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GRAMMYs

Judas Priest

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judas-priest-got-another-thing-comin

Judas Priest Got Another Thing Comin'

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GRAMMY-winning metal band open up about their forthcoming album, Redeemer Of Souls, and future Broadway aspirations
Bryan Reesman
GRAMMYs
Dec 2, 2014 - 4:06 pm

On July 8 GRAMMY-winning metal legends Judas Priest will return with Redeemer Of Souls, their 17th studio album and first in six years. In contrast to the British quintet's all-encompassing 2008 metal opera Nostradamus, their latest offering roars back with a rawer, heavier collection of anthems, ballads and epic rockers that strongly tap into the melodic aggression that has characterized the band's diverse output for the past 40 years. And listening to the turbo-charged songs on Redeemer Of Souls, it's clear that their passion and enthusiasm remain strong.

On Oct. 1 Judas Priest will launch a U.S. tour in support of the album, with dates scheduled through November. Contrary to some reports, their 2011 farewell tour was not the end of their live performance endeavors, but marked the end of extensive world touring for the band.

Ahead of the album's release, frontman Rob Halford and guitarists Glenn Tipton and Richie Faulkner participated in an exclusive GRAMMY.com interview to discuss the new album, bringing Faulkner into the fold and the possibility of Priest on Broadway.

The new album has a very yin and yang feel to it, with half of the songs being stripped down and the other half sounding more epic. Was that intentional?
Faulkner: I think the only thing that was intentional was to do what the band does and has been doing for 40 years, which is not have any sort of concept or rules. And if it sounds good, we'll go with it, [whether] it's an epic-sounding song or a straightforward song.

This is Richie Faulkner's first album with Judas Priest. What was the songwriting dynamic like this time?
Halford: It's different but it's the same in the respect that it's always been two guitar players and a singer pitching in together. There's no doubt that Richie's input has been incredibly energizing. Just to have a different perspective from Richie's ability as a guitar player [as] well as a songwriter did bring some very unique and exciting moments to the writing sessions.

Tipton: It was great. Richie was thrown in the deep end. The first show he did was "American Idol" [in 2011 in front of] 30 million people, then we went to a massive festival in Europe, so he had a lot of challenges initially on the live side of things. He came through with flying colors, but we never knew how [the] writing was going to work out. And it was like we've always been together. It was just a very natural thing. … He's put his own stamp on [the music]. That's the remarkable thing.

There are obviously the requisite Judas Priest fantasy lyrics on Redeemer …, but I'm very intrigued by "Cold Blooded" and "Crossfire." The former kind of makes me think of a serial killer, and I'm curious what inspired that?
Halford: Glenn is responsible for the vast majority of lyrics on that song.

Tipton: It was a sinister subject — just cold blood that runs through me. Someone who's been beaten, battered, been through the mill, couldn't have had worse things happen. They've lost all feeling. It's a sinister thing that lends itself to a metal song.

Did it make you think back to Birmingham, England, where you grew up?
Halford: Oh yeah. That's what I loved when I was noodling with the lyrics that Glenn put down. It's about isolation and it's about [how] you cannot connect to people. It has that angst in it, so I think from a metalhead's perspective, when they are listening to this track, they might [say,] "That used to be me," or "that's me now" or "I know somebody [who's] had that type of experience." That's the wonderful thing with nearly everything Priest [have] made over the years, the ability for our fans to feel as though we're touching them with the messages we have inside us.

The lyrics on "Crossfire" take on religion. Where did that come from?
Halford: Again, you look through the history of Priest with songs like "Savage" from [1978's] Stained Class, where we talked about climate change before there was even climate change. "Electric Eye" [from 1982's Screaming For Vengeance] is about spy satellites. We've always had a great sense of adventure lyrically to blend reality and fantasy, so that's just a little dig at the way that all religion is supposed to preach love, peace and whatever, but there are extremists [who] just go out there and f*** it all up.

