PAINKILLERS: Wir ermitteln unsere JUDAS PRIEST Top 25!!
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Fallen Idol 666
Till Deaf Do Us Part
dir wurde ja die Ignore-Funktion bereits vorgeschlagen.
Geistwolke
Deaf Dealer
So empfinde ich es auch. Sehr faszinierend bei Priest, diesen Weg durch die Alben mit den gewissen "Hängern" zwischen den Höhepunkten nachzuvollziehen.
Ich finde z. B., dass man Turbo durchaus als Etappe hin zu Painkiller hören kann. Kann es aber nicht recht festmachen oder beschreiben.
Die neuen Alben der Komfortzone mag ich zwar, sehe dies aber auch sehr gespalten. Bei den neuesten Alben haben für mich vielleicht Maiden leicht die Nase vorn.
Fallen Idol 666
Till Deaf Do Us Part
allerdings finde ich auch, dass "Angel Of Retribution" mit ihrem (zumindest von mir so empfundenen) dunklen Vibe, mit dem sie etwas mit der "The X-Factor" gemein hat, nicht zwingend die Komfortzone der späteren Alben wiedergibt.Dito!
Ich denke mal, dass gehört alles mit zur Entwicklung des Metals als Subgenre des Rocks/Hardrocks hin zur eigenständigen Sparte mit vielen Unterkategorien.
Lemmy hätte gesagt "das ist alles Rock'n'Roll" und in den 70ern lief das alles unter "Heavy Rock", wo die Grenzen, die sich später herauskristallisierten sollten, noch fließender waren und sich Bands Elemente aus verschiedenen Genres bedienen konnten, ohne gleich Fans zu verlieren. Das alles finde ich besonders auf den 70er Alben nicht nur von Priest.
Ich bin Mitte der 90er zu Priest gestoßen und konnte mich rückwärts durch die Diskographie arbeiten. Da gab es Sachen, die aufgrund der damaligen Hörgewohnheiten sofort zündeten. Der Zugang zu den ganz frühen Sachen offenbarten sich mir erst in den letzten Jahren. Bis dahin fand ich sie aber keineswegs schlecht.
Judas Priest haben sich immer weiterentwickelt. Bei manchen Alben nicht immer vorwärts, sondern vielleicht seitwärts. Oder sie hatten eine "Plateauphase" (falls das jemandem was sagt), bevor sie weiter nach vorne gingen.
Nach Demolition hat die Entwicklung allerdings nach meinem Eindruck gestoppt. Seit der Reunion verbleibt die Band in ihrer Komfortzone. Lediglich Nostradamus war der Versuch, etwas anderes zu machen, aber auch das innerhalb ihres Kosmos.
Du glaubst gar nicht, wie entspannt ich bin. Ignoriere mich nicht.
Spatenpauli
Till Deaf Do Us Part
Hehe, riecht hier nach bayrischem Freibeutertum wie schon lange nicht mehr.
Fallen Idol 666
Till Deaf Do Us Part
der bezog sich nicht auf IllMonco
Fallen Idol 666
Till Deaf Do Us Part
nicht gerne, aber geschehen
Ej Leute, bin echt kein schlechter Typ und so. Hab meine Ansichten, wo ich am Ausdruck evtl. noch arbeiten muss...
Bin vielleicht schnell gereizt, da hab ich bestimmte Trigger, aber ich arbeite dran. Ist sicher nicht böse gemeint, gar nichts davon, auch nicht zu meinem Kumpel ...son
Bin hier für Metal.
Bin vielleicht schnell gereizt, da hab ich bestimmte Trigger, aber ich arbeite dran. Ist sicher nicht böse gemeint, gar nichts davon, auch nicht zu meinem Kumpel ...son
Bin hier für Metal.
Wedekind Gisbertson
Till Deaf Do Us Part
Kumpel ist ein großes Wort. Aber: Friedensangebot für den Moment akzeptiert... Trotzdem verweile ich lieber weiter in der Glückseligkeit, die sich in meinem CD-Player dreht. Siehe: Welche Scheibe...
Keine übertirebene 'Früher-war-alles-besser'-Nostalgie, einfach nur Bewunderung. 1982 im unfertigen, analogen Leben... Ohne Apps, ohne tausend Computer im Studio "Screaming For The Beast" und "The Number Of Vengeance" zu komponieren, so sauber und wohlklingend produzieren und weltweit herauszubringen. Mit ganzseitigen Werbeanzeigen in der Papier-Presse und ein paar Radio-Stationen als Support... Ich wär' da gern dabei gewesen. Wo ist die verdammte Zeitmaschine, wenn man sie mal braucht?
