WEBVTT 00:00:00.000 --> 00:00:02.980 Welcome to the deep dive where we really get 00:00:02.980 --> 00:00:05.459 into the stories shaping our world and today 00:00:05.459 --> 00:00:07.900 Wow, we are cranking out way out all the way 00:00:07.900 --> 00:00:10.599 to 11, right? Exactly. We're diving deep into 00:00:10.599 --> 00:00:13.279 the legacy of a band that I mean, they didn't 00:00:13.279 --> 00:00:15.439 just play heavy metal They almost seem to forge 00:00:15.439 --> 00:00:18.760 it You know that sound, right? The searing twin 00:00:18.760 --> 00:00:21.379 guitars doing their thing, clashing and weaving, 00:00:22.379 --> 00:00:26.420 and those vocals from a deep growl right up to 00:00:26.420 --> 00:00:28.500 that high falsetto. And operatic power, yeah. 00:00:28.579 --> 00:00:32.399 And the look, leather, studs, it just is heavy 00:00:32.399 --> 00:00:35.159 metal for so many people. It's absolutely iconic. 00:00:35.299 --> 00:00:37.500 Definitely. So when you think heavy metal, what's 00:00:37.500 --> 00:00:40.100 the first thing that comes to mind for you? Because 00:00:40.100 --> 00:00:42.439 honestly, for millions, it's got to be Judas 00:00:42.439 --> 00:00:45.159 Priest. Precisely. They are, well, quite literally 00:00:45.159 --> 00:00:47.679 the metal gods. Formed way back, Birmingham, 00:00:48.060 --> 00:00:51.219 England, 1969. And Priest didn't just, you know, 00:00:51.380 --> 00:00:53.759 exist in heavy metal. They were true pioneers. 00:00:54.140 --> 00:00:56.640 They shaped the sound, the look, the whole spirit 00:00:56.640 --> 00:01:00.060 of it. Their impact, I mean, across music, especially 00:01:00.060 --> 00:01:03.179 all those sub genres that came later. Frash, 00:01:03.479 --> 00:01:06.079 glam, you name it. It's just undeniable. It's 00:01:06.079 --> 00:01:10.390 baked in. And today. We're going all in, a proper 00:01:10.390 --> 00:01:12.930 deep dive into that whole five decade story. 00:01:13.189 --> 00:01:15.730 We've got a stack of sources, detailed histories, 00:01:16.030 --> 00:01:18.609 biographies, personal stories, especially about 00:01:18.609 --> 00:01:20.930 Rob Halford, their legendary frontman. Yeah, 00:01:20.969 --> 00:01:23.170 the Halford stuff is fascinating. Totally. So 00:01:23.170 --> 00:01:25.519 our mission today is clear. Unpack the whole 00:01:25.519 --> 00:01:29.099 Judas Priest saga from the humble beginnings, 00:01:29.260 --> 00:01:31.439 those early struggles. Which were pretty intense. 00:01:31.640 --> 00:01:34.079 Right. All the way to global superstardom. We'll 00:01:34.079 --> 00:01:37.040 look at their musical innovations. Huge ones. 00:01:37.340 --> 00:01:40.180 The iconic image, the personal stuff, triumphs, 00:01:40.180 --> 00:01:42.659 challenges, and that massive enduring legacy. 00:01:43.000 --> 00:01:45.099 Quite a story. Get ready for some surprises, 00:01:45.140 --> 00:01:47.920 I think. Maybe some aha moments. Hopefully you'll 00:01:47.920 --> 00:01:49.519 come away with a really thorough understanding 00:01:49.519 --> 00:01:52.819 of one of metal's most influential and just plain 00:01:52.819 --> 00:01:55.219 resilient bands. So yeah, buckle up. This is 00:01:55.219 --> 00:01:57.920 gonna be epic. The Genesis of the Metal Gods. 00:01:58.459 --> 00:02:01.599 Forging Identity, 1969, 1977. Okay, let's start 00:02:01.599 --> 00:02:03.519 right at the beginning. Birmingham, England. 00:02:03.900 --> 00:02:06.700 Gritty industrial place, 1969. That's where Judas 00:02:06.700 --> 00:02:09.900 Priest begins. The first lineup, Al Atkins on 00:02:09.900 --> 00:02:13.560 vocals, Brian Bruno, Stappen Hill, bass, John 00:02:13.560 --> 00:02:16.639 Perry guitars, and John Feza Partridge on drums. 00:02:17.979 --> 00:02:20.039 What always strikes me with these early bands, 00:02:20.360 --> 00:02:22.919 Priest included, is how much turnover there was. 00:02:23.240 --> 00:02:26.360 Was that just like how things were then, or was 00:02:26.360 --> 00:02:28.639 heavy metal especially tough to get right chemically? 00:02:29.039 --> 00:02:31.159 That's a really good point. It was pretty typical 00:02:31.159 --> 00:02:34.159 for new bands, sure, but for heavy metal, which 00:02:34.159 --> 00:02:36.479 was still, you know, finding its feet. Right. 00:02:36.479 --> 00:02:38.599 It was brand new territory. Exactly. The stakes 00:02:38.599 --> 00:02:40.319 fell higher. They weren't just forming a band. 00:02:40.379 --> 00:02:42.919 They were kind of inventing a whole genre piece 00:02:42.919 --> 00:02:45.340 by piece. So that constant searching wasn't just 00:02:45.340 --> 00:02:48.120 for talent, but for that perfect mix aggression 00:02:48.120 --> 00:02:50.439 melody, that bit of theater. Which became their 00:02:50.439 --> 00:02:52.500 thing. Became their signature, yeah. And even 00:02:52.500 --> 00:02:56.180 the name. Judas Priest came from the bassist, 00:02:56.360 --> 00:02:58.520 Stappen Hill, apparently inspired by a Bob Dylan 00:02:58.520 --> 00:03:00.879 song, the ballad of Frankie Lee and Judas Priest. 00:03:01.020 --> 00:03:03.900 Wow, a folk song inspiring the metal gods. That's 00:03:03.900 --> 00:03:06.680 wild. It really is. Shows how diverse those early 00:03:06.680 --> 00:03:08.960 influences could be, you know? Yeah. And yeah, 00:03:08.960 --> 00:03:10.699 that instability you mentioned, it kept going. 00:03:10.919 --> 00:03:12.780 John Perry, the original guitarist, tragically 00:03:12.780 --> 00:03:15.659 died young, only 18. Awful. And here's another 00:03:15.659 --> 00:03:19.580 twist, K .K. Downing, future guitar hero. He 00:03:19.580 --> 00:03:22.780 auditioned early on. and got turned down. No 00:03:22.780 --> 00:03:25.259 way. Yeah. Initially, they picked Ernest Chataway, 00:03:25.460 --> 00:03:27.680 who, get this, played with Black Sabbath back 00:03:27.680 --> 00:03:29.919 when they were called Earth. Imagine that timeline. 00:03:30.479 --> 00:03:33.439 KK not in Priest. Crazy. Makes you wonder, doesn't 00:03:33.439 --> 00:03:35.620 it, those little forks in the road? But those 00:03:35.620 --> 00:03:38.039 early struggles, the lineup changes, it definitely 00:03:38.039 --> 00:03:40.360 built resilience. It's a good reminder these 00:03:40.360 --> 00:03:42.479 legendary bands don't just appear fully formed. 00:03:42.840 --> 00:03:44.939 They go through some serious upheaval. So the 00:03:44.939 --> 00:03:46.759 band we kind of recognize starts taking shape 00:03:46.759 --> 00:03:49.379 when Al Atkins joins another band, Freight. Right, 00:03:49.379 --> 00:03:52.180 a local heavy rock group. And Freight had K .K. 00:03:52.280 --> 00:03:54.780 Downing, the guy they rejected, in guitar now, 00:03:55.020 --> 00:03:58.180 his mate Ian Scalhill on bass, and John Ellis 00:03:58.180 --> 00:04:01.319 drumming. They took the Judas Priest name, Atkins' 00:04:01.599 --> 00:04:04.159 old band name. First gig as that version was 00:04:04.159 --> 00:04:07.159 March 6th, 1971. OK, so the pieces are starting 00:04:07.159 --> 00:04:09.120 to come together. But the real game changer, 00:04:09.240 --> 00:04:12.639 the arrival of the metal god himself, May 1973. 00:04:13.300 --> 00:04:15.960 Rob Halford joins as vocalist. He brings his 00:04:15.960 --> 00:04:18.279 drummer, John Hinch, from his last band, Hiroshima. 00:04:19.569 --> 00:04:22.970 Pivotal moment. And here's a detail I love. Halford 00:04:22.970 --> 00:04:26.310 was Ian Hill's girlfriend's brother, Sue Halford. 00:04:26.629 --> 00:04:28.829 So it was kind of a family connection that brought 00:04:28.829 --> 00:04:32.269 him in. Yeah. Right from the start. Does that 00:04:32.269 --> 00:04:34.649 kind of personal link, do you think, help when 00:04:34.649 --> 00:04:36.870 things get tough in those early days, that built 00:04:36.870 --> 00:04:39.269 -in trust? Oh, I think it absolutely can. That 00:04:39.269 --> 00:04:41.990 pre -existing bond, that loyalty, it can really 00:04:41.990 --> 00:04:45.129 help a band push through the rough patches, the 00:04:45.129 --> 00:04:48.329 really unglamorous early years. Definitely. Halford's 00:04:48.329 --> 00:04:50.649 arrival. With Hinch, it really set the scene. 00:04:50.889 --> 00:04:52.430 They did their first tour in continental Europe, 00:04:52.689 --> 00:04:55.649 early 74, came back, signed with Gull Records, 00:04:55.670 --> 00:04:58.910 a small label, and it was actually Gull who suggested 00:04:58.910 --> 00:05:01.589 adding a fifth member to really beef up the sound. 