"Never Forget" is a thank you to the fans, but it also sounds like goodbye. Is it goodbye?
Halford: No, it's not. We've done that before with "United" [from 1980's British Steel] and tracks where we've talked about that special bond that not only Priest [have], but all metal bands have with the fans [who] support them, and we just wanted to go a little deeper in sentiment with this song. … We'll play until the end.

Rob, you've mentioned carrying around a Roget's Thesaurus to come up with new words for songs. Are there any words that you have been trying to get into a Judas Priest song that you haven't yet?
Tipton: Supercalifragilisticexpialidocious.

Halford: Could you imagine? [Halford repeats the word in death metal growls.]

I was thinking of that.
Halford: I've never said "crescent moon" before. [I] just [incorporated] a simple crescent moon in "Secrets Of The Dead" [on Redeemer Of Souls]. Much like Richie and Glenn are trying to find new riffs and notes, and bend the guitar strings [like] they've never done before, that's what I try to do as a lyricist. There are some staple words in metal that you have to use because there's nothing else that has the same value. You've got to say "pain," you've got to say "fear," because there is no comparative word that carries the same essence of message. Beyond that, I work really hard to try to pick words, ideas and phrases to bring something different and interesting.

How are you feeling lately, Rob? I recall you were in a wheelchair last year when you were promoting the live Epitaph DVD.
Halford: It was a bit of a glitch. I had a back operation. It's fixed. I'm still not 1,000 percent, but I don't think I ever will be, quite frankly. At this point, who is? I went under the knife screaming in pain and woke up pain-free. I think whenever you're dealing with physical challenges, it really sorts out your personality and what you want out of life. I just wanted to get back to my job as a singer in a metal band as quickly as possible.

Have you ever considered doing Broadway?
Halford: As musicians, it's really cool to contemplate every possibility, but again you have to be careful. We're so grateful for the treasures that we've got in Judas Priest and we understand the ramifications of going too far, too left field. That can lead to some negative response. First and foremost, I think for all of us, everything that's embodied in Judas Priest is how we want to represent ourselves. Probably as [we] move on in [our careers], [we] can take more steps into different rooms, so to speak. It's the timing. … I'd love to see Nostradamus on Broadway.

Tipton: With [co-manager] Bill [Curbishley's] connections in the movie and theatrical world, we actually wrote [Nostradamus] with the hopes that at some point either we could perform it on Broadway or it could be orchestrated. I think it's a great soundtrack and a great scene for a Broadway production.

(Bryan Reesman is a New York-based freelance writer.)

Glenn Tipton, 2014

Glenn Tipton of Judas Priest

Photo: Miikka Skaffari/Getty Images

News
Judas Priest's Glenn Tipton: "My Role Has Changed" judas-priest-guitarist-glenn-tipton-scale-back-touring-due-parkinsons

Judas Priest Guitarist Glenn Tipton To Scale Back Touring Due To Parkinson's

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The iconic heavy metal band's guitarist of over 40 years has announced he will limit his touring, live performance duties due to Parkinson's
Brian Haack
GRAMMYs
Feb 12, 2018 - 4:50 pm

Guitarist Glenn Tipton, of the GRAMMY-winning heavy metal outfit Judas Priest announced via the band's Facebook page that he will be stepping aside as full-time touring and live guitarist, due to worsening complications from Parkinson's disease, with which he was diagnosed roughly ten years ago.

"I want everyone to know that it’s vital that the Judas Priest tour go ahead and that I am not leaving the band - it’s simply that my role has changed," explained Tipton in the statement, which can be read in full below.  "I don’t rule out the chance to go on stage as and when I feel able to blast out some Priest!"

Judas Priest will complete the remainder of their Firepower Tour show dates with Andy Sneap (Sabbat, Hell) taking over Tipton's duties as guitarist. Band members Rob Halford (vocals), Ian Hill (bass), Scott Travis (drums), and Richie Faulkner (guitar) also commented on Tipton's "metal spirit" in the band's statement, adding, " We have been privileged to witness Glenn’s determination and steadfast commitment over the years …he is a true metal hero! We are not surprised by Glenn’s insistence that we complete the Firepower tour and thank Andy for joining us to make Glenn’s wishes become real - As Glenn has said we also can’t wait to have him with us at any time any place on the road."