Keine übertirebene 'Früher-war-alles-besser'-Nostalgie, einfach nur Bewunderung. 1982 im unfertigen, analogen Leben... Ohne Apps, ohne tausend Computer im Studio "Screaming For The Beast" und "The Number Of Vengeance" zu komponieren, so sauber und wohlklingend produzieren und weltweit herauszubringen. Mit ganzseitigen Werbeanzeigen in der Papier-Presse und ein paar Radio-Stationen als Support... Ich wär' da gern dabei gewesen. Wo ist die verdammte Zeitmaschine, wenn man sie mal braucht?
Ich mag dich. Ohne Witz. Du bist interessant(er) als vieles, was mir online so begegnet.
Erdbär
Till Deaf Do Us Part
Bis auf Rock Forever gehe ich bei jedem Song in Deiner Liste mit
hackiausbruch
Till Deaf Do Us Part
Johnny B Goode. Eine Frechheit! Wird dem Original zu keiner Millisekunde gerecht. Konnte die Verhunzung noch nicht 1x bid zum Ende aushalten!
Harja
Deaf Dealer
Auf jeden Fall der schlimmste Priest-Coversong. In den 70ern haben sie damit dreimal hintereinander ins Schwarze getroffen, hier dafür voll in die Scheiße gegriffen.
Atgerdian Kodex
Till Deaf Do Us Part
Für mich gibt es kaum lange existierende oder existiert habende Bands, bei denen ich überall etwas finde, das ich an ihnen liebe. Auf Alben bezogen, gibt es z.B. bei Priest für mich drei, bei denen das weitestgehend der Fall ist.
Im Übrigen bin ich sehr zufrieden damit, dass ich keine spezielle Lieblingsband habe, sondern lediglich Lieblingsmusik unterschiedlicher Stile. Das spart Zeit, Geld und Enttäuschungen.
Natürlich habe ich auch immer wieder engere Beziehungen zu Bands aufgebaut, die sind aber nie bedingungslos. Wenn es gar nicht mehr passt ist es vorbei, auch wenn es schmerzt, und manchmal kommt man auch irgendwann wieder zusammen, weil es dann doch wieder passt. Bei den fast allen "großen" Bands gibt es halt nur einen oder mehrere Abschnitte ihrer Laufbahn, die ich uneingeschränkt liebe.
Geistwolke
Deaf Dealer
Ja, das ist verständlich.
Musik unterschiedlicher Stile höre ich auch, aber es sind immer nur wenige neue Bands, die mich so beeindrucken, dass ich etwas von ihnen kaufen würde. Das spart ebenfalls Zeit und Geld.
"Lieblingsband" heißt bei mir z. B. auch nicht, dass ich teures Merchandise kaufe oder ständig zu Konzerten fahre. Da kümmere ich mich lieber um Haus und Garten und halte meinen ökologischen Fußabdruck korrekt.
Und falls das nächste Priest-Album wider erwarten richtig scheiße werden sollte, werde ich es sicher verkraften, "Demolition" war ja durchaus auch schon ne härtere Probe.
Ragnar the metal cat
Deaf Leppard
Ja einfach nur peinlich. Und ich hab das Ding auch noch als Maxi im Regal stehen... Weis gar nicht warum. Ich glaube das wurde vor dem Album veröffentlicht. Daher muss ich es im Jahre 1988 wohl gekauft haben. Konnte es nicht abwarten bis die Platte raus war.
JustPriest
Till Deaf Do Us Part
Ich weiß gar nicht, was alle gegen den Song haben und bin fast schon versucht, die mit auf die Liste zu packen...
Zum Hintergrund des Songs:
Nach dem Top-Gun Flop - "Flop", weil der Film erfolgreich war, aber die Band den angefragten Titel "Reckless" nicht für den Film hergeben wollte, weil man befürchtete, der Film könnte ein Flop werden - hatte Jemand die Idee, es doch noch mit einem Song für einen anderen Film zu versuchen. Daraus wurde dann "Johnny B.Goode". Der Song kam vor dem Ram it Down Album raus. Der andere Film entpuppte sich dann als Flop.
Weil der Song dann schonmal draußen war, landete er dann doch auf dem Album.
Dafür flog dann das geniale "Thunder Road" aus dem Spot, zumal der Song einige Parts aus dem Johnny B.Goode Cover drin hatte - oder eben anders herum, je nachdem, was zuerst aufgenommen wurde.
Bei der Auswahl für die Songs für Ram It Down hatte die Plattenfirma das letzte Wort. Die Band war also nicht daran beteiligt, dass "Thunder Road" vom Album flog.
In den Interviews der damaligen Zeit ist auch die Rede davon, dass sie nicht wussten, was aufs Album kommt. Die Band nannte auch Songtitel, die es am Ende dann doch nicht schafften.
OCTOBER 1987: JOHNNY B. GOODE
In 1987, Judas Priest were taking a well-deserved break while their label released a live album and video, but in October, as a favor to manager Bill Curbishley, the band entered Denmark's PUK Studios to record a cover of Chuck Berry's '50s rock standard "Johnny B. Goode" for a film soundtrack...
