JUDAS PRIEST are working on new album

JUDAS PRIEST members Rob Halford (vocals), Scott Travis (drums) and Richie Faulkner (guitar) spoke to Metal Hammer magazine about the progress of the songwriting sessions for the band’s follow-up to “Firepower” album. Released in March 2018, “Firepower” was the second LP to feature Faulkner, who was selected to fill the void left by founding guitarist K.K. Downing following his exit in 2011.

Judas Priest
Judas Priest

“We started the year prepping the next JUDAS PRIEST metal masterpiece,” Rob said. “We had one massive writing session together and we’ve got an enormous amount of material stacked up, which is really thrilling after the glorious response we had to ‘Firepower’.”

“It’s gonna be good,” added Travis. Rob‘s always excited about new music, which is great, because he’s such a creative guy and when you are that creative, naturally you never rest on your laurels. You always want to do something new and get it out there.”

Faulkner talked in more detail about PRIEST‘s songwriting process, saying: “We compile all our ideas and get together and throw them in the pot and see what sticks, then see what lights up the room, see what Rob grabs hold of. It might be a riff that Rob really gets his teeth into that inspires a lyric or an intro, verse or chorus and suddenly you’ve got the nucleus of a song.”

Source: blabbermouth.net

Rob Halford’s Confess: “I’m a pop tart”

“Pop tart” is the qualification by which Rob Halford identifies most readily in his newly released book (Confess: The Autobiography). And although he has the musical-phrasing proficiency of the crooners of popular music at its height, it hardly shows in this book – a rather dry, sparse, and substance-lacking piece.

The lack of substance does not pertain to Halford’s romantic life, which is the main subject of the book. There is no way his need to be out with his sexuality could be underestimated – it is no less than cathartic and life-saving – his personal purgatory, as he calls it. After following him through his ordeals and dalliances, we are happy with the conclusion of Rob being in a commited relationship for twenty five years.

Confession – released September 29, 2020

The “shock” and problems of the book begin outside its deeply intimate narration.
There seems to be a bias, unwillingness, and general lack of interest to get to the core of most matters.
A first discrepancy is Halford’s vehement assertion that the impression he had been into BDSM was “an urban myth and utter bollocks: I’m pretty vanilla”. That urban myth, however, was created by Halford himself through various interviews, including one for The Advocate, when he came out of the closet. If any amount of sincerity could be surmised from his lyrics, these, too, refer to him as “sadomasochistic to the core”, in one of the most convincing songs of his solo career, Fetish. He admittedly signalled the handkerchief code from the stage with Judas Priest in his years in the closet – messages such as “fisting”, “watersports”, and “heavy S&M”. In any case, he puts to rest a dispute with K.K.Downing of who came up with the leather-and-studs image that would become a trademark of the heavy metal genre: K.K. did suggest the style and Halford went along.

Speaking of K.K., his individual musical contributions (prior to British Steel where Judas Priest began writing as a team) seem almost entirely omitted from the book, in favour of various references to Glenn Tipton and his “ingenious riffs”. There are words full of sentiment as to how he and Halford wrote music together; in contrast, there’s no reference to Before The Dawn, a ballad by Downing which is known to have been very personal to Halford, who wrote the lyrics. In addition, there’s a distinct negative colouring of Downing’s character, referring to him as “constantly moaning: that’s what he does”, at times completely irrational, and being notorious for holding a grudge. In contrast, Glenn is portrayed as self-assured, determined and clear-visioned, almost a saintly figure “with a beatific smile”, who would regularly dismiss Downing’s “moaning” with a sarcastic remark.
It is nearly painful to read such accounts in light of the book by K.K. Downing, which serves as a poignant outlet for his life of frustration within the band, caused primarily by the condescension and dismissal by its dominant figure (Tipton), even when vital matters were brought to the table, pertaining to both the band’s business and interpersonal dynamics.

Rob Halford, on the other hand, has no issue with authority of any kind. He dreads confrontation – a leitmotif in the book. We see him, in a large portion of it, fawning over various “stars”, including Johnny Depp and Lady Gaga, and not least, “Queenie”. It feels awkward to witness Halford’s delight at being noticed by a “celebrity”. At least once in the book, he describes himself as masochistic.

Rob Halford’s industrial project, 2wo

In contrast to the drooling accounts of encounters (or their contemplation) with Freddie Mercury, Cher, Jack Nicholson, Madonna and various others, there’s little in the book pertaining to musical matters. Halford claims, understandably, that Judas Priest is the most important thing in his life – and yet music seems a backdrop for his next romance or brush with a celebrity.
He awkwardly derides some of his work, both in and out of Priest, for various reasons: projects outside Priest (except for Resurrection which he designed purposely as a statement that he was “metal” and an appeal to rejoin the band) are given little significance, particularly the album Crucible, strangely described as “not heavy, unlike Resurrection”. A work with Priest such as the infamous Eat Me Alive is addressed as lyrically “a joke”, although it can’t be a more poignant sublimation of Halford’s “enormous sex drive” which coloured both his work and personal life.