Tipton originally joined Judas Priest in 1974, during the recording sessions for their debut album Rocka Rolla, and has played on all of the band's album releases to date. He is credited as having played a large role in the band's transition towards a more metal sound, in contrast to the blues-based psychedelic rock of Rocka Rolla, much of which was written before Tipton joined the group.  Tipton and Halford have collaborated as the Judas Priest's primary songwriters since the band's sophomore album Sad Wings Of Destiny, released in 1976.

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Judas Priest, K.K. Downing, Glenn Tipton

K.K. Downing and Glenn Tipton, 1984

Photo: Paul Natkin/Getty Images

News
K.K. Downing's Guitar Auctions For $189,000 delivering-goods-ex-judas-priest-guitarist-kk-downings-guitar-auctions-189000

Delivering The Goods: Ex-Judas Priest Guitarist K.K. Downing's Guitar Auctions For $189,000

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Two Judas Priest Gibson Flying V guitars blast past experts' estimates at Bonhams
Philip Merrill
GRAMMYs
Dec 13, 2018 - 3:57 pm

On Dec. 11 in an entertainment memorabilia auction at Bonhams, New Bond Street in London, expert appraisers were astonished as a 1967 Gibson Flying V guitar used extensively by Judas Priest's K.K. Downing more than octupled their highest estimates to sell for more than $189,000. Founded in 1793, the house designated the sale as "a world record result for a 'lead heavy metal guitar.'" A second K.K. Downing classic — a 1971 Gibson Flying V Medallion — more than quintupled the experts' highest estimates to sell for more than $102,000.

Having helped to define and shape the power of heavy metal through the '70s and '80s, Judas Priest received their first GRAMMY nomination for their 1990 album Painkiller, at the 33rd GRAMMY Awards in the Best Metal Performance category. Several nominations later, the band scored their sole career win at the 52nd GRAMMY Awards in the same category for the song "Dissident Aggressor."

https://twitter.com/bonhams1793/status/1073155621665628160

A sketchbook showing the original hand-drawn costume designs for key characters in #Star Wars - including #DarthVader, #Chewbacca and the #Stormtroopers - sold for an impressive £125,000 at Bonhams London, on 11 December 2018. https://t.co/8DrYT8N24E pic.twitter.com/vA2vOga9Hs

— Bonhams (@bonhams1793) December 13, 2018

Rolling Stone has more details on the auction and quoted Downing's autobiography that he is "eternally grateful" for the 90 percent of his time with Judas Priest that was good. "When we had the success, it was so cool," he said. Downing also auctioned an additional nine of his guitars on Dec. 11.

In 2010, Downing departed Judas Priest before their Epitaph World Tour, named after the track on their Sad Wings Of Destiny album. Bonham's record-setting Gibson was used to record that album.

Prince Guitar Brings In Record Amount At Auction

Amy Lee

Amy Lee of Evanescence

Photo: Pier Marco Tacca/WireImage

News
Welcome To Rockville 2019 Lineup Announced evanescence-tool-incubus-more-announced-welcome-rockville-2019

Evanescence, Tool, Incubus & More Announced For Welcome To Rockville 2019

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The three-day fest will take place in May and will feature some of your all-time favorite rock and metal groups
Jennifer Velez
GRAMMYs
Dec 5, 2018 - 3:05 pm

Hard rock and heavy metal take over Jacksonville, Fla., for three days when Welcome To Rockville comes to town. The 2019 offering brings GRAMMY winners Tool, Korn, Evanescence and GRAMMY nominees the Prodigy and Incubus as some of the top acts to hit the stage.

Florida's biggest rock n roll party just got bigger! Welcome to Rockville lineup features @Tool @Korn @RobZombie @the_prodigy @Shinedown @IncubusBand @evanescence @bmthofficial and MANY more.