00:05:01.610 --> 00:05:04.209 Ah, leading Tipton. Glenn Tipton, second lead 00:05:04.209 --> 00:05:08.930 guitarist. And that move. Monumental. It solidified 00:05:08.930 --> 00:05:11.269 that classic twin guitar sound, the sound that 00:05:11.269 --> 00:05:13.310 didn't just define Priest, but influenced countless 00:05:13.310 --> 00:05:15.930 metal bands afterwards. Absolutely. That twin 00:05:15.930 --> 00:05:19.209 lead thing is Priest. But even with that, Their 00:05:19.209 --> 00:05:22.230 first album, Rock -A -Rolla, September 74, produced 00:05:22.230 --> 00:05:25.629 by Black Sabbath's Roger Bain. It wasn't exactly 00:05:25.629 --> 00:05:29.550 smooth sailing. No, far from it. Those Rock -A 00:05:29.550 --> 00:05:32.290 -Rolla struggles were, well, a real baptism by 00:05:32.290 --> 00:05:34.790 fire for them. The recording itself had technical 00:05:34.790 --> 00:05:38.230 issues, poor sound quality. But maybe more importantly, 00:05:38.389 --> 00:05:41.129 Roger Bain, the producer, despite his Sabbath 00:05:41.129 --> 00:05:43.589 cred, he kind of took over, made decisions the 00:05:43.589 --> 00:05:47.019 band hated. Like what? Well, he left off songs 00:05:47.019 --> 00:05:49.860 they loved playing live, real fan favorites like 00:05:49.860 --> 00:05:52.839 Tyrant, Genocide, The Ripper, so they weren't 00:05:52.839 --> 00:05:54.980 commercial enough or something. Wow, okay. And 00:05:54.980 --> 00:05:57.959 he famously took their big 10 -minute epic Caviar 00:05:57.959 --> 00:06:01.040 and Meths and chopped it down to just a two -minute 00:06:01.040 --> 00:06:03.970 instrumental. Ouch. That must have stung. It 00:06:03.970 --> 00:06:06.110 absolutely did. And I think that experience, 00:06:06.490 --> 00:06:09.009 it really forged in them this fierce determination 00:06:09.009 --> 00:06:11.850 to control their own sound later on. They learned 00:06:11.850 --> 00:06:13.930 early that compromise could just dilute everything 00:06:13.930 --> 00:06:15.589 they were trying to do. A tough lesson to learn 00:06:15.589 --> 00:06:17.970 right out of the gate. And the album bombed commercially, 00:06:18.209 --> 00:06:21.089 right? Left them totally broke. Yeah. Dire financial 00:06:21.089 --> 00:06:23.209 straits, is the phrase used. They were struggling 00:06:23.209 --> 00:06:25.490 to get even 50 pounds a month from Gull. Can 00:06:25.490 --> 00:06:28.730 you imagine band members eating one meal a day, 00:06:28.850 --> 00:06:31.910 taking part -time jobs? just to survive while 00:06:31.910 --> 00:06:34.209 trying to be rock stars. Exactly. It really grounds 00:06:34.209 --> 00:06:37.149 the whole metal gods mythology, doesn't it? Shows 00:06:37.149 --> 00:06:39.810 the sheer grit behind the legend. They were literally 00:06:39.810 --> 00:06:41.829 starving for their art at that point. But they 00:06:41.829 --> 00:06:44.670 didn't quit. They kept pushing. In 1975, they 00:06:44.670 --> 00:06:47.470 actually played Rockarolla and Dreamer Deceiver 00:06:47.470 --> 00:06:51.519 Deceiver on BBC 2's old gray whistle test. That 00:06:51.519 --> 00:06:53.079 was a year before those songs were even on the 00:06:53.079 --> 00:06:55.819 next album. That's persistence. John Hinge left 00:06:55.819 --> 00:06:58.800 on drums. Alan Moore came back in October 75. 00:06:59.019 --> 00:07:01.699 And despite the money troubles, the lineup changes. 00:07:02.180 --> 00:07:04.579 They somehow managed to record the next album, 00:07:05.240 --> 00:07:08.779 Sad Wings of Destiny. Just two weeks, November, 00:07:08.839 --> 00:07:12.939 December 75, Rockfield Studios in Wales, tiny 00:07:12.939 --> 00:07:16.279 budget 2 ,000 pounds. 2 ,000 pounds for a full 00:07:16.279 --> 00:07:18.180 album. Incredible, right? They stayed sober the 00:07:18.180 --> 00:07:20.980 whole time, 12 -hour days. Just pure focus and 00:07:20.980 --> 00:07:22.459 dedication shows how much they believed in it. 00:07:22.579 --> 00:07:25.620 And the album cover, that image is so powerful. 00:07:25.779 --> 00:07:29.360 The grounded angel, flames, the devil's three 00:07:29.360 --> 00:07:32.019 -pronged cross, which became their symbol. Oh, 00:07:32.079 --> 00:07:35.259 yeah. That artwork was genius. Visual branding, 00:07:35.879 --> 00:07:39.170 that cross especially. instantly iconic. It wasn't 00:07:39.170 --> 00:07:41.889 just a logo. It symbolized their whole identity, 00:07:42.089 --> 00:07:44.870 that emerging metal aesthetic. Amazing how one 00:07:44.870 --> 00:07:47.430 image can stick like that. Sad Wings of Destiny 00:07:47.430 --> 00:07:49.389 didn't exactly fly off the shelves initially 00:07:49.389 --> 00:07:52.129 either, did it? Punk Rock was taking off. Right, 00:07:52.129 --> 00:07:55.370 they had competition. But looking back now, everyone 00:07:55.370 --> 00:07:58.730 sees Sad Wings as the moment Priest really found 00:07:58.730 --> 00:08:01.569 their sound, their image, the heavy riffs, the 00:08:01.569 --> 00:08:03.850 complex arrangements. Tipton and Downing said 00:08:03.850 --> 00:08:05.689 they were inspired by the factories in the black 00:08:05.689 --> 00:08:07.990 country. You can almost hear that industrial 00:08:07.990 --> 00:08:10.470 weight in the music. Totally. That makes you 00:08:10.470 --> 00:08:12.709 wonder how many albums are initially overlooked 00:08:12.709 --> 00:08:15.290 but end up being completely foundational later 00:08:15.290 --> 00:08:17.889 on. Sad Wings is a perfect example. They found 00:08:17.889 --> 00:08:20.009 their voice there. And it had victim of changes 00:08:20.009 --> 00:08:22.029 on it too, right? Which came from older songs. 00:08:22.110 --> 00:08:24.509 Yeah, massive fan favorite. It evolved from an 00:08:24.509 --> 00:08:27.649 old Al Atkins song, Whiskey Woman, and a Halford 00:08:27.649 --> 00:08:29.990 one, Red Light Woman. Shows how they could build 00:08:29.990 --> 00:08:32.210 on earlier ideas and make something even bigger. 00:08:32.309 --> 00:08:33.990 They were clearly getting frustrated with Gull 00:08:33.990 --> 00:08:36.240 Records though. Understandably. They got a new 00:08:36.240 --> 00:08:37.940 manager, David Hemmings, who helped them break 00:08:37.940 --> 00:08:40.320 away and signed with a major label, CBS Records. 00:08:40.700 --> 00:08:42.799 Got a 60 ,000 pound budget for the next album. 00:08:43.000 --> 00:08:46.360 Huge step up. Massive. But the catch was, Gull 00:08:46.360 --> 00:08:48.320 kept the rights to the first two albums and everything 00:08:48.320 --> 00:08:51.360 related. And Alan Moore, the drummer, left permanently 00:08:51.360 --> 00:08:54.039 because of the whole situation. So a clean break, 00:08:54.259 --> 00:08:57.299 but definitely came at a cost. Two, mainstream 00:08:57.299 --> 00:09:01.419 ascent and iconic status. 1977, 1991. OK, so 00:09:01.419 --> 00:09:05.340 new label, CBS. Bigger budget. renewed energy, 00:09:05.519 --> 00:09:07.659 they're ready for their proper major label debut, 00:09:08.299 --> 00:09:11.820 Sin After Sin, January 1977, produced by Roger 00:09:11.820 --> 00:09:14.480 Glover from Deep Purple. And Simon Phillips played 00:09:14.480 --> 00:09:16.700 drums just as a session guy for this one. But 00:09:16.700 --> 00:09:19.139 this album, Sin After Sin, it was a real leap 00:09:19.139 --> 00:09:21.080 forward technically, wasn't it? Especially the 00:09:21.080 --> 00:09:23.039 drumming. Oh, absolutely. Revolutionary for heavy 00:09:23.039 --> 00:09:25.019 metal. Particularly the double kick drumming. 00:09:25.039 --> 00:09:27.200 Think about Dissident Aggressor. Right. Before 00:09:27.200 --> 00:09:30.320 this, drums in heavy bands were often powerful, 00:09:30.559 --> 00:09:33.080 but maybe simpler, more driving. Priest, with 00:09:33.080 --> 00:09:35.799 those rapid fire 16th notes on the bass drums, 00:09:36.100 --> 00:09:38.580 locking in with the guitars, it was like a machine 00:09:38.580 --> 00:09:41.440 gun. A sonic assault. Exactly. It ramped up the 00:09:41.440 --> 00:09:44.480 feeling of speed and aggression massively. It 00:09:44.480 --> 00:09:47.240 wasn't just faster. It was this relentless energy. 