Halford seems most concerned with the perceived authority of not only Judas Priest, but the metal scene in general; in fact, he has recently stated that “metal” is his favourite word.
Like Downing, he embraces Nostradamus wholeheartedly and swears that the album should one day see its proper presentation and rightful place as a rock-symphonic masterpiece; unlike Downing, he does it somewhat apologetically: after all, the album had divided “our beautiful metal maniacs”, as he likes to refer to them in public. A simplistic, formulaic, easily digestible album like the band’s latest, Firepower (a big commercial success) is laudably extolled.

Judas Priest on their last tour (2018-19)

In conclusion, Halford leaves us on the happy note that “The Metal God” can’t be more fulfilled – a title he likes using, leaving us to question the extent and depth of his self-irony. It doesn’t seem to penetrate between his self-effacing and his self-aggrandizing sides, nor does it aim to. Halford’s irony is neither of the Socratic nor the Romantic kind: it is content with the lustrous duality of the surface.

Beyond The Black

K.K.Downing, the curious incident of the unnamed JUDAS PRIEST guitarist, and Rob Halford’s human rights activism

We have followed the turbulent Judas Priest media developments since they commenced in early 2018 (see previous articles), and we will preface the latest with a reminder.

KK had left the band in 2011, citing dictatorial management and declining quality of performance. While expressing he had been trying to voice his concerns and mend the relationship throughout the years, he reached out to his colleagues once again when Glenn Tipton announced he was no longer able to tour (February 2018), due to Parkinson’s disease.

K.K. Downing

K.K. Downing

Downing, a founding member and defining part of the band both historically and artistically, was willing to resume his place. To his astonishment, his offer seemed to have enraged the Judas Priest camp: Rob Halford impulsively accused Downing of insinuating that Tipton had not played on the band’s latest release (an assertion with no substantial claim), while Ian Hill, the bass player, implied that “no fans would miss KK Downing, because we now have Richie Faulkner, who brought new energy to the band”. The latter statement was dismissed by KK, who recalled that on the British Steel 30th Anniversary Tour (the last one where he participated) he had been by far the most energetic member. Moreover, his vigour and hesitation to make musical compromises had been the primary reason for his departure: e.g., in his book “Heavy Duty: Days and Nights in Judas Priest” (out September 2018) he zealously laments the band’s decision to withdraw from properly presenting (even in modest form) the band’s operatic masterpiece, 2008’s Nostradamus.

Rob Halford as "Nostradamus"

Rob Halford as “Nostradamus”

The psychological tensions within the band seemed to have oppressed Downing, who withdrew from music for a decade – yet, following the band’s vehement refusal to welcome him back – not even as a participant in the 50th Anniversary Tour due to take place next year – Downing formed his new band, KK’s Priest. It includes drummer Les Binks of Stained Class fame (the 1978 album which, in the opinion of many, defined the genre of heavy metal), singer Tim “Ripper” Owens, who had replaced Rob Halford after his departure in the 90s, bassist Tony Newton (Voodoo Six), and guitarist A.J. Mills (Hostile). The forming of the new entity followed KK’s much acclaimed full live set of Judas Priest songs in November 2019, while the band’s name reflects KK’s attachment and passion for what he deems his life, Judas Priest – the band he co-founded in 1969, becoming its musical basis and famous star – alongside Tipton and Halford – for a number of decades.

Judas Priest, Stained Class Era

Judas Priest, Stained Class Era

Current Judas Priest in its live capacity seems to consist of Rob Halford, Ian Hill, drummer Scott Travis (since 1990’s Painkiller), guitarist Richie Faulkner (ex- Lauren Harris), and producer/guitarist Andy Sneap, who on the 2018-9 Firepower tour replaced Glenn Tipton – by that time only able to make encore appearances. The 50th Anniversary Tour, due to take place this year, has been rescheduled, with the band actively promoting it and its current members.

