Judas Priest 2018 Concert Review

The purpose of my post today is to rave about my evening at the March 25th Judas Priest concert.

I'd never seen Priest before, though I feel as though I really should have, if not in the 80's then in the 90's. But I guess the stars just never aligned so that I could do that back then. Anyway, when I heard the concert announcement last fall, I knew I had to do it, so I snagged my ticket pronto. Though I have a handful of co-worker friends who like metal, I just couldn't get anyone interested in this show. So for the first time ever, I went solo to a large venue gig. Back in the 80's I saw some nightclub shows on my own, but for the big concerts, I always had company. Let me tell you, though... the musical experience is still amazing, even on your own. I guess it's because you are in your own head more, and more attentive and receptive to what's onstage. No distractions from friends shoving or yelling at you or whatever.

So five or six months after buying my ticket, it was finally the day of the show. I donned my black leather-ish jacket and joined the masses, filling the arena to capacity. The sweet aroma of exotic herb filled the arena. I arrived in time to see Saxon take the stage. This front-runner of the British New Wave of Heavy Metal put on a cool show. Though the crowd, including me, were a little unsure of Saxon at first, singer Biff Byford got us wound up a few songs into their set, then we were on our way. A loud and entertaining performance.

Oh, and for the record, this whole affair was loud - really frikkin' loud. After just one Saxon song, I knew I had to resort to my trusty pair of earplugs (don't leave home without 'em). With the plugs in place, the music sounded cleaner and far less damaging to my already ringing ears. 

Priest set up their show intro perfectly: as the technicians ran around backstage, getting things set up, War Pigs by Black Sabbath pumped out of the PAs... the voices of the entire audience singing along with Ozzy's recorded wail. A gigantic hanging drapery mysteriously hid the re-assembly of the stage. Everyone studied the assorted Priest lyrics printed all over the colourful cloth... until the lights dimmed, and poof! the drapery seemed to magically implode and vanish. And there were old Rob and his mates tearing into the new song Firepower. 

Then for two full hours Halford and the boys cranked out a slew of metal classics and classics-to-be. I had predicted, and hoped, that Priest would play the first three songs off their new album, Firepower. The fast and heavy triple-threat of Firepower, Lightning Strike, and Evil Never Die knocked my socks off on the record... some of their best work in years. In concert, the band sprinkled those three tunes among the selections from their vast musical catalogue. Highlights for me were Running Wild, The Ripper, Saints in Hell (never before performed live), The Green Manalishi, Hell Bent for Leather, and Electric Eye (my high point of the night). 

The stage show was a visual feast: the Priest trident "T" emblem was a key part of the colourful stage set-up; a large screen on the back wall displayed videos and images associated with each song, complementing the performance but not pulling your attention away from it; an impressive light show enhanced the experience; Halford made more costume changes than Lady Gaga during the course of the concert... I'd never seen such an array of cool leather jackets before; and naturally, ol' Rob drove his motorcycle onto the stage for the song Hell Bent For Leather.

Halford amazed everyone with his still incredible vocal range, hitting every high note (The Ripper!) as though he was still a young man in his 20s. Travis demonstrated his prowess on the drums, driving that kit  through the floor, double-bass insanity, and rock steady rhythm throughout. Hill, on bass duty since the band's inception, laid a heavy groundwork for the geetar boys to work upon. 

Newcomer Sneap on guitar (he also co-produced the Firepower album) was competent if nothing else. He barely had weeks to rehearse in order to step in for recently departed Glenn Tipton, so I commend him for a job well done under a tonne of pressure. It felt like eight shows into the tour, the band and Sneap had gelled. Faulkner, on the other hand, had a couple of albums and a tour under his belt with Priest, and it was he who carried the bulk of the guitar duties. While Sneap mostly focused on rhythm guitar, Faulkner assumed the guitar hero poses and tore off ferocious solos... he was easily the highlight of the show. Kudos to him for keeping the Priest sound alive and well under the circumstances. The only thing missing (not entirely, but mostly) was the interplay of the twin guitar attack which was the trademark of the band's sound.

Living After Midnight was the final song of the evening. After it came to a thunderous halt, the band assembled stage front to bow and wave and throw guitar picks to the fans. A very fun and exciting show... everyone left with a smile or his or her face, if rather exhausted after all that headbanging and fist-pumping. If this was Priest's final tour (and album), it would be a fittingly perfect finale to a legendary career. 

Great Rock Song Intros

I never gave a whole of thought to song intros until this week. It was while listening to a variety of tunes that I noticed how an effective introductory musical statement really enhanced the song that followed. By "intro" I mean a little composition that is distinctly different from its follow-up. I don't mean the opening guitar, keyboard, or bass riff or theme that is actually tied to the song - like in Roundabout, by Yes. I mean two pieces that work separately yet together create something greater than either one on its own.

