of “Sugar”. These videos bring back such a nostalgic glow. I remember seeing “Women” for the first time, thinking how amazing it was that Def Leppard were back. I also thought about how brave Rick Allen was. He didn’t try to hide his injury. The slow-mo effect of “Hysteria” brings back a lot of memories, as does “Love Bites”. It was a huge hit video in Canada, during a very cool autumn.
DVD Disc Two: Classic Albums
Of all the Classic Albums series DVDs, this was one of my most frequently played. It is now reissued as part of the 30th anniversary box set, a perfect place for it. In case you didn’t know, Classic Albums is a fantastic series of documentaries that go back to the original master tapes. Hysteria is one of many albums they have covered.
Hysteria is such a rich, textured, thick album with a long story so this DVD is an obvious slam dunk. The only thing it lacks is Mutt Lange’s knowledge (a notorious recluse). Otherwise, the band go back to the beginning with the early demos. “Animal” was sparse but remarkably recognizable while still in demo form, down to the false ending. “Rocket” is deconstructed so you can hear the drum orchestra that was laid down, while Joe Elliott talks about how it was inspired. The backing vocals of “Gods of War” are laid out bare, virtually every single word sung and recorded separately! That’s the kind of album this is.
Along with that, Joe, Phil and Sav also perform bits live in the studio. This helps to illustrate the individual parts further. It is revealed to “Love Bites” was brought to the band by Lange as a country song; you can hear the roots on this DVD. Rick Allen is there to discuss his accident, an obviously emotional moment. Steve Clark is discussed too, and current Leppard guitarist Vivian Campbell is on hand to talk about the numerous guitar parts that he inherited and has to play live.
My favourite feature of this DVD is actually in the bonus material. It’s the chapter that covers the first shows that Leppard played after Rick Allen’s accident. Originally, Jeff Rich from Status Quo was tapped to play a second drum kit alongside Allen on stage, just in case Allen got tired, slipped out of time, or couldn’t finish the show. There were so many variables that nobody knew what would happen during what really amounted to Allen’s comeback shows. Well, for one show in the middle of nowhere, Jeff Rich was late. If he had turned up on time, maybe Rick Allen would never have found out that he could play a full Def Leppard show on his own. Allen did the show with no help on the drums, and he nailed it. Rich told Allen that his work was done; Allen did not need any more help. And that was it!
The books and packaging
This iteration of Hysteria comes with four individual books and a poster suitable for framing. The Big Book of Hysteria is the main event. Adorned with pictures and full credits, this tells the story of the album from the band’s point of view. There were details in this book that even I wasn’t previously aware of. Why did Rick Savage play guitar on “Hysteria”? What was the original planned 10 track running order of the album? You’ll find that in this book. There is also a track by track rundown of the album by the band.
Next: Ross Halfin’s Portraits of Hysteria. This photo book has many of the classic pictures you will remember from this period. I had several of these as posters on my wall. Halfin was responsible for all of them!
A lovely miniature reproduction of the 1988 UK tour book is complete with cut-outs and even more Halfin photos. Tour books are large affairs, and this being a small reproduction, the text is hard to read. Especially for us old enough to have an original North American tour program in the house.
Lastly, and perhaps most lovely, is the Discography book. Inside are photos and release details of every obscure version ever released of Hysteria, all its singles and more. It’s exhaustive and assembled with consultation from a fan expert.
All seven discs, books and poster are packed in a nice looking, compact box. Each disc has its own gatefold sleeve with yet more memorable pictures inside. They nest inside a cardboard tray with the Union Jack printed on it. Perfect!
Conclusion
I’ve had Hysteria five times now. The first was a gift for Christmas of ’87. I upgraded to CD when I was working at the Record Store. I bought the 2006 2 CD deluxe edition, the DVD of Classic Albums, and Hysteria on 180 gram vinyl. I hope this 30th anniversary box set is the last time I have to do so. I can’t imagine what could entice me to buy it again. A 5.1 surround sound mix? Please, rock gods, don’t do that.
I love Hysteria. But let’s hope this is the last of it.
Yesterday we examined Judas Priest’s British Steel, the original album and first CD of this three disc set. Today we’ll look at the live stuff and packaging. If you missedyesterday’s installment, click here.
JUDAS PRIEST – British Steel (30th Anniversary Edition, 2010 Sony)
You could buy the British Steel 30th Anniversary Edition in several configurations:
A CD/DVD set with the album and a live DVD of British Steel played live in 2009,
A 2 CD/DVD set with the live 2009 concert duplicated on CD (minus one song),
iTunes download with all the music from both CDs plus the missing song (“Prophecy”).
The 2 CD/DVD edition is beautifully housed in digipack, with lots of photos in a nice booklet with essay. The photos are all from their recent tour; none are vintage, which disappointed me. I would have loved some fly-on-the-wall photos of them recording this album at Ringo Starr’s house, Tittenhurst Park. Maybe no such photos exist?
