Judas Priest spent their career becoming so good at writing heavy metal anthems that, for most, the band is synonymous with the genre. Their very best albums routinely rank at the very top of lists of metal albums. And, all these decades later, they still receive near-fanatical support from the contingent of metal believers.
But I doubt that even Rob Halford and his Judas Priest cohorts knew that this was the direction their career would take. Initially set up as a convincing post-Led Zeppelin, hippie-meets-blues-rock band, Priest took a while to find their identity.
Once they did, they never lost it and only perfected it with each album. With that in mind, I’m dressing all in leather, calling off the Satanic panic, and ranking Judas Priest’s albums from worst to best.
“Jugulator” (1997)
“Jugulator” set out to do the impossible and replace Rob Halford. As mad as this sounds, Tim “Ripper” Owens ends up doing a good replica job, even if the songs aren’t much to with here.
Iron Maiden had tried to do the same. They opted for Blaze Bailey, a very different singer from the man he was replacing. Their heavy metal rivals choose a different route.
The tunes are constructed to resemble classic Priest as much as possible. The only trouble is that numerous bands were in on the act. Even Tim “Ripper” Owens had been recruited after singing in a Judas Priest tribute act.
Still, I don’t see why hardcore fans wouldn’t enjoy “Burn in Hell” or “Cathedral Spires.”
“Demolition” (2001)
Putting out a second album without Rob Halford seemed like a bit of a stretch. But “Demolition” is nevertheless a slight improvement over the band’s previous record.
The fact is that while Halford had embraced industrial metal, Judas Priest was also looking to modernize its sound. Songs like “Machine Man” or “Lost and Found” showcase this.
Is the movie “Rockstar” about Judas Priest?
Yes, in many ways, the movie “Rockstar,” which was released in 2001, is inspired by Judas Priest, more specifically by Tim “Ripper” Owens’ story of going from playing in a tribute band to fronting the very band that he was covering.
“Rocka Rolla” (1974)
Blues-rock? Surely you jest! Bonafide heavy metal fans of Priest are known to get easily spooked by the band’s debut. Still, most of them learn to appreciate it.
Yes, the band is eyeing the throne occupied by Led Zeppelin. Yes, they’re still figuring out their style. But they’re doing a pretty good job using their considerable playing abilities. Even Zep would have them open up for them on tour.
The imitation reveals a yet-to-be-developed identity. Still, Rob Halford’s tenor and K.K. Downing’s riffs are being hammered out on “Rocka Rolla.”
“Nostradamus” (2008)
“Nostradamus” sees Judas Priests’ musicians develop a new sense of ambition in their old age. “Nostradamus” is occasionally fascinating, but more often than not, it is boring.
However, one has to appreciate the band’s desire to upgrade its vision. With its symphonic elements, epic song structures, and powerful storytelling, nobody can fault them for trying.
The title track or “Pestilence and Plague,” feel like classic heavy metal. They can be appreciated as part of the album’s arc or separately. This would be the last album to feature guitarist K.K. Downing.
Why did KK Downing leave Judas Priest?
Founding guitarist KK Downing left Judas Priest in 2011, later blaming the departure on simmering tensions with other band members that had been left unaddressed through the years.
“Turbo” (1986)
“Turbo” is infamous among Judas Priest as the band’s first serious misstep. While it’s a bizarre sonic detour from their regular path, “Turbo” is not without its thrills.
Of course, “Turbo” entertains a more commercial and synth-driven sound, reflecting the musical landscape of the mid-’80s. Judas Priest was playing to stadium crowds by now. And the musicians were adamant they were going to keep it this way.
“Turbo Lover” and “Locked In” showcase the band’s ability to blend heavy metal with synth-pop. Curiosity in itself, I think, should make you listen to this.
But Priest’s hardcore fans felt deserted. Never again would the band risk alienating them in this way.
“Angel of Retribution” (2005)
Having last recorded with Priest nearly 15 years ago, Rob Halford returns to the old as if little had happened since. The result is the classic heavy-metal sound of “Angel of Retribution.”
“Judas Rising” and “Hellrider” testify to the band’s ability to create captivating and anthemic metal. By now, this was bound to be treated as a “retro sound.” However, it was one with a built-in fanbase.
And while for some, there may have already been enough Judas Priest music in the world, hardcore fans were treated to a return of their heroes.
“Ram It Down” (1988)
Going from a title like “Turbo” to one like “Ram It Down” should give you a hint of Priest’s ambition for this album. The band is back to what they do best and to what had proven. to sell.