Sometimes the intro is part of the "main" song, built right into the recorded track (on a record there would be no space between intro and its companion), so that it will always, always be there as the lead-in to its star attraction. There is also the intro that is a "song", usually very brief, that is named (with a title and a sequence number) as a separate track on the album (and on a vinyl record would appear physically apart from the next track), and that precedes and segues smoothly into its companion song. The pairing feels obvious and intentional. And it would seem strange and unnecessary to listen to that "intro" song without continuing the flow into the next song. Usually, but not always. Some can stand strong - alone - on their own merit. A very famous one (if you can call it an intro... I do)  that comes to mind is Van Halen's Eruption; that guitar solo is known to every rock, metal, and guitar fan the world over as the original "bible" of modern guitar technique, flash and invention. It is so unique and powerful a composition that it stands as a milestone in rock history... all by its lonesome.

But pair Eruption with its album follow-up, You Really Got Me, and you've got a metallic double-threat that'll send your brain a-buzzing. When I hear Eruption on the radio, and its final sustained note fades out, I expect You Really Got Me to play next. I don't think I've ever heard a radio DJ flub that one. It would be sacrilege to break that rule. 

Anyway, I did just a little brain-storming to come up with a handful of well-known (some my favourites) songs with notable intros. There are songs with built in intros, and there are intros that are songs... that lead into their companion pieces. I've made a note about the sort of intro with each list entry. If you have any ideas for other great rock song intros, feel free to leave comments. Enjoy...


Eruption & You Really Got Me, by Van Halen (you know it... sheer guitar genius)

1984 & Jump, by Van Halen (Eddie's soothing futuristic keyboard dabbling)

Tora! Tora! & Loss of Control, by Van Halen (guitar-generated battle sounds)

Intruder & (Oh) Pretty Woman, by Van Halen (these guys are kings of the intro, huh?)

Symphony of Destruction, by Megadeth (short but sweet symphonic warm-up)

Last Rites/Loved to Deth, by Megadeth (pretty piano etude (!) before the thrash madness)

Fast as a Shark, by Accept (a snippet of some traditional German folk song)

The Journey & It's Easy, by Boston (spacey keyboard and guitar)

E5150 & The Mob Rules, by Black Sabbath (eerie synthesized keys and guitar effects)

The Hellion & Electric Eye, by Judas Priest (perhaps the greatest intro song of all time!)

Prelude & Tyrant, by Judas Priest (melancholy piano and guitar piece builds and builds)

Welcome to the Machine, by Pink Floyd (mechanical and electrical sound effects)

Alan's Psychedelic Breakfast, by Pink Floyd (kitchen noises and someone muttering)

Broon's Bane & The Trees, by Rush (a concert-only classical piece that appears on live recordings only... dedicated to Rush's longtime producer Terry Brown... excellent!)

Rock Bottom, by Kiss (in fact, half the song is classical-ish guitar... then Ace rocks it!)

Easy Does It & Sister Moonshine, by Supertramp (two full - short-ish - songs, actually, that are always played back-to-back in concert... maybe not a true intro, but the flow is seamless and natural - a fave!)

Funeral For a Fender... or a Gibson?

This week, as I lapped up the roar of the new album - Firepower - from Judas Priest, I was forced to think about the state of music these days. I mean, here's a band that has existed since 1969 and they are still recording and touring (so they've outlasted Black Sabbath). It's hard to say just how much longer Priest will continue given the age of the two remaining "old days" line-up (the rest of the band is significantly younger); both singer Rob Halford and bassist Ian Hill are now 66. Sure, they still sound terrific, but I'm sure the touring must be much harder when you're getting up there. I suppose at this stage of their career they have the luxury of taking their time on writing and recording.

Glenn Tipton hammering out a Judas Priest gem on

a Gibson SG (sadly, he recently retired from playing)

Firepower is surprisingly good, better than I expected, and the consensus seems to be that this is the finest Priest release since their '90 barn-burner Painkiller. Searing guitar leads and thick, crunching metallic rhythms are the meat of Firepower... I really can't get enough of this strong set of songs.

So... a really solid metal album. Which brings me to the financial woes that have befallen the Gibson guitar company (even the mighty Fender is suffering). This not-so-sudden decline in business has been all over the news lately, and I've been interested enough to read a few articles about it. Without going into details about the looming bankruptcy (more on that here), I'll focus more on the state of the rock'n'roll nation... well, let's think of that in a global sense, covering the whole planet. 

Okay, so Gibson went further and further into debt as they diversified their products and that hurt them, but the other key factor is the serious drop in guitar sales. One of the concerns is how the most popular music today (for many years, actually) doesn't use the guitar the same way it used to (or at all)... think about it: rap, pop, and R&B don't exactly rely on guitar sounds much, do they?

