Unleashed In the East

REVIEW: Judas Priest – Unleashed in the East (1979, Remastered)

JUDAS PRIEST – Unleashed in the East (Originally 1979, 2001 Sony reissue)

The best Judas Priest live album isn’t the biggest or the newest.  It’s the first:  the humble Unleashed in the East.  The first Priest album to be produced by Tom Allom, the last with Les Binks on drums…this is a special album for a number of reasons but most important are the songs.  It would not be going out on a limb to suggest that some of these tracks are now the definitive versions.

Like many live albums of the 1970s, it has been questioned how much of Unleashed in the East was redone in the studio.  Rob Halford has maintained that only the vocals were touched up, but it does not matter one iota when the needle hits wax or laser strikes plastic.  The band were at a musical peak in 1979, and with accelerated tempos, they attacked the best of their body of work, although neglecting the bluesier debut Rocka Rolla.

With “Exciter” (from 1978’s Stained Class) opening the set, this collection has more energy by comparison to the somewhat stiffer studio counterparts.  Les Binks has his foot on the pedal and the band is fully energized on this proto-thrash classic.  “Stand back for Exciter” indeed, as Halford has the Tokyo crowd in the palm of his hand, heavy on the echo.  “Running Wild” (1978’s Hell Bent for Leather) is extra caffeinated compared to the in-the-pocket original, giving the album the feel of a race.  KK goes bananas at the end, and then it’s his showpiece:  “Sinner” from 1977’s Sin After Sin.  Finally it sounds like Priest have stopped hurryin’ about.  About half of the track features KK taking his guitar to outer space in a trippy solo segment.

In its original form, “The Ripper” (1976’s Sad Wings of Destiny) was thin and stiff by comparison.  Here it is a beast, with Rob Halford fully unleashed and stalking the back-alley streets.  Easiest contender for most definitive version of a song on Unleashed in the East.  “Green Manalishi” also comes close, with this electrifying version containing the full-blown dual solo in fantastic, crisp, live glory in stereo.  Each part of the solo is an essential part of the song, just as “Green Manalishi” is an essential part of the album.  If you own the LP, this is where you flip sides and go straight into an adrenalized “Diamonds and Rust”, keeping the energy moving.  Binks’ double-bass work is fun as hell to listen to, like a kid who can’t stop tapping his feet excitement.

The Priest epic “Victim of Changes” takes its time to unfold, though mightily it does.  The live setting and the unstoppable Les Binks make this another definitive Priest live version.  It is the climax of the album, with the last two tracks “Genocide” and “Tyrant” unable to surpass its mountainous metal spires.  Regardless, both are far more fuelled than their seemingly crippled studio counterparts.  Halford is more expressive and engaging live, while the guitars riff on relentlessly.

This album would be 5/5 stars right here, full stop, no need to elaborate.  The already definitive Priest live album became even more definitive in Japan in 1979, and 2001 in the rest of the world, with additional bonus tracks.  On the 2001 remastered Sony edition, all the tracks blend into one another without fade-outs.

Most of the tracks originated on Hell Bent for Leather, with one from Sin After Sin.  “Rock Forever” and “Delivering the Goods” cook!  Not too dissimilar from the originals, these are nice additions that extend the album without weakening it.  “Hell Bent for Leather” was conspicuous by its absence from the album proper, so its restoration is significant.  Finally the lengthy “Starbreaker” occupies the final slot, including a Binks drum solo.  An odd positioning but a stellar version nonethless.  All said and done, the version of Unleashed with bonus tracks is just over an hour long.  By today’s standards that’s a bit short for a live album, but it certainly does feel more complete.

Though he was indeed a significant source of Judas Priest’s musical power both on stage and in the studio, Les Binks quit the band mid-tour to be replaced by ex-Trapeze drummer Dave Holland for the remainder.  Binks was never made an official member on paper and was dissatisfied.  To be sure, other Priest drummers can sympathise.  The only taint on this otherwise perfect “live” metal album is the absence of the departed drummer on the front cover.

