Published on Jan 31, 1999
I’m sure that some of you remember Judas Priest as one of those
weird heavy-metal Brit bands that seemed to be in league with Satan
himself. Tough guy Rob Halford had a voice that sounded just like
what a hellion should sound like. Double-lead guitarists Glenn
Tipton and K.K. Downing screeched and twisted through some
ingenious solos. And the rhythm section of bassist Ian Hill and
(mostly) drummer Dave Holland pounded away with Spinal Tap-ish
regalia. This album is supposed to represent the total compilation
of the band’s best.
The album swims and wades through the various stages of Priest’s
career. They start with the low and progressive work like “Beyond
The Realms Of Death” and “Victim Of Changes.” Along with that,
there was a sense of some pop qualities–best sampled by the
acoustic “Before The Dawn” and the rocker “Hell Bent For Leather.”
True, some of their other work–like “The Green Manalishi”–is
absent, but there’s a reason. The bulk of the album devotes itself
to Priest’s glory period.
If there’s one period this album covers its the height of
Priest’s career from ’80 to ’84. When their rock took a more
mainstream attitude and allowed them to release songs like the
classic “Breaking The Law,” “Living After Midnight,” “Heading Out
To The Highway,” “You’ve Got Another Thing Comin’,” “Metal Gods”
and the scorching “Freewheel Burning.” (Wheew) Some of the lesser
known material is just as good. Songs like “Screaming For
Vengeance,” “Desert Plains” and “Solar Angels”–which features one
of the meanest intros ever–all are noteworthy and deserving of
being here.
The songs are good, decent rock. Perhaps a bit long in the
guitar riffage, but I doubt most people would mind. Tipton and
Downing made a heck of a team that interchanged notes in an amazing
way. For example, take the under-recognized “Ram It Down.” The
guitar solos are amazing, complex and wonderful. (For those of you
too young to remember, solos were these intricate pieces of music
that were usually played in the middle of a song to let the singer
catch his breath. I know there’s not too many going around
now).
Along with that, there’s the VERY poppish “Turbo Lover,” “Wild
Nights, Hot & Crazy Days” and “Bloodstone.” Here many people
may feel the band faulters, because they deter from their strength
in rocking and add synthesizers and loud choruses. Yet, hear “Turbo
Lover.” Tell me if that couldn’t pass for techno today. Trent
Reznor could cover it and make millions of dollars. Synthesizers,
strong rhythm and low, gruff lyrics about sex. Yep, millions of
dollars.
Finally, the band adds some of their last work before their
break-up album
Painkiller. Disatisfied with the lack of sales for
Ram It Down, that album went all out to return Priest to
metal. The title track, “Metal Meltdown,” “A Touch Of Evil” and
“Night Crawler” are all mean. I even think “Night Crawler” is THE
song for Halloween. (Rob Zombie notwithstanding).
So where does this album rank among the leagues of greatest hits
and other compilations? Well, if you’re trying out something new,
this would be a very good choice. I’ll grant you that many of the
metal motiffs have now passed into cliche. But what better way to
be ready for the retro comeback of the 80s than by listening to a
band hated by Tipper Gore? For classic Priest fans, well, they
might stick to their collections as this album offers no new
material. (However, the album notes are always interesting).
Overall,
Metal Works tries to compile all that one band was into 2
CDs. Sure, not everything here will please you and some will need
time to warm to it. Given time you will see that Priest had talent
and ability. This album is a good example of what they did.