00:09:47.679 --> 00:09:50.740 That directly paved the way for speed metal thrash. 00:09:51.070 --> 00:09:53.509 It changed the whole rhythmic foundation of the 00:09:53.509 --> 00:09:56.769 genre. And they also did that cover of Joan Baez's 00:09:56.769 --> 00:09:59.389 Diamonds and Rust. Yeah. Which is kind of surprising, 00:09:59.570 --> 00:10:02.250 right? A folk pop song. Shows they weren't afraid 00:10:02.250 --> 00:10:04.470 to try different things even then. Pop metal 00:10:04.470 --> 00:10:07.509 almost. And it worked. Sin After Sin was the 00:10:07.509 --> 00:10:10.769 first of, what, 11 consecutive gold or platinum 00:10:10.769 --> 00:10:13.629 albums for them in the U .S.? 11. An incredible 00:10:13.629 --> 00:10:15.549 run. Shows how quickly they were connecting with 00:10:15.549 --> 00:10:17.480 a bigger audience. Simon Phillips didn't want 00:10:17.480 --> 00:10:19.620 to join full time, though. Right. So Roger Glover 00:10:19.620 --> 00:10:22.580 recommended Les Binks. Yep. Les Binks came in 00:10:22.580 --> 00:10:24.980 permanently. Great drummer. He even co -wrote 00:10:24.980 --> 00:10:27.100 Beyond the Realms of Death, another classic. 00:10:27.179 --> 00:10:29.840 And they just kept going. 1978 was huge for them, 00:10:30.000 --> 00:10:33.080 two albums. Stained Class. Which leaned more 00:10:33.080 --> 00:10:35.679 into that progressive metal side again. And Killing 00:10:35.679 --> 00:10:38.570 Machine. which is called Hell Bent for Leather 00:10:38.570 --> 00:10:40.490 over here in North America. Yeah. And Killing 00:10:40.490 --> 00:10:42.330 Machine, Hell Bent for Leather, that was really 00:10:42.330 --> 00:10:45.190 their first conscious move towards a slightly 00:10:45.190 --> 00:10:48.429 more streamlined commercial sound. Still heavy, 00:10:48.929 --> 00:10:51.509 but punchier songs. A period of really intense 00:10:51.509 --> 00:10:54.090 evolution, both musically and visually. Totally. 00:10:54.690 --> 00:10:56.590 Killing Machine brought back some of those earlier... 00:10:56.830 --> 00:10:59.649 bluesy feels, simpler structures. But yeah, the 00:10:59.649 --> 00:11:01.570 visual thing was massive around then, too. That's 00:11:01.570 --> 00:11:04.070 when they ditched the 70s hippie -ish clothes. 00:11:04.169 --> 00:11:07.230 And went full leather and studs. The iconic look. 00:11:07.750 --> 00:11:09.490 K .K. Downing actually claimed he came up with 00:11:09.490 --> 00:11:12.450 it around 76. Felt something was missing until 00:11:12.450 --> 00:11:15.470 they had that powerful image. And man, did that 00:11:15.470 --> 00:11:17.549 image stick. It basically became the heavy metal 00:11:17.549 --> 00:11:20.230 uniform. It really did. It wasn't just clothes. 00:11:20.309 --> 00:11:22.529 It was a statement. It matched the aggressive 00:11:22.529 --> 00:11:26.399 sound. And it influenced everyone. 80s glam bands, 00:11:26.620 --> 00:11:29.399 early black metal. It just cemented their identity, 00:11:29.700 --> 00:11:32.019 visually and musically, an instantly recognizable 00:11:32.019 --> 00:11:34.600 brand. The momentum just kept building. Unleashed 00:11:34.600 --> 00:11:37.340 in the East, the live album from 79, first platinum 00:11:37.340 --> 00:11:39.720 album for them, captured that live energy. It 00:11:39.720 --> 00:11:41.720 did, although it got some flak for studio touch 00:11:41.720 --> 00:11:43.659 -ups. Yeah, I was going to ask about that. Was 00:11:43.659 --> 00:11:45.899 that fair criticism? And how much does that live 00:11:45.899 --> 00:11:48.460 authenticity matter when you're trying to capture 00:11:48.460 --> 00:11:50.620 stage power on a record? It's a classic live 00:11:50.620 --> 00:11:52.820 album debate, isn't it? The criticism was kind 00:11:52.820 --> 00:11:56.080 of valid. They did do some overdubs, but what's 00:11:56.080 --> 00:11:58.820 a live album for? Is it a raw document, flaws 00:11:58.820 --> 00:12:00.820 and all? Or is it about capturing the feeling? 00:12:01.039 --> 00:12:03.899 Exactly. The spirit, the energy. Maybe that means 00:12:03.899 --> 00:12:06.820 some polish. For Priest, it was about bottling 00:12:06.820 --> 00:12:08.840 that stage power. And hey, it went platinum, 00:12:08.960 --> 00:12:11.379 so clearly worked for the fans, despite the critics. 00:12:11.639 --> 00:12:14.470 True. But Les Banks left after that, right? a 00:12:14.470 --> 00:12:17.309 money dispute. Yeah, late 79. Payment issues 00:12:17.309 --> 00:12:19.669 over the live album, apparently. So they brought 00:12:19.669 --> 00:12:21.590 in Jaffe Holland, who used to be in Trapeze. 00:12:21.590 --> 00:12:24.049 He stayed for 10 years. A good, solid run. That 00:12:24.049 --> 00:12:25.990 stability must have helped during their biggest 00:12:25.990 --> 00:12:29.909 ascent. And boy, did they ascend. 1980, British 00:12:29.909 --> 00:12:33.690 Steel. Ah, yes. British Steel. Often called the 00:12:33.690 --> 00:12:36.509 record that codified heavy metal. shorter songs, 00:12:36.769 --> 00:12:39.190 catchier, more radio -friendly stuff like United, 00:12:39.710 --> 00:12:42.590 Breaking the Law, Living After Midnight. Anthems. 00:12:42.970 --> 00:12:45.230 Absolute anthems. But still undeniably heavy. 00:12:45.389 --> 00:12:47.730 That balance is incredible. It's a masterclass, 00:12:48.409 --> 00:12:50.690 really. Making it accessible for mainstream radio 00:12:50.690 --> 00:12:53.409 without selling out their core sound. They adapted 00:12:53.409 --> 00:12:55.990 brilliantly while staying true. British Steel 00:12:55.990 --> 00:12:58.429 created these huge hooks that everyone knew, 00:12:58.789 --> 00:13:01.309 but it was still pure priest. And 81's point 00:13:01.309 --> 00:13:03.700 of entry kind of followed that path too, right? 00:13:03.980 --> 00:13:07.080 More anthems like Solar Angels, heading out to 00:13:07.080 --> 00:13:09.179 the highway. Yeah, similar formula. They were 00:13:09.179 --> 00:13:12.080 just on an unstoppable roll, building incredible 00:13:12.080 --> 00:13:15.899 momentum. Then came 1982, screaming for vengeance. 00:13:16.019 --> 00:13:17.639 This was the one that really blew the doors open 00:13:17.639 --> 00:13:19.600 in the US, wasn't it? Absolutely. You've got 00:13:19.600 --> 00:13:22.320 another thing coming. It was huge on US radio. 00:13:22.880 --> 00:13:25.279 propelled the album to double platinum. Double 00:13:25.279 --> 00:13:27.559 platinum. For a heavy metal band back then, that 00:13:27.559 --> 00:13:30.480 was massive. Unprecedented almost. And tracks 00:13:30.480 --> 00:13:33.320 like Electric Eye, Riding on the Wind were everywhere 00:13:33.320 --> 00:13:36.100 too. Livescapel. This was them reaching genuine 00:13:36.100 --> 00:13:39.000 global domination arena headliners. Totally. 00:13:39.299 --> 00:13:41.659 And their performance at the U .S. Festival in 00:13:41.659 --> 00:13:44.759 83 on Heavy Metal Day, playing alongside Ozzy 00:13:44.759 --> 00:13:47.419 Van Halen. That just cemented it, commanding 00:13:47.419 --> 00:13:49.620 these enormous crowds. Defenders of the Faith 00:13:49.620 --> 00:13:52.730 came out the next year, 84. kept the street going. 00:13:52.929 --> 00:13:54.990 Some critics called it Screaming for Vengeance 00:13:54.990 --> 00:13:57.570 2, though. Yeah, a bit cheeky. But there were 00:13:57.570 --> 00:14:00.330 similarities musically. Still, Freewheel Burning 00:14:00.330 --> 00:14:02.929 was another big radio track. They were just consistently 00:14:02.929 --> 00:14:06.629 delivering the goods. Then Live Aid in 85, playing 00:14:06.629 --> 00:14:09.970 JFK Stadium, sharing the stage with absolute 00:14:09.970 --> 00:14:13.049 megastars. Their visibility was peaking. But 00:14:13.049 --> 00:14:17.789 then, 1986, Turbo. This one caused a bit of a 00:14:17.789 --> 00:14:20.950 stir. Ah, Turbo, yeah. More colorful stage look. 00:14:21.159 --> 00:14:24.600 And the big one, guitar synthesizers. Controversial. 00:14:24.679 --> 00:14:27.200 Going for a more mainstream, hard rock sound. 00:14:27.360 --> 00:14:28.960 Definitely controversial for some of the old 00:14:28.960 --> 00:14:30.820 school fans. But you know what, it still went 00:14:30.820 --> 00:14:34.620 platinum. And the tour was enormous, hugely successful. 