One such promotion spurred the headline of this article. While announcing a guitar masterclass with Faulkner, the band states:
“…Poised now to celebrate that illustrious career as they enter their 50th year in the industry – 2020 should have seen the band embark on an epic 50th-anniversary tour in celebration but due to Covid-19, this has had to be postponed to 2021…
When the previous guitarist left in 2011 with a still-burning desire to continue flying the flag of metal, Judas Priest decided to continue on, by enlisting newcomer Richie Faulkner on guitar. The move seemed to have reinvigorated the band…”

K.K. Downing

K.K. Downing

What has looked like an anti-KK Downing campaign since early 2018, culminates in a revision of history which excludes him. It is curious why his name still rings sharp – just like the tone of his guitar (incomparably more characteristic, daring and vigorous than that of Faulkner) – in the fans’ years. Did four decades of Judas Priest, in which they moulded their name, fame and legacy, consist of Tipton, Haford, and an unnamed member?

If Judas Priest wants to be true to a Brand Safety trend – the result of sweeping under the carpet any artistic tension and “controversy” which probably made the band’s extreme identity at its prime – then they should withdraw any produce involving the member they wish to erase – as in the case with Tim Owens, who had complained that the albums with him were not available on streaming platforms; nor did the Halford-fronted band revisit any of the songs.

news_kk_KK's Priest

KK’s Priest

It can of course be argued that the “Ripper” era isn’t essential to Priest – which would only emphasise the atrocity of erasing Downing. It is ironic that, if we go by KK’s book, it was KK who reached out to Halford and pleaded for Rob’s return before Glenn Tipton.
Yet another irony is that, in recent years and months, Halford has become an increasingly outspoken human rights activist (which we fully support!):
“Obviously, there have been gay metalheads since metal was invented, but [in the ‘70s] we were invisible,” Halford told Billboard in a new interview. “After a Priest show, a lot of us went back to working at the Ford plant or a Walgreens or working as a schoolteacher, but we were gay. We had to hide, basically.”

Judas Priest

Judas Priest

Is this a case of standing for humanity but not the person? Nobody should be invisible, let alone a stalwart of heavy metal who devoted his life to Judas Priest; someone who stood by the band’s artistic interest with the same lack of compromise (while compromising his psychological well-being), precision and resolve which define heavy metal per se.

KK’s Priest have meanwhile completed an album and are eager to go on the road, whenever possible:
“We are now just waiting for studio facilities to re-open in order to mix and master the album.
We are incredibly excited and totally ready for the launch of what we consider to be an exceptional and important record; we sincerely hope that you will agree!”

KK’s Priest feat. Dave Ellefson (Megadeth) in the first-ever live rendition of Judas Priest’s Before The Dawn (Downing composition):

The publication prepared by Beyond The Black

JUDAS PRIEST’s irrevocable Epitaph and the Resurrection of K.K.Downing

The New Moon at the end of November brings release of the tribulations around Judas Priest in the past two years. K.K.Downing has issued the following statement:


It seems Judas Priest’s choice to cover up pervading toxicity had sucked the oxygen from their pond, until K.K.Downing was urged to stir it. Rightfully so – having left the band in 2011 amid unresolved conflict, and prior to Priest’s supposed farewell tour, he is not just attached to the band – he formed and helped mould it out of his own creative body over the course of 40 years.
His conflict being primarily with Glenn Tipton, he wrongfully but logically presumed that, once Glenn announced his Parkinson’s diagnosis and stepped down from active touring, Priest would rush to re-incorporate the other half of the axe duo that constituted the band’s essence.


K.K.Downing with “MegaPriest” at KK’s Steel Mill, Wolverhampton, 3rd November 2019

Little did he know that Judas Priest had already made other calculations.
Nothing had to change.
Judas Priest had established themselves as “gods” and “legends”, and in the words of Ian Hill, “heavy metal may now be cliche, but we invented it”. Ta-da.


K.K.Downing with “MegaPriest” at KK’s Steel Mill, Wolverhampton, 3rd November 2019

Heavy Metal as a genre, with enough exceptions that still confirm the rule, has long given up its revolutionary connotations and become a bastion of conservatism with an odour of bellicosity, a refuge for frail identities. (One proof is the comments’ section of the heavy metal news site, blabbermouth, where commenters seem mostly concerned with “shutting up” their idols, alongside any critical opinion.) There is some “truth” in metal, but it is that of a party line, a uniform, a brand holding the imagined power to provide fanatics with a sense of belonging. It’s a trap for both parties, those being sucked and their sycophants – a perversely intricate construct, given this is only rock’n’roll.


