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Rock - Publicado el 6 de octubre de 1992 | Sony Music CG

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Metal - Publicado el 9 de marzo de 2018 | Columbia

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Metal - Publicado el 26 de septiembre de 1990 | Columbia

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Hard Rock - Publicado el 5 de julio de 1982 | Sony Music UK

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Metal - Publicado el 26 de marzo de 1991 | Columbia

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Rock - Publicado el 3 de febrero de 2017 | Sony Music UK

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Metal - Publicado el 27 de octubre de 1978 | Columbia

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Metal - Publicado el 25 de marzo de 2016 | Columbia

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Metal - Publicado el 16 de junio de 1997 | Columbia

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Metal - Publicado el 26 de marzo de 1991 | Columbia

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Rock - Publicado el 8 de julio de 2014 | Columbia

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Metal - Publicado el 7 de mayo de 2010 | Sony Music Entertainment

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Rock - Publicado el 27 de marzo de 2015 | Columbia

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Metal - Publicado el 16 de junio de 2008 | Columbia

On 2005's (almost) divine comeback album Angel of Retribution, Judas Priest fans got a modern day update of the band's genre-bending 1976 classic, Sad Wings of Destiny. The New Wave of British Heavy Metal legends return to the mines for 2008's Nostradamus, though this time it's another band's treasure they're looting, specifically Iron Maiden's 1988 concept album, Seventh Son of a Seventh Son. Heavy metal's obsession with seers, sorcery, and anything else that falls under the nebulous blanket of the "dark arts" is legendary, and Maiden's loosely knit tale of a visionary "chosen one" provided listeners with one of the last great albums of the pre-grunge, epic metal era, due in part to some truly memorable songs that remain fan favorites even to this day. Nostradamus, on the other hand, manages to live up to nearly every Spinal Tap cliché (non-deliberate, laugh-inducing cover art; melodramatic spoken word interludes; rhyming "fire" with desire). At nearly two hours long, one expects a certain amount of filler, but the dated keyboard strings, soft piano, and bluesy, minor-key guitar licks that populate every nook and cranny in between (and often throughout) each track sound like discarded incidental music from The X-Files or an RPG video game "cut scene." The songs themselves are hit or miss, with the emphasis falling on the latter, due mostly to an over-reliance on three-chord, midtempo filler, but as is the case with nearly every Priest offering, when they're on they're dead on. Disc one closer "Persecution," after a lengthy organ/guitar intro, unleashes Nostradamus' finest six minutes, boasting one of the best choruses the band has produced since 1988's "Hard as Iron" (few things sound as natural and satisfying as Rob Halford's metallic voice running through a phaser, and his signature scream, when it arises, still has no equal). The predictable but effectively apocalyptic "War" (taking a cue from Holst's Mars, Bringer of War) spawns one of the few great orchestral breakdowns on the record, while both "Death" and the nearly seven-minute title track feature stunning guitar work from Glenn Tipton and K.K. Downing. None of this, however, can save Nostradamus from the fact that even if it were reduced to a single album (it should have been), its flaws would far outweigh its triumphs. Excess and metal go together like blood and guts, but even gore loses its ability to draw a reaction after the umpteenth beheading. © James Christopher Monger /TiVo
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Rock - Publicado el 7 de enero de 2013 | Repertoire Records

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Metal - Publicado el 3 de mayo de 1988 | Columbia

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Rock - Publicado el 6 de marzo de 2015 | Sony Music UK

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Metal - Publicado el 6 de mayo de 1979 | Columbia

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Metal - Publicado el 1 de octubre de 1978 | Columbia

Given the less violent moniker Hell Bent for Leather for U.S. release (as if that makes any sense), Killing Machine is a transitional album between the progressive-minded complexity of Stained Class and the more commercialized stadium rock of British Steel. In terms of image, however, Judas Priest comes into their own here, creating modern heavy metal fashion by donning studded leather outfits that recalled biker subculture (a connection Rob Halford supported by riding a Harley-Davidson on-stage) but -- in one of metal's supreme ironies -- actually came from gay S&M clubs. Now looking as fierce as their music sounded, Priest set about scaling back the ambition of Stained Class, making the songs more concise and immediate, with simpler structures and fewer underlying subtleties. However, the band largely maintains its then-trademark aggression; the simpler songs actually allow them to hike the tempo on the proto-speed metal numbers even more, and there are hints of blues-rock creeping back into the overall sound, complementing the newfound tough-guy swagger in the band's attitude. At the same time, the relative simplicity also provides the first glimpse of the band's more commercial instincts. If these competing impulses don't make for their most cohesive album, it's also true that most of what's here was still pretty peerless for its time. If Stained Class was the death album, Killing Machine is the sex album -- "Delivering the Goods," the title track, "Burnin' Up," and "Evil Fantasies" are all loaded with S&M imagery, while "Running Wild" is a nightlife party anthem, and "Before the Dawn" a morose heartbreak ballad that nonetheless works in context as the downside of all this carnality. "Delivering the Goods" in particular ranks with their best straightforward rockers, while "Hell Bent for Leather" pushes ever farther towards speed metal proper, crystallizing Halford's leather-and-motorcycle obsessions into one of the band's signature statements. The other title track, "Killing Machine," is a midtempo stomper about a contract hitman, and there's yet another brilliantly reinvented cover song, as the band transforms the Peter Green-era Fleetwood Mac chestnut "The Green Manalishi (With the Two-Pronged Crown)" into a heavy, sinister groover. Of the more commercial material, the anthemic chorus of "Evening Star" leaves the best impression, while "Rock Forever" is their first explicit ode to heavy metal itself (and there would be many, many more to come). The uneasiest implications for the future come from "Take on the World," a lunkheaded stadium shout-along that gave the band its first British hit single, and is clearly patterned after Queen's "We Will Rock You." Occasional missteps and all, Killing Machine closes the book on Judas Priest's early period, which constitutes some of the most influential heavy metal ever recorded. The flood of NWOBHM talent they'd inspired was about to be unleashed on the record-buying public, and henceforth, Priest was intent on reaping the rewards. They would remain a vital force in their second, more commercial phase (more so than some fans of their late-'70s classics might care to admit), but their work of redefining the genre had largely been completed. © Steve Huey /TiVo
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Pop/Rock - Publicado el 28 de febrero de 2005 | Epic