00:14:34.940 --> 00:14:37.940 So that experimentation, even if divisive, it 00:14:37.940 --> 00:14:39.980 shows they weren't afraid to change, right, to 00:14:39.980 --> 00:14:42.059 try new things, even if it risked alienating 00:14:42.059 --> 00:14:44.860 some people. Exactly. It was a bold move, embracing 00:14:44.860 --> 00:14:48.159 the sense that polished, layered sound. Lots 00:14:48.159 --> 00:14:50.299 of big metal bands were flirting with more commercial 00:14:50.299 --> 00:14:52.399 sounds in the mid -80s, trying to stay huge. 00:14:52.700 --> 00:14:54.360 And you have to mention Heavy Metal Parking Lot. 00:14:54.379 --> 00:14:57.740 Oh, yeah. Capturing the fans outside a pre -show 00:14:57.740 --> 00:15:01.289 in 86. It perfectly sums up the vibe, the culture 00:15:01.289 --> 00:15:04.470 of that whole era. Brilliant snapshot. After 00:15:04.470 --> 00:15:07.590 the turbo tour, they put out the live album Priest 00:15:07.590 --> 00:15:11.809 Live in 87, then Ram It Down in 88. Ram It Down. 00:15:12.009 --> 00:15:14.470 used some leftover songs from the Turbo Sessions, 00:15:14.669 --> 00:15:17.250 plus new stuff. It was meant to be a return to 00:15:17.250 --> 00:15:19.450 more traditional metal after the synths. But 00:15:19.450 --> 00:15:21.549 some critics felt they were kind of falling behind 00:15:21.549 --> 00:15:24.250 the thrash bands they'd influenced. Yeah, thrash 00:15:24.250 --> 00:15:26.470 was exploding then. Priest was trying to get 00:15:26.470 --> 00:15:29.269 heavy again, but maybe sounded a bit dated to 00:15:29.269 --> 00:15:31.529 some compared to Metallica or Slayer at that 00:15:31.529 --> 00:15:34.669 point. And here's a crazy fact. Yeah. They actually 00:15:34.669 --> 00:15:37.350 recorded three tracks with Stock Aiken Waterman. 00:15:37.570 --> 00:15:40.990 The pop producers. Seriously. Seriously. Say 00:15:40.990 --> 00:15:43.399 Dobby. Management nixed it, kept them off the 00:15:43.399 --> 00:15:46.100 album. But imagine that version of Priest. Wow. 00:15:46.679 --> 00:15:48.860 That's a definite what if. Shows the pressures 00:15:48.860 --> 00:15:51.279 they were under, weighing creative choices versus, 00:15:51.279 --> 00:15:53.539 well, bop potential. Exactly, glimpses behind 00:15:53.539 --> 00:15:56.139 the curtain. Anyway, 1989, Dave Holland leaves 00:15:56.139 --> 00:15:58.919 after 10 years. Another shift. And his replacement 00:15:58.919 --> 00:16:01.440 was a monster, ushered in a whole new level of 00:16:01.440 --> 00:16:05.399 aggression. Oh yeah, Scott Travis. From RacerX. 00:16:05.740 --> 00:16:09.960 September 1990, painkiller drogs. Travis's drumming 00:16:09.960 --> 00:16:13.139 is insane. Heavy double bass, way more technical. 00:16:13.240 --> 00:16:15.259 Total game changer. That album was a massive 00:16:15.259 --> 00:16:18.080 comeback. Ditched pretty much all the 80s synths 00:16:18.080 --> 00:16:20.820 except a bit on a touch of evil. Just pure, fast, 00:16:21.059 --> 00:16:23.840 aggressive, heavy metal. Back to the roots, but 00:16:23.840 --> 00:16:26.480 heavier. The tour was huge too, right? With bands 00:16:26.480 --> 00:16:29.799 like Pantera, Megadeth opening. Huge. Culminated 00:16:29.799 --> 00:16:32.740 at rock and Rio, playing to over 100 ,000 people. 00:16:33.480 --> 00:16:35.799 Painkiller was a statement. Creased was back 00:16:35.799 --> 00:16:39.159 and heavier than ever. Scott Travis was crucial 00:16:39.159 --> 00:16:41.899 to that sound. Ferocious drumming. And the image 00:16:41.899 --> 00:16:45.059 was still key. Halford riding the Harley on stage. 00:16:45.340 --> 00:16:48.039 Iconic. Full leathers, sunglasses, the ultimate 00:16:48.039 --> 00:16:50.600 metal rebel thimble. Speaking of the bike, that 00:16:50.600 --> 00:16:53.100 accident in Toronto, August 91, colliding with 00:16:53.100 --> 00:16:55.320 the drum riser hidden by dry ice, breaking his 00:16:55.320 --> 00:16:57.440 nose. Nasty incident. Must have been agony. But 00:16:57.440 --> 00:17:00.360 he finished the show before going to the hospital. 00:17:00.759 --> 00:17:03.580 That's dedication. Total metal god move. He later 00:17:03.580 --> 00:17:05.539 said it wasn't why he left the band soon after, 00:17:05.579 --> 00:17:08.759 but still harrowing. Yeah. But just as they're 00:17:08.759 --> 00:17:10.140 hitting these heights again, they get pulled 00:17:10.140 --> 00:17:12.420 into something completely different and much 00:17:12.420 --> 00:17:15.220 darker. The subliminal message trial. We have 00:17:15.220 --> 00:17:17.019 to talk about this before we get to Halford leaving. 00:17:17.180 --> 00:17:19.640 Right. This is a really serious, chilling chapter. 00:17:20.099 --> 00:17:22.619 It raises huge questions about art, responsibility, 00:17:22.799 --> 00:17:26.839 interpretation. In 1990, Priest ended up in court 00:17:26.839 --> 00:17:29.799 in the U .S. facing these incredibly serious 00:17:29.799 --> 00:17:31.859 accusations. They were accused of being responsible 00:17:31.859 --> 00:17:35.319 for a suicide pact back in 85. James Vance, who 00:17:35.319 --> 00:17:38.740 was 20, and Raymond Belknap, 18, in Sparks, Nevada. 00:17:39.000 --> 00:17:43.000 The details are grim. December 23rd, 1985. Vance 00:17:43.000 --> 00:17:45.079 and Belknap went to a church playground with 00:17:45.079 --> 00:17:47.180 a shotgun. They'd been drinking, smoking pot. 00:17:47.400 --> 00:17:50.019 And listening to Judas Priest, specifically the 00:17:50.019 --> 00:17:52.839 Stain Class album from 78. Right. Belknap shot 00:17:52.839 --> 00:17:55.400 himself and died instantly. Vance shot himself 00:17:55.400 --> 00:17:58.460 too, but survived, horribly disfigured. He died 00:17:58.460 --> 00:18:01.160 three years later. Suspected drug overdose related 00:18:01.160 --> 00:18:03.200 to the injury. And the family sued the band. 00:18:03.319 --> 00:18:05.880 Yeah. The lawsuit claimed priests deliberately 00:18:05.880 --> 00:18:08.420 put subliminal messages, stuff like, try suicide, 00:18:08.660 --> 00:18:10.759 do it, let's be dead, into their cover of the 00:18:10.759 --> 00:18:12.839 Spooky Tooth song. Better by you, better than 00:18:12.839 --> 00:18:15.069 me. Which was a song the label made them add 00:18:15.069 --> 00:18:17.450 to the album later, wasn't it? Exactly. It wasn't 00:18:17.450 --> 00:18:19.670 even one of their core tracks from the main sessions. 00:18:20.289 --> 00:18:22.690 But the plaintiffs argued these hidden messages 00:18:22.690 --> 00:18:25.589 triggered the boys' actions. Vance's parents 00:18:25.589 --> 00:18:27.950 said he'd been troubled but was getting better, 00:18:28.130 --> 00:18:31.710 finding religion again, than this garbage music, 00:18:31.730 --> 00:18:34.930 as they put it, let him astray. This whole idea 00:18:34.930 --> 00:18:38.829 of backmasking hidden evil messages in rock music, 00:18:39.390 --> 00:18:42.950 it was a huge moral panic. back then, especially 00:18:42.950 --> 00:18:45.390 driven by the religious right. This trial really 00:18:45.390 --> 00:18:48.190 put it center stage. Fans protested outside the 00:18:48.190 --> 00:18:50.809 court, right, defending the band. They did. Inside, 00:18:51.069 --> 00:18:54.190 during the trial, July to August 1990, the plaintiffs 00:18:54.190 --> 00:18:56.289 played the song backwards to forward, slowed 00:18:56.289 --> 00:18:58.670 down, trying to prove the messages were there 00:18:58.670 --> 00:19:00.650 and intentional. But the judge didn't buy it. 00:19:00.950 --> 00:19:03.309 No. Ultimately dismissed the lawsuit. The judge 00:19:03.309 --> 00:19:05.809 ruled the alleged message was just a coincidental 00:19:05.809 --> 00:19:08.009 convergence of a guitar chord with an exhalation 00:19:08.009 --> 00:19:10.809 pattern. Basically, random sounds, not a command. 00:19:11.069 --> 00:19:13.490 A landmark ruling for artistic freedom, really, 00:19:13.690 --> 00:19:15.990 against that kind of moral panic. Absolutely 00:19:15.990 --> 00:19:18.670 critical precedent. How far can you blame art 00:19:18.670 --> 00:19:21.769 for tragedy? The whole thing was documented in 00:19:21.769 --> 00:19:24.609 that film, Dream Deceivers, the story behind 00:19:24.609 --> 00:19:28.230 James Vansvise's Judas Priest from 91. Cripping 00:19:28.230 --> 00:19:32.150 Stuff. Three, The Ripper Years, Halford's Journey. 