K.K.Downing with “MegaPriest” at KK’s Steel Mill, Wolverhampton, 3rd November 2019

It’s been such a backlash, such hostility KK Downing has had to endure from “fans” (coupled with that of his former colleagues), for simply relaying his own version of events in a dicreet and gentlemanly manner. It may sound like a storm in a glass to the outsider, but Priest’s struggle has been fierce to preserve the myth and keep up the facade, pleasing their (albeit dwindling) hordes of fanatics, to whom they openly refer as “maniacs”.
What the “maniacs” receive in return, are the full pyrotechnics for which they are prepared to part with their hard-earned dollar. Music and deep creatvity play second fiddle to this. Could Priest nowadays do a concert on a minimal stage, in black shirts, with no effects, and still be as impactful? Let’s leave the question open – but it seems to matter little to their fans that a fantastic guitarist such as K.K. Downing, whose name alone is an accolade, is no longer in the picture. Many of their concert attendants, reportedly, think Richie Faulkner is K.K, and leave the concert happy. Personal, challenging guitar style? Improvisation, soul, character? It’s all lost in the screens, smokes, and techically-enhanced screams. The Firepower fanboys want to be “blown away” and “get their ass kicked”, not to think, feel, and truly experience.
But that’s the case, to some extent, even in classical music today. Intimate, authentic concerts, where every note of the soloist is suffered, compete with productions where Paganini is turned into a hollow spectacle.
The latter are keywords, perhaps. Rob Halford has promised the Judas Priest 50th anniversary tour (minus K.K.) to be an “amazing spectacular”. He has also intimated that he finds the Ronnie James Dio hologram a “most beautiful, wonderful thing”.
Judas Priest is currently promoting a 2020 tour, booked through to the end of next year, featuring Glenn Tipton. While our hearts go out to Glenn, common sense wonders whether a late-stage Parkinson’s sufferer, whose only appearance in 2019 was a brief, painstaking struggle, could make it next year.
What if not? A further “spectacular” addition to the already giant screens? A “beautiful” hologram?

Judas Priest 2020 tour poster

Judas Priest 2020 tour poster

All of the above is a bit exaggerated, and not all Priest fans are zombies – although the ones who seek pure music and genuine identity, may be quick to regroup in the K.K. camp. Even those who were fond of the myth and their childhood heroes, might agree the balloon has popped. But K.K. has emerged from the dysfunctional rock’n’roll bubble rejuvenated and vigorous.
The fans were already enthusiastic at his Bloodstock appearance in August this year; but his full Priest-classics concert in Wolverhampton on November 3rd, featuring Les Binks, Tim “Ripper” Owens, Megadeth’s Dave Ellefson, and second guitarist AJ Mills, is described thus by a fan:
“I think the best 50th anniversary celebration “Priest” could present already happened, and it was in Wolverhampton a few weeks ago.”
K.K. had the brisk demeanour of a child, coupled with mature sensitivity, bringing his wonderful takes and twists to Priest solos.
We do hope he forges on with new material, emerging from self-imposed obscurity and the swamp of non-resolution. The myth has been debunked, and fare well to Judas Priest on their 50th anniversary sail with two replacement guitarists. Hold your metal prayers that not too many in your congregation see the preacher naked.

Judas Priest on their 2019 Firepower Tour

Judas Priest on their 2019 Firepower Tour

Beyond The Black

Metal trailblazer K.K.Downing of JUDAS PRIEST triumphantly returns to the live stage after ten years

We usually like to shun pompous epithets dominating the metal media, but K.K.’s emergence at this year’s Bloodstock Festival has been an artistic as well as a personal triumph. Having left JUDAS PRIEST in 2011 (but remaining legally a member), his involvement in playing music amid unresolved issues had been close to none.


It has been quite an ordeal for the passionate Judas Priest fan to follow them this past year-and-a-half. Of course, Judas Priest is an ordeal itself – full of agony as well as ecstasy, a birthplace of extreme emotion inhumanly executed, origin of extreme metal and dare we say heavy metal per se, while transcending boundaries and never being cliche. But much needed catharsis has seemed to elude as of late.

Concluding image of the Firepower tour

Concluding image of the Firepower tour

It all began with the unfortunate announcement of Glenn Tipton’s Parkinson’s diagnosis in February 2018 and him being forced to step down from being a full touring Judas Priest member.

It seemed then that K.K.Downing, the other half of the guitar duo which constituted the dual-lead attack and, alongside Rob Halford, the legend that became Priest, had assumed that the way was open for him to return to the band he formed and devoted his life to.

Little did he know that not only this wasn’t the case, but his expressed surprise would trigger undisguised hostility in the Priest camp. An innocuous statement of Downing’s, namely that Andy Sneap had probably a greater contribution to Priest’s Firepower album than that of just any producer – much like the late Chris Tsangarides had on Painkiller – spurred Rob Halford to insinuate that Downing had made an ill implication of Glenn Tipton not having played guitar on Priest’s last installment. Tipton in turn, who was said to have only decided not to tour three weeks prior to the tour itself, appointed Sneap as his replacement without room for negotiating alternatives.