"The way the 'Johnny B. Goode' thing came about is, our manager Bill Curbishley has contacts in the movie business and somebody had told him that this film is being made, and through all different channels, we decided to have a go and do it ourselves. The film is called Johnny Be Good - it's about this high school graduate who's a football fanatic, and he's called Johnny, and he's just working his way through high school, going into college, and it just covers his exploits as to choosing which college to go to. It's a really bad film! But we were given the opportunity to do the song. It's a bit like when Priest has done all this stuff in the past. A lot of the Joan Baez songs, and also Spooky Tooth stuff, the 'Green Manalishi' song... and we just felt that we could give it the Priest treatment, and when we worked it out in the studio, we felt it was good enough to eventually end up on the album. So we're well pleased with it."
- Rob Halford, Sky Network, April 1988
"At that point, we didn't think it would go onto Ram It Down, but as the album came together, we could see there was a part in the album for it...and we were happy because I feel the roots of heavy metal come from American blues and rock 'n' roll. In that respect, it's a little bit of a tribute to put 'Johnny B. Goode' on a heavy metal album."
- Rob Halford, Tele 5 Hard 'N' Heavy, June 1988
Though not originally slated for the next studio release, the song went on to become the only single from Ram It Down! And Jon Astley (who would go on to produced the Re-Masters and master the Demolition album in 2001) also appears on the Johnny Be Good soundtrack with his tune "Been There, Done That".
The single and an accompanying promo video for "Johnny B. Goode" were released in the States. Though a highly energetic and catchy remake of a guitar-oriented song (and Priest knew a thing or two about guitar-oriented songs!), the band was criticized because they were British and "Johnny B. Goode" was an American classic as well as another departure from the traditional metal the fans were craving from the gods of metal. It had also been four years since Priest had toured their own British homeland again and it seemed they were selling out to the greener pastures of America. With Turbo and Priest...Live! losing fan support, this was not a good move from the fans' perspective, but Priest had a missed opportunity once before when it came to film soundtracks, so this time they were determined to not make that mistake again...
"We had a go at it really, for better or worse. Needless to say, it wasn't a
Top Gun
. Nothing seems to popularize this band to any great extent
.
Whether it's court cases, the PMRC, bum decisions with movies, we always seem to be swimming upstream. Which is probably not a bad thing - it keeps us hungry."
- K.K. Downing, Goldmine magazine June 5, 1998
"When we sit down to write together, as myself and Ken and Glenn did for Ram It Down, we said, 'Well this album, what shall we do?' And we decided to make a real hard-core heavy metal album. Once you have a direction, it's a lot easier. In the past, with some of our records we just wrote many, many, many different songs and we just take 10 songs, or 9 songs and put them on a record, so some songs you never hear. Judas Priest has written thousands of songs that we've got in vaults in studios all around the world."
- Rob Halford, Tele 5 Hard 'N' Heavy, June 1988
With the "Johnny B. Goode" soundtrack recording finished and plans in place for a heavy metal return to form, Judas Priest and producer Tom Allom gathered in Denmark's PUK Studios ("Ice Station Zebra" as it came to be known!) during the severe Scandinavian winter of 1987 and put their ideas together on tape, including songs they had recorded during the TURBO sessions:
But things got confusing once the recordings were submitted to CBS Records executives, who began sorting through the tracks.
Several holdovers from the previous TURBO session ("Monsters of Rock", "Love You to Death", "Hard As Iron", "Red, White & Blue" and "Ram It Down") were reworked and presented along with new material.
The label would make the final decision on what was going to be released, and both Halford and Tipton mentioned during interviews that they have no idea what was going to make the final cut.
Glenn questioned the inclusion of "Love You To Death", while assuming "Red, White & Blue" was a shoe-in, yet the exact opposite took place;
Rob told Metal Hammer about an epic titled "My Design" that's "like a ride into the depths of hell", yet it never appeared; and two new songs were held back - the atmospheric power ballad "Fire Burns Below" and the octane-charged "Thunder Road", which bore a similar arrangement to parts of "Johnny B. Goode", due to the fact that the riff was written for the new song before the film opportunity became known.
But only one line from "Thunder Road" survived in the bridge to "I'm A Rocker", as the label opted for the Chuck Berry cover instead, due to its potential to become a single.
"The arrangement was a few little bits and pieces we were thinking of writing another song ['Thunder Road'] with. They found themselves in 'Johnny B. Goode'. "
- Glenn Tipton, GUITAR Magazine, 1989
" 'Johnny B. Goode' is on the album. You don't know what's going on with this band from one minute to the next, including yours truly!"