00:19:32.250 --> 00:19:36.730 and Grand Reunion, 1991 -2010. Wow. That trial, 00:19:36.910 --> 00:19:39.609 it's just a stark reminder of the kind of intense 00:19:39.609 --> 00:19:41.930 pressure and scrutiny bans like Priest faced, 00:19:42.349 --> 00:19:44.289 makes you appreciate their resilience even more. 00:19:45.069 --> 00:19:47.400 Okay, let's shift gears now. From the courtroom 00:19:47.400 --> 00:19:49.940 back to Rob Halford's journey after he left Priest. 00:19:50.299 --> 00:19:52.700 Right. So after that huge painkiller tour ended 00:19:52.700 --> 00:19:54.980 in August 91, there were signs of tension in 00:19:54.980 --> 00:19:57.380 the band. And Halford decided he wanted to explore 00:19:57.380 --> 00:20:00.240 totally different sounds. He formed Fight, this 00:20:00.240 --> 00:20:02.880 kind of street level thrash metal band. Scott 00:20:02.880 --> 00:20:05.039 Travis actually played drums on their recordings 00:20:05.039 --> 00:20:06.980 initially. Oh, interesting. So Travis stayed 00:20:06.980 --> 00:20:09.170 connected for a bit. Yeah. Howford officially 00:20:09.170 --> 00:20:11.390 left Priest in May 92. Apparently it was down 00:20:11.390 --> 00:20:13.329 to miscommunication more than him just quitting 00:20:13.329 --> 00:20:15.589 outright, which is complex. Shows how things 00:20:15.589 --> 00:20:19.609 can break down even in massive bands. But Howford's 00:20:19.609 --> 00:20:21.970 drive is amazing, right? After all that success, 00:20:22.289 --> 00:20:24.670 he immediately wants to do something new. Totally 00:20:24.670 --> 00:20:26.990 relentless. These were just side projects. They 00:20:26.990 --> 00:20:30.250 were serious artistic explorations. Fight's first 00:20:30.250 --> 00:20:33.309 album, War of Words in 93, got pretty good reviews. 00:20:34.109 --> 00:20:37.619 Aggressive. Modern Thrash. Okay. The second one, 00:20:37.839 --> 00:20:41.700 A Small Deadly Space in 95, went grungier, more 00:20:41.700 --> 00:20:44.180 alternative metal. Didn't connect quite as well 00:20:44.180 --> 00:20:47.220 with some fans. The band split after label issues 00:20:47.220 --> 00:20:49.980 with Epic, but Alfred even thought about reforming 00:20:49.980 --> 00:20:52.359 them later. After Fight, he went even further 00:20:52.359 --> 00:20:55.039 afield with 2 -0, right? Industrial. Yeah, 1997. 00:20:55.400 --> 00:20:58.200 A collaboration with guitarist John Lowry. Their 00:20:58.200 --> 00:21:01.019 album Voyeurs came out in 98. produced by Dave 00:21:01.019 --> 00:21:03.759 Ogilvie, released on Trent Reznor's Nothing Records 00:21:03.759 --> 00:21:05.920 label. So proper industrial connections there, 00:21:05.980 --> 00:21:08.819 a real departure. Definitely deliberate, challenging 00:21:08.819 --> 00:21:11.079 expectations. It really shows his versatility, 00:21:11.359 --> 00:21:13.660 his refusal to be stuck in one box. He wasn't 00:21:13.660 --> 00:21:15.680 just going to coast on being the metal god. But 00:21:15.680 --> 00:21:18.039 he did come back to metal eventually. Almost 00:21:18.039 --> 00:21:20.759 inevitably, yeah. Formed his solo band, Halfood, 00:21:20.819 --> 00:21:24.440 in 99. The first album, Resurrection in 2000, 00:21:24.900 --> 00:21:27.759 was hailed as this big return to classic metal, 00:21:27.980 --> 00:21:31.410 then Crucible in 2002. clear that his passion 00:21:31.410 --> 00:21:34.150 for pure heavy metal was still burning strong. 00:21:34.569 --> 00:21:36.950 Meanwhile, Judas Priest, they had the almost 00:21:36.950 --> 00:21:39.710 impossible job of replacing him. Daunting task. 00:21:40.029 --> 00:21:42.349 Finding someone to fill those boots. They spent 00:21:42.349 --> 00:21:44.930 years searching. Auditioned some big names, Steve 00:21:44.930 --> 00:21:48.049 Grimmett, Ralph Sheepers, Whitfield Crane, even 00:21:48.049 --> 00:21:50.410 Devin Townsend, who was unknown then. Wow, shows 00:21:50.410 --> 00:21:52.430 how tough it was finding someone with that range, 00:21:52.529 --> 00:21:55.309 that power. Exactly. Highlights just how unique 00:21:55.309 --> 00:21:57.509 Halford's voice really is. They finally found 00:21:57.509 --> 00:22:00.380 someone in 96, Tim Ripper Owens. singer in a 00:22:00.380 --> 00:22:02.980 priest tribute band, British Steel. The ultimate 00:22:02.980 --> 00:22:05.160 tribute band fantasy, right? Getting the call 00:22:05.160 --> 00:22:07.259 up to the real thing. His story was loosely the 00:22:07.259 --> 00:22:09.819 basis for that movie, Rockstar. Right. So this 00:22:09.819 --> 00:22:12.480 new lineup with Ripper released two studio albums, 00:22:12.720 --> 00:22:14.720 Jugulator in 97. Which actually got a Grammy 00:22:14.720 --> 00:22:17.160 nomination for the track Bullet Train. And Demolition 00:22:17.160 --> 00:22:19.440 in 2001. What was the sound like in this era? 00:22:19.660 --> 00:22:21.660 It was definitely a conscious shift to sound 00:22:21.660 --> 00:22:24.380 more contemporary for the time. Jugulator leaned 00:22:24.380 --> 00:22:27.869 into groove metal, think mid -tempo, rhythmic 00:22:27.869 --> 00:22:30.730 heavy riffs, kind of swaggering. They had like 00:22:30.730 --> 00:22:33.769 Pantera -ish. A bit, yeah. And Demolition brought 00:22:33.769 --> 00:22:36.549 in some new metal elements that blend of metal 00:22:36.549 --> 00:22:39.849 with hip -hop, industrial, alternative rock vibes, 00:22:40.450 --> 00:22:43.009 rap -style vocals sometimes, breakdowns, electronic 00:22:43.009 --> 00:22:45.670 textures. So big stylistic changes, trying to 00:22:45.670 --> 00:22:47.869 stay current. Yeah, showing they were still willing 00:22:47.869 --> 00:22:50.269 to adapt and experiment, even without Halford. 00:22:50.460 --> 00:22:52.619 Not all the old fans loved it, but it showed 00:22:52.619 --> 00:22:54.599 their resilience, their commitment to keep making 00:22:54.599 --> 00:22:56.900 music. While all this was going on with the band, 00:22:57.119 --> 00:22:59.799 Rob Halford made a huge personal announcement. 00:23:00.240 --> 00:23:04.099 February 1998 on MTV, he publicly came out as 00:23:04.099 --> 00:23:06.339 gay. A massive groundbreaking moment, not just 00:23:06.339 --> 00:23:08.160 for him, but for the whole metal scene. He called 00:23:08.160 --> 00:23:10.660 it a wonderful moment of liberation. But he was 00:23:10.660 --> 00:23:12.819 worried about the reaction, right? Leasing fans, 00:23:13.019 --> 00:23:15.700 discrimination. He was. And this is where it 00:23:15.700 --> 00:23:18.750 gets really significant. His coming out challenged 00:23:18.750 --> 00:23:21.589 so many stereotypes about masculinity and sexuality 00:23:21.589 --> 00:23:25.069 and metal. He was incredibly brave, talking openly 00:23:25.069 --> 00:23:27.730 about the depression, the substance abuse that 00:23:27.730 --> 00:23:30.569 came from hiding his identity for so long. He 00:23:30.569 --> 00:23:33.490 mentioned going into rehab back in 86 after a 00:23:33.490 --> 00:23:36.799 painkiller overdose. and being sober ever since. 00:23:37.180 --> 00:23:39.420 Yeah, calling sobriety the greatest gift. That 00:23:39.420 --> 00:23:41.960 kind of honesty was incredibly powerful. He also 00:23:41.960 --> 00:23:44.539 mentioned that song Raw Deal from way back in 00:23:44.539 --> 00:23:47.539 77 on Sin After Sin, talking about Fire Island. 00:23:47.759 --> 00:23:49.839 Right. He said, looking back, it felt like almost 00:23:49.839 --> 00:23:52.619 a coming out experience for him then, even if 00:23:52.619 --> 00:23:55.339 nobody, maybe not even him, fully recognized 00:23:55.339 --> 00:23:57.500 it at the time. That's fascinating. Art carrying 00:23:57.500 --> 00:23:59.400 hidden meanings that only become clear later. 00:23:59.519 --> 00:24:01.789 Totally. shows the connection between his life 00:24:01.789 --> 00:24:04.250 and his early work. And there was that anecdote 00:24:04.250 --> 00:24:07.230 about his George Michael moment in 92. The arrest 00:24:07.230 --> 00:24:09.730 in Venice Beach. Yeah, for public indecency. 