Judas Priest on their Firepower tour

Judas Priest on their Firepower tour

Many hints on the part of the band, aimed at Downing, were thrown in the media in the following months, suggesting that he had departed on his own accord and shouldn’t expect to be asked back (despite that Rob Halford had also once left), with some of them targetting K.K.’s reputation while also implicating the fans, as in: “Fans won’t miss KK Downing, since we have Richie Faulkner who brought new energy”. To the latter, KK responded that he had been the one most energetic on the British Steel 30th Anniversary tour, where namely, in October 2009, he made his final appearance on stage. We’d like to add to that K.K.’s unique style and cordial personality which couldn’t be replaced and which makes an artist, rather than just meticulous technicality.

K.K. Downing at Bloodstock Festival

K.K. Downing at Bloodstock Festival

Furthermore, in his book “Heavy Duty: Days And Nights In Judas Priest” which came out in September 2018, K.K., while remaining gentlemanly, made it clear he had reasons to have departed, involving decrease in the quality of performance, questionable management, and not least the personality of Glenn Tipton who, through “subtle control” in the words of K.K., sidelined him creatively and in terms of decision-making for the band. K.K.’s protests were fully ignored, he said, and the band had been run as a dictatorship instead of democracy, thence leaving him no choice.

For the fans of Judas Priest, the 2018-19 Firepower tour has been excessively emotional primarily due to the partial involvement of Glenn Tipton who still played some encores on chosen shows. We were made witness to his passion and attachment to the stage. His last appearance was on the 3rd of May, when his efforts seemed poignant.

K.K. Downing with Ross The Boss

K.K. Downing with Ross The Boss

The next step for Priest was the announcement of a 50th-anniversary concert (respectively tour), which everyone would have assumed should involve Downing (and why not other past members, such as drummer Les Binks of Stained Class fame). To our dismay, however, it seems to have been suggested that Sneap would continue “flying the flag” as replacement in Judas Priest, while K.K. intimated Priest’s lawyers had been sending him letters, “trying to erradicate the last speck of me” – this all leaving us to anticipate a golden wedding with a new girlfriend, while trying to divorce one’s wife.

Whatever’s going on behind the scenes in Priest, seems to stem from the realms of the irrational. Some fans hold it against Downing that he made bad business decisions in his life (as if this has any relevance to pure artistry), while business-savvy Priest have it together – but what business plan involves the promotion of a 50th-anniversary tour with only two original members (Tipton still being featured on the poster without promise of participating), a third one eager to play?

K.K. Downing with Ross The Boss Band

K.K. Downing with Ross The Boss Band

Speaking of playing, K.K. was artistically unambiguous on the 11th of August at Bloodstock, where he joined Ross The Boss (Ross Friedman, formerly of Manowar) and his band – this peer of Downing’s had his heart in bringing disheartened K.K. back: “I don’t know anything about what went down between K.K. and the band and I hope one day it could be solved matter. Fact it’s my ulterior motive to bring K.K Downing out and get him playing again and maybe back to where he belongs in Judas Priest. (…) I would love to put some good vibes out there to him and so maybe there would be a chance that something could happen and I think the fans would love it.” (themetalvoice.com)

K.K. Downing with Ross The Boss Band

K.K. Downing with Ross The Boss Band

K.K. emerged to show us what it’s all about. Youthful and dynamic, an eternal kid at heart, he executed with his poise of a “precision musician” as he describes himself, with distinction and ease, but also barely concealing his excitement and vivaciousness.

However dysfunctional the characters in the band might have been, they seemed to work together splendidly in the name of rock’n’roll – anything can be forgiven but the loss of spark and an air of toxicity, detrimental to music itself.

Throughout the clashes with his band (of which we can’t bring ourselves to say “former”) and the negative portrayal in the media, Downing has remained positive and keeps extending his will for dialogue (unfortunally met with a brick wall so far). The result on stage is the ingredient essential to music – groove.

Promotional poster for Judas Priest headlining the 2020 Wacken Festival

Promotional poster for Judas Priest headlining the 2020 Wacken Festival

Priest have been ill-advised to try and divide their fans, claiming whatever part of their unfortunately dwindling audience. Isn’t this in stark contrast with one of their anthems, United?

K.K.Downing is improvisation and freedom, a gale cutting the air to not let it stale. We need that back in Judas Priest, where the star of Rob Halford shines ever brightly.

In his latest interview following the performance at Bloodstock, a cheerful Downing leaves us resolutely hopeful: “Maybe this would be the first of many things… when bands get together, perform together…”

But “it is what it is”, K.K. always concludes, and in whatever way, we hope he Heads Out To The Highway without looking back, granting us his consistent lively presence on stage.