The second CD, only available in this edition, is packed to the brim. “Prophecy” wouldn’t have fit or the CD would have run over 80 minutes. Otherwise, it is a straight stereo mix of the same content on the DVD. With audio being my primary medium to enjoy, I obviously needed the version that came with the live CD. The iTunes bonus track was available for separate purchase, so that was easy to add to my files, once ripped.
The third disc of course is the DVD. Backed by a British Steel backdrop, Priest played the album in sequence remarkably well considering their ages! Only drummer Scott Travis wasn’t around for the original album, but he plays the drum parts pretty straight to the original, minus Dave Holland’s robotic coldness.
The main question people have when discussing Priest live is, “What was Halford’s voice like?” It is true that he is an older man today and has to restrain himself and change arrangements in order to sing the songs. This is no exception, but man, when he screams, he still has it! He just screams less, which makes sense. The vocal melodies of some songs have been re-arranged, which may or may not be to your taste. Surely, the vocal melody is such an important part of each song. Halford sings what sounds like harmony parts to the original melodies in order to sneak around certain high parts. It is what it is. And, as per many concerts, the audience sings some choruses on their own when it comes to the big hits.
I was pretty impressed with the live stuff after British Steel. This is surely one of the best live versions of “Victim of Changes”. Halford nails that angry end scream perfectly, I thought his head would explode. “Hell Patrol” was a nice touch. “Freewheel Burning” stumbles a bit. “Prophecy” was excellent, and I’m glad a Nostradamus track was included. Halford seems to relish spitting out the words. Satisfyingly, “Diamonds and Rust” is done in its electric version. An excellent surprise. The album ends, predictably, with Halford’s “audience participation” thing, and “Another Thing Coming” which I could probably do without at this point.
One thing I’m starting to notice, is that Priest are sort of nerdy live. From Rob’s audience participation thing (“Yeah, yeah yeah yeah yeah yeah YEAH yeah!”), to the stage moves, to Scott Travis’ weird drum stick thing on “United”, this is the concert equivalent of a Star Trek convention in some ways. But Priest have never been trendy, and they’ve always seemed oblivious to it. I guess that’s what makes them cool.
The DVD is rounded out by 30 minutes of interviews with Rob, KK, Glenn and Ian (no Scott). This is the kind of thing most people would probably only watch once, especially when the Classic Albums series already released a full DVD of the making of British Steel.
Now to the British Steel 30th Anniversary set as whole: As good a package as this is, I wish there was less emphasis on the “today” portion and more attention paid to the 30th anniversary of the original album. There is at least one unofficial full concert CD from the 1980 tour out there (live in Denver), released unofficially. Surely Priest could have included some vintage live recordings as well?.
4/5 stars. Despite my beefs, this is a great collection for your collection!
Part one of two. Today we’ll be looking at Judas Priest’s landmark album British Steel. Tomorrow, the second and third discs of the 30th Anniversary Edition: British Steel live!
JUDAS PRIEST – British Steel (30th Anniversary Edition, 2010 Sony)
Man, does this make me feel old. Back in my highschool days when I first got serious collecting music, British Steel was a must-have. It was considered the quintessential Priest platter, and even back then when it was only in the recent past, it still had all the makings of a classic. Then, on its 30th (!) anniversary in 2010, it was given the treatment it deserves, perhaps not the exact treatment we dreamed of, but it is certainly satisfying enough.
I’ve bought British Steel five times now. First was my original cassette back in highschool. Then I picked up a used vinyl, probably from a co-worker named Chris that was purging all his metal (for shame, but I got a lot of Priest from him). I bought the remastered CD (with bonus tracks) when it came out in 2001, then a 180 gram vinyl reissue a couple years ago. Let’s just say I’ll be really pissed off if Priest decide to do a 35th anniversary edition.
Disc one appears to be the same audio as the 2001 remaster. The credits are not clear, but that would be logical since the CD is identical down to the two included bonus tracks. These are a live version of “Grinder” from an unknown tour, and the completely unrelated “Red, White & Blue”. This song has no place on the album as it was written and recorded for the Turbo/Ram It Down sessions in the late 80’s. I’m not sure why it was retained for this 30th anniversary edition; it seems sloppy to leave it.
My original cassette edition of British Steel had a different track order. “Breaking the Law” commenced the set, so it is still shocking to me to hear British Steel open with “Rapid Fire”. Beginning with your heaviest guns can be a big gamble. “Rapid Fire” was borderline thrash metal, before that term had really been coined. The brutal lyrics are among Halford’s most enjoyable to listen to due to clever internal rhymes:
“Wielding the axe comes the one culmination That’s always seemed certain to bring down the curtain on greed Sifting the good from the bad it’s the age for the rage Of the dogs which must fall to the just and be free.”
Unfortunately “Rapid Fire” also introduces the big problem with British Steel and every Judas Priest album for the next decade: The robotic combination of producer Tom Allom and new drummer Dave Holland (ex-Trapeze). Where Priest had enjoyed the lyrical swing from great drummers such as Simon Phillips and Les Binks, they had chosen Holland to usher in the 1980’s. Coming from a funk rock band such as Trapeze, I’m still not sure how Priest arrived at Holland. His style is certainly not to my taste. While he is known for some simple but tasty fills from time to time, as far as I’m concerned a drum machine could have done the same job.