00:24:10.190 --> 00:24:12.230 And the arresting officer was a huge priest fan 00:24:12.230 --> 00:24:14.549 and helped keep it quiet, just underscores the 00:24:14.549 --> 00:24:16.809 risks and pressures he was navigating. Thankfully, 00:24:16.849 --> 00:24:18.970 he said the metal community has been largely 00:24:18.970 --> 00:24:21.230 accepting since he came out. Which is a great 00:24:21.230 --> 00:24:23.509 message about diversity in a genre often seen 00:24:23.509 --> 00:24:25.609 as very traditional, very macho. Yeah. Though 00:24:25.609 --> 00:24:28.349 he did note society itself maybe hadn't changed 00:24:28.349 --> 00:24:31.240 as much as he hoped. regarding equality. So after 00:24:31.240 --> 00:24:34.859 11 years apart, with fans clamoring for it and 00:24:34.859 --> 00:24:37.660 Helford's solo band sounding, well, very Priest 00:24:37.660 --> 00:24:39.779 -like. Maybe more Priest -like than Priest did 00:24:39.779 --> 00:24:41.519 at that point, some argue. Right. The reunion 00:24:41.519 --> 00:24:45.359 finally happened July 2003. Rob Helford, back 00:24:45.359 --> 00:24:48.039 in Judas Priest, timed with the mythology box 00:24:48.039 --> 00:24:50.660 set release. And they hit the road straight away. 00:24:51.000 --> 00:24:53.660 Co -headlined Ausfest in 2004, got named the 00:24:53.660 --> 00:24:56.259 Premier Act, and credit to Ripper Owens and the 00:24:56.259 --> 00:24:59.339 band. They parted ways amicably. which is pretty 00:24:59.339 --> 00:25:01.640 rare in rock. Definitely a classy move. And this 00:25:01.640 --> 00:25:03.579 reunion wasn't just nostalgia, was it? They came 00:25:03.579 --> 00:25:06.019 back strong creatively. Absolutely. Their new 00:25:06.019 --> 00:25:09.880 album, Angel of Retribution, March 2005, huge 00:25:09.880 --> 00:25:12.859 success, critically and commercially. Won a Metal 00:25:12.859 --> 00:25:15.559 Hammer Golden Gods Award for best album. Proved 00:25:15.559 --> 00:25:18.039 the classic lineup still had serious firepower. 00:25:18.460 --> 00:25:21.259 Their induction into the VH1 Rock honors in 2006 00:25:21.259 --> 00:25:24.680 seemed to seal that legendary status too. Godsmack 00:25:24.680 --> 00:25:27.720 covering them, Halford riding the Harley on stage. 00:25:27.920 --> 00:25:30.759 Classic Priest underscored their undeniable place 00:25:30.759 --> 00:25:33.460 in rock history. Then in 2008 they did something 00:25:33.460 --> 00:25:37.579 really ambitious. Nostradamus. A huge concept 00:25:37.579 --> 00:25:40.740 album. Sprawling. About the 16th century French 00:25:40.740 --> 00:25:44.440 seer. It had symphonic bits, choirs, more keyboards. 00:25:44.960 --> 00:25:47.140 Surprised a lot of fans with its scope. Another 00:25:47.140 --> 00:25:49.539 bold experiment, even after reuniting, shows 00:25:49.539 --> 00:25:51.299 they weren't just gonna play the hits. Exactly. 00:25:51.609 --> 00:25:54.890 A concept album like that, it challenged expectations 00:25:54.890 --> 00:25:56.890 again. Showed they were still willing to take 00:25:56.890 --> 00:25:59.650 big artistic risks even deep into their career. 00:25:59.849 --> 00:26:02.230 They followed that with big tours. The Priest 00:26:02.230 --> 00:26:04.849 Feast Tour with Megadeth and Testament in 09. 00:26:05.109 --> 00:26:07.390 The British Steel 30th Anniversary Tour playing 00:26:07.390 --> 00:26:10.170 the whole album. Fans loved that. Oh yeah. And 00:26:10.170 --> 00:26:13.170 they won a Grammy in 2010. Best metal performance 00:26:13.170 --> 00:26:15.390 for Dissident Aggressor from the live album A 00:26:15.390 --> 00:26:17.750 Touch of Evil. Live! Finally got that Grammy 00:26:17.750 --> 00:26:19.769 win. They were even offered a star on the Hollywood 00:26:19.769 --> 00:26:22.369 Walk of Fame around then. Yeah. But scheduling 00:26:22.369 --> 00:26:24.529 conflicts got in the way, unfortunately. Couldn't 00:26:24.529 --> 00:26:27.549 make the ceremony. Still, the recognition was 00:26:27.549 --> 00:26:32.410 there. Four, shifting lineups, enduring firepower, 00:26:32.809 --> 00:26:36.109 and future horizons. 2010 present. OK, moving 00:26:36.109 --> 00:26:39.849 into the 2010s. December 2010, Priest makes an 00:26:39.849 --> 00:26:43.070 announcement that causes a bit of a stir. The 00:26:43.070 --> 00:26:45.829 epitaph world tour was going to be their farewell 00:26:45.829 --> 00:26:48.150 tour Yeah, that set ripples of concern through 00:26:48.150 --> 00:26:51.490 the fan base for sure planned to run till 2012 00:26:51.490 --> 00:26:53.650 But they clarified pretty quickly didn't they 00:26:53.650 --> 00:26:56.279 it wasn't the end and right They emphasized it 00:26:56.279 --> 00:26:58.539 was their last major world tour, not the end 00:26:58.539 --> 00:27:01.000 of the band itself, which was a crucial distinction. 00:27:01.119 --> 00:27:03.160 So they were still committed to making music, 00:27:03.539 --> 00:27:06.400 just maybe shifting the touring intensity, acknowledging 00:27:06.400 --> 00:27:08.920 the realities of decades on the road. But then 00:27:08.920 --> 00:27:11.819 just a few months later, April 2011, another 00:27:11.819 --> 00:27:15.000 big change, K .K. Downing retires. Huge moment. 00:27:15.519 --> 00:27:17.079 Citing differences with the band and management, 00:27:17.480 --> 00:27:19.440 that Downing -Tipton twin guitar partnership 00:27:19.440 --> 00:27:21.819 had been the core for so long, felt like an era 00:27:21.819 --> 00:27:24.160 ending for many. Who replaced him? Richie Faulkner. 00:27:24.299 --> 00:27:26.220 Really talented guitarist. He was playing with 00:27:26.220 --> 00:27:28.960 Lauren Harris, Steve Harris' daughter. Ah, okay. 00:27:29.240 --> 00:27:32.839 And their first gig without KK was on American 00:27:32.839 --> 00:27:36.059 Idol. Yeah. With James Durbin, Season 10 finale. 00:27:36.680 --> 00:27:39.640 A bit unexpected, but massive exposure. So Downing 00:27:39.640 --> 00:27:42.799 leaving was major, but Faulkner stepping in? 00:27:43.099 --> 00:27:45.720 How did that work out? Amazingly well, actually. 00:27:46.019 --> 00:27:48.200 Faulkner had enormous shoes to fill, obviously. 00:27:48.420 --> 00:27:50.660 But he brought incredible skill, new energy. 00:27:51.140 --> 00:27:53.119 He maintained that signature sound, but added 00:27:53.119 --> 00:27:55.779 his own flair, too. Showed the band could adapt, 00:27:56.039 --> 00:27:58.519 find fresh talent, keep things vibrant. And left 00:27:58.519 --> 00:28:00.940 Ian Hill as the only original member still standing, 00:28:01.099 --> 00:28:03.160 and that link back to the very start. Despite 00:28:03.160 --> 00:28:06.000 the farewell talk and losing KK, they were still 00:28:06.000 --> 00:28:08.200 writing. Oh, yeah. Alfred and Tipton said they 00:28:08.200 --> 00:28:11.059 had like 12 or 14 tracks mapped out. The creative 00:28:11.059 --> 00:28:13.200 fire was definitely still burning. And that led 00:28:13.200 --> 00:28:16.119 to Redeemer of Souls released July 2014. And 00:28:16.119 --> 00:28:18.259 this was a big one chart wise, right? Massive. 00:28:18.380 --> 00:28:21.480 Their first ever top 10 album in the U .S. Hit 00:28:21.480 --> 00:28:24.000 number six on Billboard. Incredible. After all 00:28:24.000 --> 00:28:26.480 those years. This proves their enduring appeal 00:28:26.480 --> 00:28:28.880 and that fans were absolutely hungry for new 00:28:28.880 --> 00:28:31.339 Priest music. And yeah, Halford had confirmed 00:28:31.339 --> 00:28:33.900 back in 2013 that the Epitaph tour wasn't their 00:28:33.900 --> 00:28:36.259 last tour after all. Big relief for everyone. 00:28:36.329 --> 00:28:39.109 They also put out the Battlecry live album from 00:28:39.109 --> 00:28:41.930 Wacken 2015 during this period, showing off that 00:28:41.930 --> 00:28:44.009 renewed live energy. Then they started work on 00:28:44.009 --> 00:28:48.170 album number 18, Firepower, began in 2016. Yeah. 00:28:48.450 --> 00:28:50.410 And they brought back an old friend for producing. 00:28:50.690 --> 00:28:52.930 Glenn Malam, yeah, who had produced their classic 00:28:52.930 --> 00:28:55.269 80s albums, but they teamed them up with Andy 00:28:55.269 --> 00:28:58.170 Sneep. Respected modern metal producer who'd 00:28:58.170 --> 00:28:59.769 end up playing with them later. Exactly, and 00:28:59.769 --> 00:29:01.950 Mike Exeter too. It felt like a really smart 00:29:01.950 --> 00:29:04.410 move blending that classic sound knowledge with 00:29:04.410 --> 00:29:06.430 modern production muscle. Honoring the past, 00:29:06.529 --> 00:29:08.630 but keeping it fresh. Precisely. And Firepower, 00:29:08.750 --> 00:29:12.309 released March 2018, was widely hailed as a killer 00:29:12.309 --> 00:29:14.950 album. Great tour followed, too. Powerful stuff. 