Ross The Boss with K.K. Downing performing Judas Priest classics: Green Manalishi (Fleetwood Mac cover), Heading Out To The Highway, Breaking The Law, and Running Wild:

The publication prepared by Beyond The Black

K.K. Downing says he can play and perform JUDAS PRIEST’s “Sinner” better than Richie Faulkner

Former JUDAS PRIEST guitarist K.K. Downing has once again dismissed bassist Ian Hill’s explanation for why he wasn’t invited to rejoin the band following Glenn Tipton’s decision to retire from the road due to his battle with Parkinson’s disease.

In a recent interview with Backstage Axxess, Hill said that the idea of bringing Downing back to PRIEST was never entertained. “When he retired, we took on Richie [Faulkner], you know, so he’s playing all Ken’s parts,” Ian said. “So, it’s not Ken’s [parts] that are missing, it’s going to be Glenn’s parts that he would be playing. Really, Ken, what’s he going to do? Come over to my side of the stage and play Glenn’s parts? It wasn’t his job, if you know what I mean, that had become vacant. It was Glenn’s. Glenn and Ken are two excellent guitarists, [but] both are completely different in styles and sounds, and for Ken to be playing Glenn’s parts anyway, it really wouldn’t have sounded right anyway. We never thought about Ken for that reason.”

K.K. Downing
K.K. Downing

Asked by Please Kill Me what he thought of Hill’s justification for why K.K. wasn’t contacted about coming back to PRIEST, Downing said: “I’m a guitar player. Richie’s a guitar player. We know exactly what’s gonna happen. I resume my normal position and Richie takes over on Glenn’s side of the stage, and we just become JUDAS PRIEST again. And Richie doesn’t have to play “Sinner”, because I can do it better than him… because I’m the originator. Richie does a great job, but I can play it and perform it better than him. It would be better for the people, because they remember me doing it all of their lives, for God’s sakes, which is decades. It would just be better for them to see me do it than Richie doing it.”

He continued: “You can see me and Richie up there working and playing and performing pretty damn good together because I would make sure that we were ripping across that stage like there was no tomorrow. It is what it is, though. The guys are on tour [in the U.S.] now with DEEP PURPLE and they’re gonna be out there with Ozzy [Osbourne] in the U.K. next year. So it is what it is. But that was the severest thing I’ve heard Ian say. Would I be interested in going back there and having Richie play my parts while I play Glenn’s? I’m sorry, but the answer is no. Andy [Sneap, who is replacing Tipton on the current tour] is great. I consider him a mate, and I’ve been up to his studio, and he’s great. But even if that happened, do the people want to see Andy playing Glenn’s parts or do they want to see me?”

Downing went on to say: “People want to relive. I’m exactly the same. When I go see a band now, whether it’s UFO or SCORPIONS, I want to see the original bandmembers. I want to see them out there for as long as I possibly can, if there’s an option. Because we all go back remembering the days when we first saw the band, and that’s what we paid the ticket for. But one of the reasons I wrote the book” — referring to his just-released autobiography, “Heavy Duty: Days And Nights In Judas Priest” — “is I’m just sick of those guys trying to kind of bury me through the Internet. I really don’t know what the deal is. It’s stemming from somewhere. It’s heartbreaking to see that going on, ya know. It’s unfair, really. It’s unfair.”

K.K. Downing – Heavy Duty: Days And Nights In Judas Priest

“Heavy Duty: Days And Nights In Judas Priest” was released on September 18 via Da Capo Press. The book was co-written by the Scottish author and journalist Mark Eglinton, whose previous collaborations include “Official Truth, 101 Proof” with Rex Brown of PANTERA and “Confessions Of A Heretic” with BEHEMOTH’s Adam “Nergal” Darski.

Source: blabbermouth.net

JUDAS PRIEST’s Heavy Duty: Clash of the Metal Gods

An attempt to navigate their recent turbulence while flying the flag for Glenn Tipton

“There’s good and bad news about TWISTED SISTER”, said Dee Snider prior to their retirement, “we look like aging drag queens, but we’ve always looked like that”.
To everyone’s dismay, the golden years of glamorous metal titans from the other side of the pond, JUDAS PRIEST, could currently benefit from such tedium.