Tickets on sale Friday 12/7 @ 12pm ET.https://t.co/Yf8DWnM6be pic.twitter.com/dMiPQnoQD4

— WelcomeToRockville (@RockvilleFest) December 3, 2018

The fest's lineup will also include GRAMMY nominee Rob Zombie and GRAMMY winning group Judas Priest, which celebrates their 50th anniversary this year and recently announced a tour, as well as Chevelle, among others. Catch the full lineup above.

Bands have taken to social media to announce their performances. "Time to knock the rock dust off. We just signed on to do a few U.S. festival dates in May so look out for show announcements!" Evanescence tweeted out.

When it comes to anticipated performances, Tool is no doubt one of the big ones, as fans continue to wait for their first album release in 12 years. As no official North American tour dates have been announced, their performance at the fest has gotten their fans speculating of an official tour announcement dropping soon. 

You can catch the acts May 3-5 at Metropolitan Park. For more information on how to get tickets go here. Tickets go on sale Dec. 7.

What Are Apple Music's Most Streamed Songs Of 2018?

Chloe X Halle photographed at SXSW 2018

Chloe X Halle

 Photo: Roger Kisby/Getty Images Portrait

Poll
New Music 2018: What's Your Favorite Album So Far? chloe-x-halle-kacey-musgraves-jack-white-favorite-2018-album-so-far-poll

Chloe X Halle, Kacey Musgraves, Jack White: Favorite 2018 Album (So Far) | Poll

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New releases abound, including LPs from Toni Braxton, Lucy Dacus and Justin Timberlake — what's your favorite album of 2018 so far?
THE GRAMMYs
GRAMMYs
Mar 30, 2018 - 11:36 am

With the close of tax season approaching (current mood: ugh), it officially signals that the first quarter of the new year is in the books. BTW: How are those resolutions coming along?

Resolutions aside, it also gives us an opportunity to take stock in the opening salvo of new releases in 2018. As you've likely noticed, there's been a whirlwind of activity: surprise releases, top-charting soundtracks, returns from GRAMMY winners, and new tuneage from up-and-comers.

Here are 15 new album releases that have caught our eyes and ears — but we want to know: Which new album released between January and March is your favorite album of 2018 so far? Cast your vote!

Polls

Which new album released between January–March is your favorite album of 2018 so far?

Joan Baez, Whistle Down The Wind

About as pretty as can be, Joan Baez's career-topping studio finale has a perfectly rendered quality that brings it straight to the heart. The guitar sounds in particular capture higher frequencies that always seem to land just right, while her mellow vocals make songs such as "Be Of Good Heart" and "Last Leaf" enveloping. The light of this Recording Academy Lifetime Achievement Award recipient always shines, but on this album it is bright with new power. It all makes for a chilling final high note for an artist who has spent her life interpreting the acoustic American blues known as folk. — Philip Merrill

Black Panther: The Album, Various Artists

What's there to say that can encapsulate the cultural moment surrounding the release of the film Black Panther and its acclaimed Kendrick Lamar­- and Top Dawg-curated soundtrack? The film now holds the title of being the highest-grossing superhero film of all time in domestic box office sales, while the soundtrack is still charting at No. 3 on the Billboard 200 six weeks after debuting in the top slot. With awesome features by The Weeknd, 2 Chainz, ScHoolboy Q, SZA, Khalid, James Blake, and more, it's your own fault if you haven't given this monster a listen by now. — Brian Haack

Toni Braxton, Sex & Cigarettes

On her Def Jam Records debut, Toni Braxton proves that there's another seductive combination at play aside from the album's title: exquisite vocals and vintage R&B heartbreak. As indicated by the album's racy cover art, the "Un-Break My Heart" singer is holding nothing back. There's pain over an ex-lover in "Long As I Live," acoustic-based optimism with "Deadwood," the expletive-laced slow jam "FOH," and the bittersweet "My Heart," the latter featuring Colbie Caillat. Braxton's passionate delivery throughout carries the melodies to new levels of satisfaction, proving she still reigns as one of R&B's queens. — Tim McPhate