The second track is the classic “Metal Gods”, complete with the banging of silverware on Ringo Starr’s kitchen countertops to simulate the marching of a robot army. On a track like this, Holland’s robotic rhythm works perfectly. “Breaking the Law”, made immortal by Beavis and Butthead, is a song every metal fan should know. Though heavy, it was simpler and more accessible than much of the music Priest had recorded before.
Some of Priest’s worst lyrics can be found on “Grinder”. It’s too bad because “Grinder” has a cool relentless beat. But I just can’t sing along to “Grinder, looking for meat. Grinder, wants you to eat.” On the other hand, I do love lines like, “Got no use for routine, I shiver at the thought. Open skies are my scene, this boy won’t get caught.”
“United” is a cool slow anthem, marked by Dave Holland’s echoey drums. I always considered it a brother song to “Take On All the World” from Killing Machine. It has a similar vibe and direction. On the original LP, it appropriately closed side one.
Side two was introduced by “You Don’t Have To Be Old To Be Wise”. You gotta love that title. This is a pretty standard hard rocker, catchy and strong. It also fits with the more accessible direction of British Steel in general. Following it is the ultimate Priest single “Living After Midnight”. I still enjoy this song. I enjoyed it when I was a kid, and it was the theme song for the WWF tag team, the Mightnight Rockers (later The Rockers: Shawn Michaels and Marty Jannetty)! It’s one of those songs that everybody knows.
“The Rage” was estimated by bassist Ian Hill as one of only two bass intros he got to play. It’s a slow groove, angry musically and lyrically. The guitar solos absolutely complete this song as the classic that it is. From slow to fast, “Steeler” is next, the final song of the original nine. KK and Glen throw down some serious guitars on top of this scorcher. Lyrically, the title seems to be quite blunt as to what this song is about. Sounds like Priest are pissed off about being robbed, as so many bands were:
“Check for decoys, stay sharp edged, Double crossers get your head, Carpet baggers bluff and strike, Kiss of Judas, spider like.”
What a statement to end an album like British Steel on, as it crashes to a close on one final power chord.
…Only to be followed by “Red, White & Blue” which sounds absolutely silly and out of place by comparison. I don’t think it would have been a good song if it were included on Turbo or Ram It Down where it belonged, and it’s definitely not a good song on British Steel. I don’t know how to describe it but to say it’s definitely of outtake quality.
Then from Long Beach, California comes “Grinder” live. This is probably from 1984, Defenders of the Faith tour. It’s interesting to compare the live versions on discs one and two, since it’s so many years later. There is no question Rob’s voice has changed, but that’s stating the obvious.
Tomorrow we’ll look at the live portion of this 30th anniversary set. Be sure to come back then, or better yet subscribe! As for British Steel?
4/5 stars
1. “Rapid Fire”
2. “Metal Gods”
3. “Breaking the Law”
4. “Grinder”
5. “United”
6. “You Don’t Have to Be Old to Be Wise”
7. “Living After Midnight”
8. “The Rage”
9. “Steeler” 2001 bonus tracks
10. “Red, White & Blue”
11. “Grinder”
JUDAS PRIEST – Screaming For Vengeance (Originally 1982, 2012 Sony 30th Anniversary Edition)
The second side opens with the sudden shock blitzkrieg of the title track. Speed metal turned up to 11, “Screaming For Vengeance” is over the top and almost self-parody. It’s one of Priest’s most overdriven blasts of might, but it also verges on mindlessness if not for a spirited solo section in the middle. But then in another jarring shift, the sleek mid-tempo groove of “You’ve Got Another Thing Comin'” rears its familiar head. When I was a kid, there was no question this was Priest’s “big hit”. It was the song everyone knew, and the music video was on constant rotation. Classic clip. The man pursuing Priest is meant to represent the tax man. When Rob essentially yells at him “no tax man, you will not take my money,” his head blows up. They used a little too much TNT on the mannequin, and so the tax man’s pants fell down in an added humiliation. Such is the power of heavy metal, folks. Got tax problems? Rock and roll right in that tax man’s face. Eventually his head will blow up. If you’re lucky the pants might also fall. This is what Priest have given the world!
DEF LEPPARD – Hysteria (2017 Universal 5 CD/2DVD 30th anniversary edition)
Disc One: The original album (Hysteria)
My favourite feature of this DVD is actually in the bonus material. It’s the chapter that covers the first shows that Leppard played after Rick Allen’s accident. Originally, Jeff Rich from Status Quo was tapped to play a second drum kit alongside Allen on stage, just in case Allen got tired, slipped out of time, or couldn’t finish the show. There were so many variables that nobody knew what would happen during what really amounted to Allen’s comeback shows. Well, for one show in the middle of nowhere, Jeff Rich was late. If he had turned up on time, maybe Rick Allen would never have found out that he could play a full Def Leppard show on his own. Allen did the show with no help on the drums, and he nailed it. Rich told Allen that his work was done; Allen did not need any more help. And that was it!
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