5/5/5 stars

 

JUDAS PRIEST REVIEWS

Part 272: Priest Week – The Re-Masters

PRIEST WEEK

It’s the end of PRIEST WEEK! It was all Judas Priest all week, and what better way to end it then with a 12 CD remastered box set?
Monday:  Rocka Rolla (1974)
Tuesday: Priest…Live! (1987)

Wednesday: Metal Works 73-93 (1993)
Thursday: Demolition (2001 Japanese version)

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RECORD STORE TALES Part 272:  PRIEST WEEK – The Re-Masters

When Judas Priest began reissuing their albums in 2001 (in three waves of four CDs each), of course I had to have all 12.  I’ve been a fan of the band since I was a kid, and my complete Judas Priest collection has always brought me much joy.  Priest’s “Re-masters” series included all the studio and live albums from 1977’s Sin After Sin to 1990’s Painkiller.  Each was expanded with two bonus tracks, with the exception of the live albums.  Unleashed in the East contained the four bonus tracks from the Japanese Priest in the East release (which I already had) and Priest…Live had three extra songs.  (Today, there is a new budget box set that collects the entire Halford era into one box called The Complete Albums Collection.)

In late 2001, local record store legend Al “the King” dropped into my store to sell some discs.  Nimble-minded readers will recall that on day 1 of Priest Week, Al King sold me my vinyl copy of Rocka Rolla in 1989!  Al now worked at another store in town called Encore Records.  Al’s a good guy.  He didn’t see us so much as competition, because really we catered to different groups of people.  There were certain discs that Al couldn’t sell at Encore (pop and mainstream stuff), and he knew I would give him the fairest prices in town, so he came to me.  It was a good mutually beneficial arrangement.  I wanted his stock and he wanted the money!

On this afternoon, I chatted with Al while going through his discs, and he informed me of a forthcoming Priest collectible.

“It’s expensive,” he began, “but it does look cool.  It’s a UK import.  I sold one to this really excited guy, but Mark’s trying to order another one in.  If you want it no problem, but fair warning, it’s not cheap.”

“Tell me more!” I said to Al.

PRIEST WORKINGThe details were scant.  The box set was titled The Re-Masters, and it contained four CDs with room for the other eight, sold separately.  The CDs included with the box were the first four of the Columbia years:  Sin After Sin, Stained Class, Killing Machine (Hell Bent for Leather) and Unleashed in the East.  It was an attractive box, printed to look like it is held together by metal rivets.  There was also supposed to be a booklet included.  At the time, I was obsessed with collecting the “best” versions of anything.  This meant having all the songs, and the best packaging available.  I asked Al to hold the box for me.  At various points in the conversation, I felt like Al was trying to talk me out of buying it due to the price!  What Al didn’t understand was my deep obsession for this band.

A few days later I headed down to Encore and bought my treasure.  I eagerly opened it up and discovered one little additional bonus!  Nothing major, but cool enough for me:  the four CDs included had embossed silver logos on both front and back covers, instead of the regular printed ones.  This differentiated the discs from the versions I could buy separately at retail.  Also, Hell Bent for Leather was indeed included under the UK name Killing Machine, something I hadn’t seen on CD before. Finally, once all 12 discs were collected, together the CD spines read JUDAS PRIEST and depicted their “devil’s tuning fork” logo.  The spaces for the 8 discs sold separately were taken up by individual foam spacers.

Back covers with silver embossed “tuning fork” logo, and without.

The bonus tracks were a mixed bag of live and demo songs from all over Priest history, but some, such as “Race With the Devil” (The Gun cover) were incredible and classic.  One by one, I added to the set.  Some discs came in used rather quickly:  Point of Entry was one such disc.  Others I had to order via Amazon, or buy in-store at Encore, such as Turbo and Painkiller.  But I did get them all, and my complete Priest Re-Masters set has served me well for over a decade now.  Although I have since bought the newer deluxe editions of Screaming for Vengeance and British Steel (with bonus DVDs) I have felt no need to replace this box set with anything else.  Having to buy the discs individually and complete it myself makes it rare to find, not to mention the box was made only in small numbers.  Some fans expected more out of the box set, and some were upset that the Gull Records and Ripper Owens years are not represented inside, even though Ripper was still the current singer.  My attitude was and is, “Who cares?”  It’s a great looking set and it comprises a complete era of Priest.  I like it a lot and according to Al King I’m one of two guys in town that own it.  Cool.