Judas Priest

What should be a whole separate article, this drama is underscored by the somber fact of Glenn Tipton’s progressively deteriorating condition.
It would appear he’s been living with Parkinson’s for at least ten years, while carrying on his heavy duties like a hero. In his candid soft-spoken manner, Glenn crushed us with: “Guys, my brain is telling my hands to do something and they’re not doing it”, while demonstrating genuinely upbeat humour – a relief for those who love him and inspiration to others. (Full interview at Guitar World)

Judas Priest

Judas Priest, London, Hammersmith Apollo, 26 May 2012; Photo by Diana Chavdarova

Judas Priest

Judas Priest, Utrecht, TivoliVredenburg, 14 June 2015; Photo by Diana Chavdarova

Considering Glenn Tipton the anchor of JUDAS PRIEST, I’ve stumbled across opinions that “Glenn is extremely underrated in rock’n’roll, metal, and music entirely”, which cannot be more puzzling.
Rooted in blues, his clarity of phrase exudes almost fragile vividness, and culminates in the immersive ecstasy of this string-caressing sensuous master. He combines traditional blues modes and classical ones with the blend of precision and unrelenting expressiveness that came to characterise the band. In later years his tone eased out, while assuming a deeper, more demure form.
It must also be noted that Glenn has always interacted with the audience as naturally as the heavyweights of blues, yet so intensely, his gaze seemed intent on stopping our heart.
“This isn’t just JUDAS PRIEST”, he said, “It’s an event in which we’re together, and nothing in the world can compare.”

An immediate answer might be that the ferocity of KK Downing, his tonal sharpness and apt improvisation, merged with Halford’s insane crescendos, epitomised Metal to the PRIEST fan.

Equally understandable was KK Downing’s astonishment, conveyed in late February, that he wasn’t considered Glenn’s replacement for the upcoming tour.
As a consequence, this eloquent gentleman and founding member had to suffer what seem ill-accusations and attempts to diminish his legacy.
During a radio interview, Rob Halford all but erupted, deeming KK’s emotive publication “superfluous” and “insinuative”.
If anything became clear to the audience, it was how deep tension ran between Halford and Downing, whatever the reason. KK followed up with a brief clarification, dispersing a possibility of being misinterpreted.

It should be allowed that KK Downing could have approached the band privately. The band has been in denial, however, for ignoring the obvious option of Downing assuming his original role, in lieu of Tipton. Fans needn’t be made aware of PRIEST’s dealings, but they ought to have been considered while making such a crucial decision.

Members of the band proceeded to release statement upon statement of how surprised they were that KK would fathom the possibility of his return, culminating in: “We lacked energy towards the end of KK’s era” – precisely why KK said he left.

We have Downing’s autobiography coming up in September:

Judas Priest's Heavy Duty

“As the band approaches its golden anniversary, fans will at last be able to delve backstage into the decades of shocking, hilarious, and haunting stories that surround the heavy metal institution. In ‘Heavy Duty’, guitarist KK Downing discusses the complex personality conflicts, the business screw-ups, the acrimonious relationship with fellow Heavy Metal band IRON MAIDEN, as well as how JUDAS PRIEST found itself at the epicenter of a storm of parental outrage that targeted heavy metal in the ’80s. He also describes his role in cementing the band’s trademark black leather and studs image that would not only become synonymous with the entire genre, but would also give singer Rob Halford a viable outlet by which to express his sexuality. Lastly, he recounts the life-changing moment when he looked at his bandmates on stage during a 2010 concert and thought, ‘This is the last show.’ Whatever the topic, whoever’s involved, K.K. doesn’t hold back.” (Pre-order link)

The argument that KK had quit, and his return was unthinkable, does not hold water not only due to the drastic change of circumstances following Tipton’s withdrawal, but because a similar situation had occurred before:

Halford in 1998:
“I would never do it” (referring to a PRIEST reunion), “I’m not just saying that now and five years from now I’m gonna be on stage with PRIEST again. I value my personal creativity and my integrity more than a few dollars in the bank. It’s never the same the second time around, especially when there’s something more attached to it than the music. Reunions smack of big dollars, instead of people feeling that they want to go out and play music together.” (Read full interview)

Halford sounds slightly more unwavering there, than Downing more recently:
“I think today I’m a better player than I was yesterday or five years ago when I left the band, because I’ve had a chance to relax a little bit and take in and absorb stuff that I’ve learned and practiced, as opposed to learning something and zipping off somewhere and having to do this, that and the other.” (Full interview)

KK’s move seems logical in light of Glenn’s illness, of which he must have been somewhat aware: “I wasn’t happy with the band’s live performance. I thought it could have been better, not that the fans would notice. To me, Priest was always a stealth machine and that’s what I liked about it.”