Like someone returning to their day job, Halford and the boys know when they’ve been wrong. Songs like “Ram It Down” and “Heavy Metal” are their plea to the jealous rock community to have them back.
Soundwise, this works, but the songs aren’t exactly spectacular.
“Redeemer of Souls” (2014)
“Redeemer of Souls” proved to the world that Judas Priest remained relentless. Neither line-up changes nor age could dissuade the group.
The fact is that the addition of guitarist Richie Faulkner works better than expected. Not all of the songs are keepers. However, the title track and “Dragonaut” are worthy additions to playlists focused on Judas Priest’s best work.
“Point of Entry” (1981)
Priest had worked tremendously to create the arena-ready sound of “British Steel.” They consolidate their sound and success with “Point of Entry.”
I’m sure most hardcore fans of the bands were pleased with this approach. Songs like “Solar Angels” and “Heading Out on the Highway” have a familiar sound. They could’ve easily been featured on “British Steel.”
But with most of the songs concerning travel and exhaustion in some form, it’s easy to assume that the band was burning itself out. The direction is good, but the material is only slightly below the usual benchmark.
“Invisible Shield” (2024)
Judas Priest continued to ride the wave of inspiration and public goodwill of recent years with 2024’s “Invisible Shield.” Frankly, Robert Halford and the boys know that the band may be running out of time. But, certainly, they also know that, for the moment, Priest sounds as good as ever on record.
This means that there’s no reason to change the formula. Judas Priest has worked to establish this monumental heavy metal blueprint. The band does its best, however, when the musicians are excited and friendly to each other. Both these things are available.
The dramatic album “Panic Attack” can rightfully be added to future Best Of collections. The riffs are as sharp and memorable on songs like “Trial by Fire” and the fast-paced “The Serpent and the King.”
As for the band’s secret weapon, Robert Halford still sounds great in the studio environment, especially when working with theatrical, almost power-metal material. “Trial by Fire” and the thrash-like attack of “Invisible Shield” prove that Halford is still an elite-level metal singer.
“Painkiller” (1990)
“Painkiller” provided Judas Priest with a well-needed but surprising comeback record. It wouldn’t be the last time they’d pull something like this off.
Frankly, the band’s relentless drive and the technical chops they’d developed through the years helped “Painkiller” be all it could be. At a time when classic metal bands were losing their way, Priest proved it wouldn’t be lead away quietly.
Rob Halford’s shrieking falsetto on the title track is one of the best vocal performances of his career.
Meanwhile, K.K. Downing and Glenn Tipton deliver blistering riffs and neck-snapping solos on songs like “A Touch of Evil” or “Metal Meltdown.”
For a while, “Painkiller” was the last great Judas Priest album. It was also the last to feature Rob Halford for many years.
“Defenders of the Faith” (1984)
Some may have compared heavy metal to a cult. It certainly helps create worshippers out of listeners. If that was ever true, “Defenders of the Faith” proved that Judas Priest, and Halford in particular, were still the dark gurus of this movement.
A lot of that is due to consistency, of course. “Defenders of the Faith” follows closely where “Screaming for Vengeance” left off. The songs are direct and punchy but occasionally veer into more daring sonic territory.
“Some Heads Are Gonna Roll” or “Rock Hard Ride Free” are designed for air-punching on a Saturday night. Meanwhile, “Love Bites” is one of the most honest expressions of Priest’s fondness for dark, S&M-inspired singles.
“Firepower” (2018)
“Firepower” delivered a late-career comeback for Judas Priest, one that few could have foreseen. It meant that the Rob Halford-lead group was not content merely with playing the hits to crowds across the world.
If anything, “Firepower” is the band’s statement in the face of adversity. During touring for the album, Glenn Tipton would be forcibly sidelined by illness. And many challenged Priest’s ability to make great, modern metal music.
Memorable tracks like “Lightning Strike” and “Firepower” prove that you can never write off Judas Priest. This was the band’s biggest commercial and artistic success in quite a while and even introduced Judas Priest to a new generation of heavy-metal fans.
“Killing Machine” (U.K. 1978) / “Hell Bent for Leather” (U.S. 1979)
“Hell Bent for Leather” (or “Killing Machine” as it was dubbed in the U.K.) allows Priest to fine-tune their operatic hard-rock song and better define their image as leather-decked motorcycle-riding outlaws.