00:29:15.210 --> 00:29:17.369 But this era also brought some really tough news 00:29:17.369 --> 00:29:20.630 personally for the band. Glenn Tipton's Parkinson's 00:29:20.630 --> 00:29:23.490 diagnosis? Yeah. Heartbreaking. He revealed it 00:29:23.490 --> 00:29:26.190 in February 2018, said it would limit his touring. 00:29:26.710 --> 00:29:28.769 So Andy Sneep, who'd co -produced the album, 00:29:29.150 --> 00:29:30.710 stepped in to handle most of the guitar duties 00:29:30.710 --> 00:29:33.589 live. Huge task filling Glenn Tipton's role on 00:29:33.589 --> 00:29:36.559 stage. Monumental. But Tipton... incredibly, 00:29:36.660 --> 00:29:38.480 still made appearances. He'd come out for the 00:29:38.480 --> 00:29:40.819 encore sometimes, just showed his incredible 00:29:40.819 --> 00:29:43.619 spirit, refusing to let it beat him. That determination 00:29:43.619 --> 00:29:46.759 through such adversity. Yeah. It really is inspiring, 00:29:46.920 --> 00:29:49.500 shows the band's solidarity. Absolutely. And 00:29:49.500 --> 00:29:51.359 even with Glenn's health challenges, the band 00:29:51.359 --> 00:29:53.920 kept creating. He still contributed to writing 00:29:53.920 --> 00:29:56.259 new material. Halford and Hill were talking up 00:29:56.259 --> 00:29:58.579 new ideas. Then COVID hit, obviously messing 00:29:58.579 --> 00:30:01.480 up tour plans. The 50 Heavy Metal Years tour 00:30:01.480 --> 00:30:03.880 got postponed multiple times. Yeah, tough times 00:30:03.880 --> 00:30:06.750 for all touring bands. and sadly they lost former 00:30:06.750 --> 00:30:09.930 drummers John Hinch in 2021 and then Les Binks 00:30:09.930 --> 00:30:13.170 just recently in March 2025. And Richie Faulkner 00:30:13.170 --> 00:30:15.730 had that major heart scare too September 2021, 00:30:16.230 --> 00:30:19.349 an aortic aneurysm on stage. Terrifying. Had 00:30:19.349 --> 00:30:22.329 to postpone the U .S. tour again. Just an unbelievable 00:30:22.329 --> 00:30:24.809 run of challenges, deaths of former members, 00:30:25.349 --> 00:30:28.049 serious health issues, a pandemic. Even that 00:30:28.049 --> 00:30:30.609 brief moment, Andy Sneap stepped away as touring 00:30:30.609 --> 00:30:33.470 guitarist in early 2022 before quickly coming 00:30:33.470 --> 00:30:35.230 back. They just kept pushing through it all. 00:30:35.309 --> 00:30:38.289 It's almost superhuman resolve. Speaks volumes 00:30:38.289 --> 00:30:40.349 about their passion, their commitment. They just 00:30:40.349 --> 00:30:43.109 have to make music, it seems. So the next album... 00:30:43.069 --> 00:30:45.690 Faulkner and Halford hinted it might be more 00:30:45.690 --> 00:30:48.069 progressive than Firepower. Yeah, intriguing 00:30:48.069 --> 00:30:50.130 hint. Though tipped and reassured everyone, it 00:30:50.130 --> 00:30:53.769 would be what every Priest fan will want. A balance, 00:30:53.930 --> 00:30:56.710 maybe. And the album, Invincible Shield, was 00:30:56.710 --> 00:30:58.450 announced at the Power Trip Festival, came out 00:30:58.450 --> 00:31:01.609 March 2024. Singles like Panic Attack, Trial 00:31:01.609 --> 00:31:03.670 by Fire, Crown of Horns, The Serpent, and The 00:31:03.670 --> 00:31:06.130 King. And it proved, yet again, they've still 00:31:06.130 --> 00:31:09.869 got it. That creative well is far from dry. Speaking 00:31:09.869 --> 00:31:13.299 of legacy, the Rock and Roll Hall of Fame. They 00:31:13.299 --> 00:31:16.400 finally got in May 2022 after being nominated 00:31:16.400 --> 00:31:19.059 before but passed over. Yep, though it was via 00:31:19.059 --> 00:31:21.099 the award for musical excellence, not the main 00:31:21.099 --> 00:31:23.180 performer category. Which caused some debate, 00:31:23.440 --> 00:31:25.119 right? What is the difference? And did Priest 00:31:25.119 --> 00:31:27.900 deserve the performer slot? Exactly. The band 00:31:27.900 --> 00:31:30.220 was thrilled, obviously, but Halford and others 00:31:30.220 --> 00:31:32.660 were a bit critical of the distinction. felt 00:31:32.660 --> 00:31:35.380 their live legacy absolutely qualified them as 00:31:35.380 --> 00:31:38.079 performers, highlights those ongoing debates 00:31:38.079 --> 00:31:40.059 about these institutions and their categories. 00:31:40.299 --> 00:31:42.599 But the induction itself was special because 00:31:42.599 --> 00:31:45.160 K .K. Downing and Les Binks joined them on stage. 00:31:45.619 --> 00:31:48.700 They played a three -song set together. A rare 00:31:48.700 --> 00:31:52.259 historic reunion. really powerful moment, transcended 00:31:52.259 --> 00:31:54.900 any category arguments. Looking ahead, even after 00:31:54.900 --> 00:31:57.319 pouring everything into Invincible Shield, Ritchie 00:31:57.319 --> 00:31:59.799 Faulkner said new ideas always emerge. Yeah, 00:31:59.859 --> 00:32:02.359 like magic, he said. And Halfords basically said 00:32:02.359 --> 00:32:05.079 another album is inevitable. Faulkner mentioned 00:32:05.079 --> 00:32:08.220 in late 2024 that 2025 would involve touring 00:32:08.220 --> 00:32:10.859 and pooling ideas, hoping to start work on album 00:32:10.859 --> 00:32:14.559 number 20 in 2026. 20 studio albums. The Fire 00:32:14.559 --> 00:32:17.500 truly endures its incredible V artistry, influence, 00:32:17.700 --> 00:32:19.779 and legacy. So when you look back at this whole 00:32:19.779 --> 00:32:23.359 massive journey, five decades, what really defines 00:32:23.359 --> 00:32:25.440 Judas Priest's artistry, it's always been heavy 00:32:25.440 --> 00:32:28.619 metal at its core, right? But so much variety. 00:32:29.160 --> 00:32:31.400 Absolutely. Rooted in metal, but they've touched 00:32:31.400 --> 00:32:33.779 on so many things. Think back to rock -a -rolla. 00:32:34.079 --> 00:32:36.240 Mostly heavy blues rock, like a lot of bands 00:32:36.240 --> 00:32:39.059 started. But those early albums weren't just 00:32:39.059 --> 00:32:41.799 one thing. You had straight -up rockers, sure, 00:32:42.019 --> 00:32:44.240 but also acoustic ballads, those quirky covers, 00:32:44.500 --> 00:32:47.220 and yeah, those ambitious multi -part epics. 00:32:47.460 --> 00:32:50.519 Almost queen -like in their theatricality, mixed 00:32:50.519 --> 00:32:53.319 with Sabbath's power. That early eclectic phase 00:32:53.319 --> 00:32:56.119 before they became the pure metal gods. It's 00:32:56.119 --> 00:32:58.920 important context. Totally. They were explorers. 00:32:59.380 --> 00:33:01.680 And that progressive edge, especially from sad 00:33:01.680 --> 00:33:04.359 wings through stained -class complex guitars, 00:33:04.700 --> 00:33:07.640 poetic lyrics, big dynamic shifts that was really 00:33:07.640 --> 00:33:09.759 adventurous stuff back then, laid the groundwork 00:33:09.759 --> 00:33:11.740 for everything. And we talked about sin after 00:33:11.740 --> 00:33:13.799 sin and the double bass drumming innovation. 00:33:14.259 --> 00:33:16.980 How huge was that for the genre overall? Monumental. 00:33:17.299 --> 00:33:20.759 Often understated, but truly pivotal. That specific 00:33:20.759 --> 00:33:22.940 style, the rapid sixteenth notes on the bass 00:33:22.940 --> 00:33:25.059 drums, locked with the guitars, it wasn't just 00:33:25.059 --> 00:33:27.380 to flourish. It created this relentless forward 00:33:27.380 --> 00:33:30.299 momentum, this wall of sound. To find a new level 00:33:30.299 --> 00:33:33.339 of aggression. Exactly. It directly influenced 00:33:33.339 --> 00:33:37.059 speed metal thrash. power metal. It changed the 00:33:37.059 --> 00:33:40.619 rhythmic DNA of heavy music, a crucial contribution. 00:33:40.839 --> 00:33:43.200 Then from killing machine hell bent for leather 00:33:43.200 --> 00:33:45.720 and British steel, they shifted, bringing in 00:33:45.720 --> 00:33:48.400 more commercial radio -friendly elements. Right. 00:33:48.680 --> 00:33:51.579 Simpler lyrics, catchier hooks. That phase went 00:33:51.579 --> 00:33:54.319 through point of entry. Then screaming for vengeance 00:33:54.319 --> 00:33:57.420 and defenders found that amazing balance accessibility 00:33:57.420 --> 00:34:00.079 and pure metal power perfectly blended. Their 00:34:00.079 --> 00:34:02.819 whole evolution shows this willingness to adapt. 