David Byrne, American Utopia

It'd be ridiculous to expect Talking Heads' frontman David Byrne to release the usual aging-rocker record, light on statement and heavy on convention. Still, American Utopia surprises the way a lucid dream feels too real to be fake and too surreal to be true. The 10-track LP's pulsing soundscapes and poignant poetry collide to create a far more accurate snapshot of the times we're in than should be possible for someone who began shaping music, culture and fashion 40 years ago. On American Utopia, Byrne groans, gyrates and shines in the modern light much closer to the spirit of David Bowie's Blackstar than anything released of late by his other '70s contemporaries. — Nate Hertweck

Brandi Carlile, By The Way I Forgive You

Always a powerful singer, GRAMMY nominee Brandi Carlile is not afraid to holler, wail or fail. Taking her voice to an extreme that nicely blends with her emotional intensity and the production's symphonics, Carlile really lets go on By The Way I Forgive You — just take one listen to the likes of "Every Time I Hear That Song" and "Party Of One." The Americana singer/songwriter's strong independence stays thematic and the aging part feels real but very secondary to meeting life's demands and still having a heart at the end of it. — P.M.

Chloe X Halle, The Kids Are Alright

Since garnering the attention of none other than Beyoncé and subsequently signing to her Parkwood Entertainment label in 2015, Chloe X Halle have been on an uphill trajectory. With their debut album, The Kids Are Alright, the Atlanta duo prove they can stand on their own talents. The 16-track LP, including tracks such as "Hello Friend," "Hi Lo," "Down," and "If God Spoke," introduces wider audiences to Chloe X Halle's phenomenal R&B harmonies. And as Pitchfork wrote, "Their musical style is fearless, reshaping pop and R&B in their own images until even the highest-profile co-signs seem beside the point." — Renée Fabian

Lucy Dacus, Historian

On her sophomore album, the 22-year-old singer/songwriter from Richmond, Va., finds her balance of humor, soul, angst, and beauty. Historian simultaneously manages to demand to be taken seriously and to endear us with its lightheartedness. Lucy Dacus' casual delivery can turn into an emphatic plea and covers a fair amount of ground in between. With a successful SXSW behind her and a world tour underway, 2018 is shaping up to be a big year for one of rock's most promising young songcrafters. — N.H.

Nipsey Hussle, Victory Lap

Inspiring rap comes in several varieties, but some albums like Hussle's take it to a familiar but rare level. If you listen, you will feel played with, you'll have a good time and you will time travel. With guests such as Diddy, The-Dream, Cee Lo Green, and Kendrick Lamar — a collective with two dozen GRAMMY Awards collectively — you might think someone believes Hussle is a big deal, or more aptly: the real deal. With triumphant tracks such as "Grinding All My Life," "Dedication" (featuring Lamar) and "Loaded Bases" (featuring Green), Hussle knocks it out of the park on his debut LP. — P.M.

Judas Priest, Firepower

Four decades and change after their debut, Judas Priest are proving they still have more than enough heavy artillery in their aural arsenal. Indeed, Firepower, the GRAMMY winners' 18th studio LP, has been warmly received by fans and critics alike, with The Guardian praising it as a "return to their classic late-'70s and early-'80s Priest sound with a pinch of salt." With his patented scowl in fine form, frontman Rob Halford spices up hard-driving cuts such as "Lightning Strike," "Traitors Gate" and the title track, with extra mojo courtesy of the dual guitars of Glenn Tipton and Richie Faulkner. "Priest is holding the torch for British heavy metal and passing it on. That's exactly where we're at now as we hurtle towards our 50th anniversary in 2019," Halford told Revolver. — T.M.

MGMT, Little Dark Age

Rock band MGMT — comprising multi-instrumentalists Andrew VanWyngarden and Benjamin Goldwasser — are back with their first album in five years, Little Dark Age. The 10-track album sees the band returning to more of a hybrid rock/pop aesthetic from their previous two LPs. Take, for example, tracks such as "When You Die" or "Me And Michael," an infectious tune that VanWyngarden told Q magazine was designed to be "a catchy song that gets you pumped up, but you have no idea what the message is." As a result, Little Dark Age gives fans a return to what MGMT does best: creating "an off-kilter, challenging and very addictive album." — R.F.