REVIEW: Judas Priest – Metal Works 73-93

PRIEST WEEK

Its PRIEST WEEK!  
Monday:  Rocka Rolla (1974)
Tuesday: Priest…Live! (1987)

JUDAS PRIEST – Metal Works 73-93 (1993)

1973 to 1993? But didn’t the first album (Rocka Rolla, which has no songs on this CD) come out in 1974? Doesn’t this CD only actually include music from 1977-1990?  And didn’t Al Atkins form the original Judas Priest in 1969?  1973 was the year that Atkins left to be replaced by Rob Halford, who himself quit in 1992. So, 1973-1993? OK, I guess I’ll play along.

METAL WORKS_0005Due to complications and conflicts with Gull Records, Metal Works 1973-1993 contains no songs from the first two albums (the aforementioned Rocka Rolla and Sad Wings of Destiny). Instead, a live version (from Unleashed in the East) of “Victim of Changes” is subbed in to represent the early period of the Priest. After that, every album is given a look-see.

Aside from the songs that couldn’t be included for legal reasons, it is hard to argue with most of this track list. It is a near-perfect representation of pre-Ripper Priest, with the odd tune I’d swap out for another, but more or less awesome all the way through. Personally I think “Night Crawler” is and pretty much always has been an excessively cheesy song…like sharp cheddar. I would have put on something else from Painkiller, like “Between The Hammer and the Anvil” or the battering “Hell Patrol”.  

Most conspicuous by its absence is “Green Manalishi”. Maybe the band decided not to include a cover (Fleetwood Mac), even if it’s one of the best things that Priest have ever recorded.   I think “Green Manalishi” today is equally associated with Priest than Fleetwood Mac, if not more so by a hair.  It may as well be their own song.

Many longtime personal faves are included: I love “Bloodstone”, “Desert Plains”, “Night Comes Down”, and “Blood Red Skies”.  These are songs that weren’t necessarily “hits”, but were huge hits with my teenage self.  There’s one inclusion that bugs me, and that’s “Heading Out to the Highway”.  I love that song, but unfortunately somebody chose to use the Priest…Live! version over the original Point of Entry track.  Furthermore, none of the live substitutions are listed as such on the back cover.  There is no indication on the back that any songs are anything but the original.  I consider that dishonest.

METAL WORKS_0003

The liner notes are interesting for a quick read; tales from four of Judas Priest’s members (Rob, Ian, KK and Glenn) for each of the songs. Nothing earth shattering, just some fun brief stories. It’s interesting, however, how Priest completely glossed over Rob’s departure in the liner notes. Indeed, by reading, one would have no idea he was gone. A little misleading to the metal mongers of the time, especially with Rob about to debut his new band Fight a couple months later….

This 2 CD set is polished off with some fine artwork from Mark Wilkinson, tying in the “metal works” theme with a nod to Birmingham with some iconic characters and images from Priest covers past.  The Painkiller does battle with the bird of prey from Screaming For Vengeance, with lots going on in the background.

The summer of ’93 was loaded with expensive sets for metal fans to buy.  Ozzy Osbourne put out the double Live & Loud.  Van Halen released Live: Right Here, Right Now, also a 2 CD set.  Iron Maiden had two separate single disc live albums, followed by a double live in the fall.  That right there is a lot of cash to be spent, and that’s just a handful of essential purchases that fans had to choose from.   There was a ton of new music to buy, not including the grunge bands vying for our dollars that year.   Priest failed to deliver in terms of value.  Metal Works 73-93 was an expensive collection featuring no music fans didn’t have, and those darned live tracks.  It felt tossed off.

3/5 stars