- Rob Halford, Sky Network, April 1988
In 1987, Judas Priest were taking a well-deserved break while their label released a live album and video, but in October, as a favor to manager Bill Curbishley, the band entered Denmark's PUK Studios to record a cover of Chuck Berry's '50s rock standard "Johnny B. Goode" for a film soundtrack...
"The way the 'Johnny B. Goode' thing came about is, our manager Bill Curbishley has contacts in the movie business and somebody had told him that this film is being made, and through all different channels, we decided to have a go and do it ourselves. The film is called Johnny Be Good - it's about this high school graduate who's a football fanatic, and he's called Johnny, and he's just working his way through high school, going into college, and it just covers his exploits as to choosing which college to go to. It's a really bad film! But we were given the opportunity to do the song. It's a bit like when Priest has done all this stuff in the past. A lot of the Joan Baez songs, and also Spooky Tooth stuff, the 'Green Manalishi' song... and we just felt that we could give it the Priest treatment, and when we worked it out in the studio, we felt it was good enough to eventually end up on the album. So we're well pleased with it."
- Rob Halford, Sky Network, April 1988
"At that point, we didn't think it would go onto Ram It Down, but as the album came together, we could see there was a part in the album for it...and we were happy because I feel the roots of heavy metal come from American blues and rock 'n' roll. In that respect, it's a little bit of a tribute to put 'Johnny B. Goode' on a heavy metal album."
- Rob Halford, Tele 5 Hard 'N' Heavy, June 1988
Though not originally slated for the next studio release, the song went on to become the only single from Ram It Down! And Jon Astley (who would go on to produced the Re-Masters and master the Demolition album in 2001) also appears on the Johnny Be Good soundtrack with his tune "Been There, Done That".
The single and an accompanying promo video for "Johnny B. Goode" were released in the States. Though a highly energetic and catchy remake of a guitar-oriented song (and Priest knew a thing or two about guitar-oriented songs!), the band was criticized because they were British and "Johnny B. Goode" was an American classic as well as another departure from the traditional metal the fans were craving from the gods of metal. It had also been four years since Priest had toured their own British homeland again and it seemed they were selling out to the greener pastures of America. With Turbo and Priest...Live! losing fan support, this was not a good move from the fans' perspective, but Priest had a missed opportunity once before when it came to film soundtracks, so this time they were determined to not make that mistake again...
"We had a go at it really, for better or worse. Needless to say, it wasn't a
Top Gun
. Nothing seems to popularize this band to any great extent
.
Whether it's court cases, the PMRC, bum decisions with movies, we always seem to be swimming upstream. Which is probably not a bad thing - it keeps us hungry."
- K.K. Downing, Goldmine magazine June 5, 1998
"When we sit down to write together, as myself and Ken and Glenn did for Ram It Down, we said, 'Well this album, what shall we do?' And we decided to make a real hard-core heavy metal album. Once you have a direction, it's a lot easier. In the past, with some of our records we just wrote many, many, many different songs and we just take 10 songs, or 9 songs and put them on a record, so some songs you never hear. Judas Priest has written thousands of songs that we've got in vaults in studios all around the world."
- Rob Halford, Tele 5 Hard 'N' Heavy, June 1988
With the "Johnny B. Goode" soundtrack recording finished and plans in place for a heavy metal return to form, Judas Priest and producer Tom Allom gathered in Denmark's PUK Studios ("Ice Station Zebra" as it came to be known!) during the severe Scandinavian winter of 1987 and put their ideas together on tape, including songs they had recorded during the TURBO sessions:
But things got confusing once the recordings were submitted to CBS Records executives, who began sorting through the tracks.
Several holdovers from the previous TURBO session ("Monsters of Rock", "Love You to Death", "Hard As Iron", "Red, White & Blue" and "Ram It Down") were reworked and presented along with new material.
The label would make the final decision on what was going to be released, and both Halford and Tipton mentioned during interviews that they have no idea what was going to make the final cut.
Glenn questioned the inclusion of "Love You To Death", while assuming "Red, White & Blue" was a shoe-in, yet the exact opposite took place;
Rob told Metal Hammer about an epic titled "My Design" that's "like a ride into the depths of hell", yet it never appeared; and two new songs were held back - the atmospheric power ballad "Fire Burns Below" and the octane-charged "Thunder Road", which bore a similar arrangement to parts of "Johnny B. Goode", due to the fact that the riff was written for the new song before the film opportunity became known.
But only one line from "Thunder Road" survived in the bridge to "I'm A Rocker", as the label opted for the Chuck Berry cover instead, due to its potential to become a single.
"The arrangement was a few little bits and pieces we were thinking of writing another song ['Thunder Road'] with. They found themselves in 'Johnny B. Goode'. "
- Glenn Tipton, GUITAR Magazine, 1989
" 'Johnny B. Goode' is on the album. You don't know what's going on with this band from one minute to the next, including yours truly!"
- Rob Halford, Sky Network, April 1988
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