In retrospect, the band had put a lot of work into arriving at this point. They’d likely accumulated over a thousand live shows and had released five studio albums. “Hell Bent for Leather” is not as extreme in nature or experimental as some of the previous releases. No, this is the moment when the group safeguards its newly-established fandom.
These are tracks to be played in arenas, surely. The electrifying “Delivering the Goods,” the infectious “Running Wild,” and the anthemic title track provided Priest with material suited for their new status as part of the rock n’ roll elite.
“Sad Wings of Destiny” (1976)
Judas Priest took a massive and risky leap forward with “Sad Wings of Destiny.” This is the first album that hints at the direction the band would soon take.
Many of the group’s key trademarks are amply available here, such as Rob Halford’s soaring vocals, twin guitar harmonies, and epic song structures.
“Victim of Changes” and “The Ripper” demonstrate the band’s ability to fuse aggression and melody. These proto-heavy-metal songs are still in Priest’s live set today.
“British Steel” (1980)
By simplifying their heavy metal sound to its core, Judas Priest created one of the definitive heavy metal albums with “British Steel.” This was also the band’s first confident foray into the mainstream.
It was a success that had been fully earned. Judas Priest had toured relentlessly since its inception. Most of their albums adhered to a standard. With each new release, they’d come closer to realizing their sonic vision. “British Steel” is, in many ways, their terminus.
Soundwise, the album is based on the band’s trademark sounds. Downing and Tipton’s riffs are commanding. Guitar solos work function in the same way that pyrotechnics do in action movies. And Halford proves that he’s the commanding force in heavy metal singing.
“Breaking the Law” is a timeless anthem. “Living After Midnight” proves metal could be used to manufacture hit singles. And “Metal Gods” showcases the band’s growing confidence.
By now, bands like Iron Maiden and practically all other NWOBHM bands wore their Priest-admiration on the sleeves of their leather jackets.
“Sin After Sin” (1977)
Early Judas Priest may have been influenced by hard-rock groups like Black Sabbath or Deep Purple or even the twin lead guitars of Thin Lizzy. But on “Sin After Sin,” the band shows great determination to outdo them all.
This is the band’s major-label debut. It builds on the foundations of “Sad Wings of Destiny.” K.K. Downing and Glenn Tipton’s duelling guitar riffs and solos are pushed to the forefront, with Halford providing the dramatic tenor vocals to support them.
If anything, it establishes a formula. It would be one that many other groups would be eager to copy in order to advance their careers. Priest would return to it, sure. However, for most of their careers, they’d look for fresh avenues of artistic expression within the metal sphere.
Tracks like “Sinner” and their cover of Joan Baez’s “Diamonds & Rust” showcase the band’s evolving vision for the band. Years later, I still believe that this is a record that is worth exploring.
“Screaming for Vengeance” (1982)
Judas Priest’s musicians have a knack for focusing on their strengths when it truly matters. With “Screaming for Vengeance,” the band delivers one of the strongest entries in their discography.
Clearly, there’s a newfound energy in “Screaming for Vengeance.” This is good news, albeit hard to explain. Just one year prior the group sounded drained. Besides this, the formulas that worked so well on “British Steel” are given a hint of sonic exploration on this record.
Take the intro of “The Hellion/Electric Eye” as an example. The attempt to write another hit single also works well with “You’ve Got Another Thing Comin’.”
Overall, “Screaming for Vengeance” is one of the band’s most accomplished albums. It’s an album that’s often been imitated but rarely equalled.
What is the biggest-selling Judas Priest album?
While Judas Priest has enjoyed numerous successful albums, selling more than 10 million copies worldwide, the band’s most successful one is “Screaming for Vengeance.” Released in 1982, this has sold over 2 million copies worldwide.
“Stained Class” (1978)
With a heavy metal market now almost fully developed, Judas Priest used “Stained Class” as a declaration for why they should rule it.
The secret of “Stained Class” lies in its perfecting the sonic blueprint on which Priest had been working for all of their early albums. Virtually every element here would be unpacked and used by the band’s New Wave of British Heavy Metal and subsequent generations.
The tone of the record is sombre. The band’s energy is streamlined for creating direct, punchy heavy metal.
Songs like “Exciter” and “Better by You, Better than Me” are anthemic. And “Beyond the Realms of Death” provides contrast with its moody, mournful sounds.
If heavy metal was a sport, and I think it’s always been, then “Stained Class” put Judas Priest top of the table, with few ready to challenge them for their position just yet.