Kacey Musgraves, Golden Hour

"I wondered: is there a world where Daft Punk meets country?" Kacey Musgraves pontificated during an interview with London Evening Standard. By fusing traditional sounds with modern embellishments on her shiny new LP, Golden Hour, it seems Musgraves already knows the answer. The playful "High Horse" recalls the '70s disco flavor of Studio 54 with elastic Bee Gees-style touches, but with a side of twang. Meanwhile, tracks such as the airy "Butterflies" and beaming "Rainbow" showcase Musgraves' penchant for old-fashioned country-style introspection. It all makes for a "delightful" experience, per Consequence Of Sound. Or as the GRAMMY winner put it, Golden Hour is "pedal steel and banjo and organics but crossed with all this crazy s***!" — T.M.

Superorganism, Superorganism

Easily one of the year's more pleasant surprises so far, the future-positive psychedelic pop group Superorganism came across our radar early this month thanks to some deep digging into the most-Shazam'd artists at SXSW 2018.

According to their origin story, this is a band that was founded largely thanks to the power of internet memes and Skype calls. Jointly hailing from New Zealand and the U.S., all eight members of Superorganism now call London their home base. Their self-titled debut sounds a bit like the Moldy Peaches, if they were produced by Wayne Coyne of the Flaming Lips. It's chock full of ear candy, zany samples and catchy melodies — all imbued with a sense of childlike wonder. — B.H.

Justin Timberlake, Man Of The Woods

For his fifth studio album, Justin Timberlake traded in his "Suit & Tie" for something much more outdoorsy: Man Of The Woods. While it may seem like an unexpected turn of events, the album's title has a sweet connection. Silas, Timberlake's son's name, means "man of the woods." Musically, the 16-track album touches on an impressive array of genres, including R&B, pop, dance, soul, and Americana. "Filthy," for example sees the GRAMMY winner electrifying some funk, while "Say Something," a duet with Chris Stapleton, taps into a little bit of country rock. For all the musical adventure on this album, not only is it an enjoyable ride, but if you believe Variety's Chris Willman, it's "one crazy peanut butter cup of an album." — R.F.

Erika Wennerstrom, Sweet Unknown

The debut solo project from Erika Wennerstrom — frontwoman for the acclaimed garage rock act Heartless Bastards — manages to possess a sonic quality that exudes studio polish, while still maintaining the barely restrained edge that has come define her band as one of the still-burning torches of authentic rock. The album's lead single "Extraordinary Love" hearkens to Wennerstrom's signature Austin, Texas, rock sound, while her vocals and lyrics tell a tale full of world-worn flavor and longing for truth. From the first icy, reverb-laden guitar atmospherics of opening track "Twisted Highway" to the final echoing chorus of "Gravity" at the album's close, this record is a joyride of a listen. — B.H.

Jack White, Boarding House Reach

If you were intrigued, excited and more than a little bit perplexed at the teaser video Jack White released for his latest solo record back in December 2017, you weren't alone. Now that the three-month wait is over, the real thing is every bit as spastic, compelling and original as we'd hoped. Boarding House Reach is a direct reflection of the process White used to generate and construct it, starting with recording the best musicians and ending with a labored, if not bizarre, editing process that produced the LP's smattering of sounds. At times, White summons the spirit of Zach de la Rocha as if he were fronting the Mothers Of Invention and trying their hand at hip-hop — and yet, somehow, it works. — N.H.

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Some of the content on this site expresses viewpoints and opinions that are not those of the Recording Academy. Responsibility for the accuracy of information provided in stories not written by or specifically prepared for the Academy lies with the story's original source or writer. Content on this site does not reflect an endorsement or recommendation of any artist or music by the Recording Academy.