The new PRIEST record, Firepower, is accepted shockingly well, with superlatives like “better than Painkiller” or “as good as Defenders”. To me it’s unfortunate evidence – JUDAS PRIEST have arrived at the house of IRON MAIDEN, with perhaps MANOWAR, ACCEPT and some METALLICA, roofed by solo HALFORD, and sprayed with SABBATH, PURPLE, and more 70s and 80s gloss. It spells safe and archaic, and leaves me wondering whether I’d have enjoyed it in 86.
There’s “everything” in this record, which explains its wide appeal. It’s almost a contemporary pop-formula: remotely catchy tunes one cannot quite put their finger on, alas nothing original or infectious. The tune Flamethrower at least is sexy, with a twist reminiscent of the successful HALFORD solo efforts.
Here again, I tend to advocate KK Downing for leaving after the magnificent Nostradamus.

Judas Priest - Firepower

Judas Priest – Firepower

A reason for the accolades of Firepower might have been given in that same 1998 Halford interview, strikingly relevant today:

“What’s going on with this whole “Metal Nostalgia” movement right now? RATT [mid-’80s Glam Metal band] and TWISTED SISTER are touring again, the KISS reunion, the VAN HALEN debacle; JUDAS PRIEST has a new disc out…

Rob Halford of TWO:
It’s a human necessity; it’s affection. You establish yourself as something that you look back on as you move forward. You think of a moment in your life when you felt right and you identify with that moment. You want to keep that moment living inside you emotionally. And the best way to do that is to have the thing happening in front of you on a stage or on a record.”

The recent PRIEST tour is going well, with HALFORD having been rejuvenating almost as much as Glenn had been declining in the past ten years (said with affection and sadness). When I saw PRIEST in 2008, I thought that was the end of them with Rob’s less than stellar form; today, his melody is overflowing, having attained the solidity and scope he perhaps always sought. He reportedly sees no reason why PRIEST should retire anytime soon.

Halford is an icon and vocal phenomenon who should by no means leave the spotlight; it’s difficult however to swallow PRIEST without the duel of Tipton’s and Downing’s complementing each other axes, let alone neither of them being present.

Throughout the years, Halford has expressed desire for artistic freedom, ranging from a dance record to black metal, and, most recently, a collaboration with Toni Iommi – which should work out splendidly, judging by how Halford fronted SABBATH. Doom, the blues of metal, might suit him fine in his maturity.
Should he fly on the flag of PRIEST, however, reconciling with Downing is necessary.
It’s that unrelenting zest of KK Downing that PRIEST needs now to sharpen their blade, with Rob still on form.

After all, this is the band who molded “Heavy Metal”, and who epitomise and symbolise the genre – as concurred by the musician perhaps most influenced by BLACK SABBATH, Tom G “Warrior”:

“JUDAS PRIEST – Stained Class
An album that shaped my understanding of Heavy Metal – I actually purchased it when it came out. I had seen pictures of JUDAS PRIEST, but I hadn’t actually heard any music. I’d read they were a fantastic band but I didn’t really know what I was in for. Then I put on Stained Class and what I heard was a completely unknown brand of surgically precise modern metal – there was no other band that had this absolute metal style. That was really the invention of metal, even though of course BLACK SABBATH were before, but PRIEST really reinvented themselves with Stained Class, and they also reinvented the entire genre of Heavy Rock – this album was a true revelation. I remember very distinctly when I listened to it in 1978 I actually had to get used to it first. It was almost too modern for me at that age. As fantastic as the early albums are as well, on Stained Class they had this inexplicable groove – they had a really distinctive style of writing songs, and they were so precise.”

Here’s the allure of JUDAS PRIEST: beyond the gleaming surface of being surgically sharp, there’s the underscore:

“We don’t play it clean”.

There’s the insatiability of rock, amplified. The grit, the hint of grotesque, the encompassing lust… the vow of being alive. PRIEST are the trailblazing abstract expressionists of Metal, except that music can never be abstract. As the lines of Rothko go in the play “Red” by John Logan:

“HOW ARE YOU?!… HOW WAS YOUR DAY?!… HOW ARE YOU FEELING? Conflicted. Nuanced. Troubled. Diseased. Doomed. I am not fine. We are not fine. We are anything but fine… Look at these pictures. Look at them! You see the dark rectangle, like a doorway, an aperture, yes but it’s also a gaping mouth letting out a silent howl of something feral and foul and primal and REAL. Not nice. Not fine. Real. A moan of rapture. Something divine or damned. Something immortal, not comic books or soup cans, something beyond me and beyond now. And whatever it is, it’s not pretty and it’s not fine… I AM HERE TO STOP YOUR HEART‬!”

We’ll see JUDAS PRIEST on European soil this summer, following their US tour.
We place our hopes in yet another meeting with Glenn, to whom we extend our fervent well-wishes.

Judas Priest

Beyond The Black