00:34:02.920 --> 00:34:05.099 to experiment, doesn't it? Even when it wasn't 00:34:05.099 --> 00:34:07.200 universally loved. Definitely. From the turbo 00:34:07.200 --> 00:34:08.719 synths, which were controversial. The regressive 00:34:08.719 --> 00:34:11.440 comeback of Ram It Down and Painkiller. Even 00:34:11.440 --> 00:34:13.460 the groove and new metal stuff in the ripper 00:34:13.460 --> 00:34:16.219 years. And then back to a more classic but still 00:34:16.219 --> 00:34:19.639 evolving sound post reunion. That constant change, 00:34:20.059 --> 00:34:22.059 while maybe dividing fans sometimes, kept them 00:34:22.059 --> 00:34:24.300 relevant, kept them fresh, kept them influential 00:34:24.300 --> 00:34:26.380 across generations. And holding it all together 00:34:26.380 --> 00:34:29.000 was Rob Halford's voice, the metal god voice. 00:34:29.519 --> 00:34:31.880 Extraordinary instrument that ranged from the 00:34:31.880 --> 00:34:35.239 throaty growls up to those ear -splitting falsettos 00:34:35.239 --> 00:34:38.559 with that powerful vibrato. Just incredible control. 00:34:38.800 --> 00:34:41.179 Set the benchmark, really. Completely. Almost 00:34:41.179 --> 00:34:44.059 impossible standard for metal vocalists. So many 00:34:44.059 --> 00:34:46.619 tried to emulate it. He himself said he was influenced 00:34:46.619 --> 00:34:50.440 by legends like Lil Richard, Elvis, Yanis Joplin, 00:34:50.780 --> 00:34:53.280 Robert Plant. Diverse influences. Yeah. Pushed 00:34:53.280 --> 00:34:55.820 his own limits, trying to match them. And he 00:34:55.820 --> 00:34:58.559 called Freddie Mercury his ultimate hero. Wish 00:34:58.559 --> 00:35:01.039 he'd known him. shows the broad musicality feeding 00:35:01.039 --> 00:35:03.639 into his unique style. Beyond the sound, the 00:35:03.639 --> 00:35:06.559 fashion, Priest basically invented the heavy 00:35:06.559 --> 00:35:09.920 metal look. Revolutionary. From the 70s hippie 00:35:09.920 --> 00:35:12.440 stuff to Halford stepping out in full leather 00:35:12.440 --> 00:35:15.480 and studs for the 79 tour. The band followed 00:35:15.480 --> 00:35:18.059 and boom, a visual identity was born. How much 00:35:18.059 --> 00:35:20.920 does image define a genre? For Priest, it seems 00:35:20.920 --> 00:35:23.559 like it was crucial. Absolutely. Inspired by 00:35:23.559 --> 00:35:26.780 punk, by leather culture, that look became the 00:35:26.780 --> 00:35:29.300 blueprint. influenced 80s glam, surprisingly 00:35:29.300 --> 00:35:32.659 even early black metal's aesthetic. KK said something 00:35:32.659 --> 00:35:35.239 was missing until he had that look. It felt inevitable. 00:35:35.500 --> 00:35:37.099 It's interesting though, Halford later said he 00:35:37.099 --> 00:35:39.659 wasn't personally into the S &M or queer subculture 00:35:39.659 --> 00:35:41.719 aspects of leather, just saw it as a powerful 00:35:41.719 --> 00:35:44.360 look. Yeah, he clarified his personal intent 00:35:44.360 --> 00:35:48.199 as a vanilla gay man, he put it. Fans at the 00:35:48.199 --> 00:35:50.400 time likely didn't read a kink subtext into it 00:35:50.400 --> 00:35:52.519 either. But now, especially after he came out, 00:35:52.699 --> 00:35:54.760 people do see queer themes, or at least themes 00:35:54.760 --> 00:35:57.260 of non -conformity and empowerment in the look 00:35:57.260 --> 00:35:59.280 and lyrics. And that's fascinating, right? How 00:35:59.280 --> 00:36:01.800 art takes on new meanings over time, reflects 00:36:01.800 --> 00:36:05.099 cultural shifts, increased awareness, the symbols 00:36:05.099 --> 00:36:08.420 evolve. What was just rebellion might now also 00:36:08.420 --> 00:36:11.900 resonate as personal freedom. identity adds another 00:36:11.900 --> 00:36:14.840 layer to their legacy. And that legacy is just 00:36:14.840 --> 00:36:17.960 colossal. Metal Gods, the nickname says it all. 00:36:18.139 --> 00:36:20.760 Ranked number two metal band ever by MTV after 00:36:20.760 --> 00:36:23.500 Sabbath. VH1 put them in their top 100 greatest 00:36:23.500 --> 00:36:26.860 artists. Inaugural VH1 Rock Honors inductees. 00:36:27.079 --> 00:36:29.420 That Grammy win Hall of Heavy Metal History. 00:36:29.500 --> 00:36:31.860 Right. And the Rock Hall induction, finally. 00:36:31.920 --> 00:36:33.800 Yeah, the sheer weight of recognition, despite 00:36:33.800 --> 00:36:36.219 early skepticism from some critics, it's undeniable. 00:36:36.280 --> 00:36:38.179 They're foundational. And the sales back it up 00:36:38.179 --> 00:36:41.320 over 50 million albums. sold 11 top 30 albums 00:36:41.320 --> 00:36:43.960 in the UK that incredible streak of 11 gold or 00:36:43.960 --> 00:36:46.000 platinum albums in the US starting with sin after 00:36:46.000 --> 00:36:49.019 sin just amazing consistency genre influence 00:36:49.019 --> 00:36:52.219 where do you live and start pioneers of the new 00:36:52.219 --> 00:36:54.900 wave of British heavy metal injecting that precision 00:36:54.900 --> 00:36:58.539 and energy formative for speed thrash power metal 00:36:58.539 --> 00:37:03.039 80s hard rock glam the lineage is huge so many 00:37:03.039 --> 00:37:05.699 bands name themselves after pre -songs or albums 00:37:05.699 --> 00:37:09.139 sinner exciter tyrant talk about respect and 00:37:09.139 --> 00:37:12.300 the bands they inspired. Metallica, Maiden, Slayer, 00:37:12.519 --> 00:37:16.739 Pantera, Queen's Rach. The list is endless. Their 00:37:16.739 --> 00:37:18.980 DNA is just woven through metal. It's almost 00:37:18.980 --> 00:37:20.780 impossible to talk about modern metal without 00:37:20.780 --> 00:37:22.440 acknowledging priests' role, isn't it? They're 00:37:22.440 --> 00:37:24.340 completely pervasive. Their imprint is everywhere. 00:37:24.639 --> 00:37:27.039 And their cultural reach goes beyond music, too. 00:37:27.380 --> 00:37:29.400 Rob Reiner is studying them for This Is Spinal 00:37:29.400 --> 00:37:31.519 Tap. Hilarious. The rock star movie based on 00:37:31.519 --> 00:37:34.039 Ripper's story, even The Simpsons having to apologize 00:37:34.039 --> 00:37:36.519 for calling them death metal, shows how specific 00:37:36.519 --> 00:37:39.460 their brand is in the public mind. Halford doing 00:37:39.460 --> 00:37:41.719 voice work for the game Brutal Legend. They're 00:37:41.719 --> 00:37:43.739 part of the culture. What an absolutely mind 00:37:43.739 --> 00:37:45.460 -blowing journey for a band from Birmingham. 00:37:45.880 --> 00:37:47.800 Truly incredible. It's a testament to their talent, 00:37:48.079 --> 00:37:51.460 sure, but also that astounding resilience through 00:37:51.460 --> 00:37:55.260 lineup changes, lawsuits, health scares, their 00:37:55.260 --> 00:37:59.079 constant innovation, the iconic image, Halford's 00:37:59.079 --> 00:38:02.599 personal story, and they're still going. still 00:38:02.599 --> 00:38:05.699 touring and recording in their OAP heavy metal 00:38:05.699 --> 00:38:08.900 years as Halford jokes. Old age pensioner heavy 00:38:08.900 --> 00:38:11.440 metal. Love it. That resilience, that refusal 00:38:11.440 --> 00:38:14.420 to quit. It's rare. It really is special. Which 00:38:14.420 --> 00:38:16.340 leads to maybe a final thought for you to chew 00:38:16.340 --> 00:38:18.980 on. K .K. Downing himself once said the band 00:38:19.179 --> 00:38:21.400 had a bit of an identity crisis from the beginning. 00:38:22.079 --> 00:38:24.019 So how did a band that started with that kind 00:38:24.019 --> 00:38:26.480 of uncertainty end up forging one of the most 00:38:26.480 --> 00:38:29.260 powerful, recognizable, enduring identities in 00:38:29.260 --> 00:38:31.519 all of music, an identity that's still evolving 00:38:31.519 --> 00:38:34.840 today? What does that tell us about real lasting 00:38:34.840 --> 00:38:37.860 artistry, about facing change, discovering yourself 00:38:37.860 --> 00:38:40.079 under the relentless pressure of the global spotlight? 00:38:40.400 --> 00:38:42.239 Something to definitely think about. Well, that's 00:38:42.239 --> 00:38:43.880 all the time we have for this deep dive into 00:38:43.880 --> 00:38:45.880 the monumental world of Judas Priest. Thanks 00:38:45.880 --> 00:38:47.559 so much for joining us. It's been great talking 00:38:47.559 --> 00:38:49.739 Priest. We'll see you next time on the deep dive.