Rap/hip-hop has recently taken the top spot from rock music in public consumption. And other genres aren't far behind. As for rock, it is mostly classic rock (I hate that term) - the oldies - that consumers buy... not much in the way of new releases. Rock's long history and deep catalogue are the only things keeping it barely afloat nowadays. It is the old favourites  (like Beatles, Stones, Journey, Zeppelin, Floyd, and Queen) that make up the majority of the rock sales and online streams and digital downloads. New music that is promoted on the radio, streaming platforms, and so on is predominantly NOT rock. So new releases of rap, pop, dance, and R&B are outselling by a big margin whatever new rock emerges from its cave. This is thanks to the wisdom of the numbers people - the puppet-masters - who distribute tunes to the world via all the media at their fingertips. 

Today's Top 40 radio doesn't reveal much in the way of new rock; it's all hip-hop, pop and dance. Not much there to inspire young listeners to pick up an instrument like a guitar. It doesn't help that younger generations are raised with a device in their hand, skilled at locating and playing the latest Drake or Beyonce ('cos that's what'll jump on their "recommended" list first). These kids and 20-somethings just take whatever they are fed. Not entirely their fault, but it's still not right.

Black Sabbath's Tony Iommi churning out a lumbering

doom riff on his trusty SG

Those device-reliant kids are raised on content that satisfies their short attention spans and impatience with anything that takes some time and effort. How can such a person see the value in something like guitar lessons, which require patience, effort, time, and perseverance? Hey, I took years to get just half-decent on guitar; mind you, I was self-taught and this was long before the Internet, Youtube instructional videos and easy guitar TAB methods were a thing. But I loved the instrument, so I hung in there, and enjoyed decades of jamming out to the likes of Rush and Max Webster. Rock and metal guitar was everywhere around me, so there was loads of great music to inspire me to play.

So is it any wonder guitar sales are down now? If a kid has instant access to the wide world of Internet gaming, video, and whatever else, then how is that kid going to see that learning guitar (or any instrument) is a good investment of time... and that's it just plain fun. Especially when the music they are inundated with isn't guitar music. Hell, there are electronic and online gadgets that allow even newbies to cobble together a half-decent rap or dance beat in just minutes. The more creative alternative... spend months picking away just to get a few barely-recognizable guitar tunes under the belt? What a choice.

I do hope that Gibson (and Fender, and others, if they're struggling as badly) can sort out its affairs and carry on. Maybe there'll be a turn in the public's musical attitudes and shopping habits. Whatever new rock music is being conceived out there these days, it's got to help support these guitar-makers, these institutions that drove music in exciting new directions over the past century or so. 

Can you imagine what music would be like if Gibson guitars never existed? Would we even have great and influential guitarists like Slash, Angus Young, Jimmy Page, Billy Gibbons, Tony Iommi... and even Clapton, Townshend, and Jeff Beck used Gibsons at times in their careers. The music of those legends inspired young guitarists during the 70's, 80's, and 90's, but there's been a worrying drought of up-and-coming axe-slingers over the past couple of decades. Gotta turn that around!

My Desert Island Book Trilogy Picks

Today I've put together a list of the few books I consider my essentials for living out the rest of my days on an isolated desert island. The twist, though, is that these are trilogies, series of three books. I began this blog post with the intent to simply jot down my fave books, but once written down, I noted that most of my entries were sets of three. So... why not assemble a desert island list of book trilogies? Besides, you sure get more mileage out of sets of books than single novels.

I tried my best to rank these, with my favourite first, but that task proved too hard. These are roughly in order, but not carved in stone. Now... back the island. Please keep the coconut juice, dates and mangoes coming.


My Desert Island Book Trilogy Picks

Lonesome Dove/Streets of Laredo/Dead Man's Walk, by Larry McMurtry (a slight cheat here, since there are actually four books - I dropped the last. But I'd rather have some McMurtry rather than none at all... a magnificent sprawling Old West epic)

The Border Trilogy: All the Pretty Horses/The Crossing/Cities of the Plain, by Cormack McCarthy (three marvelous, totally re-readable modern western classics, conceived by a master of the written word)

Berlin Game/Mexico Set/London Match Trilogy, by Len Deighton (I re-read these every now and then, they are so fun and funny... about a middle-aged and jaded intelligence man with MI6. Two more Bernie Samson trilogies followed, but I'll limit myself here)

The Merlin Trilogy: The Crystal Cave/The Hollow Hills/The Last Enchantment, by Mary Stewart (breathtaking Merlin-King Arthur tale... there's a later, fourth, book, but it's not so closely linked, so I can drop it with a clear conscience)

Remembrance of Earth's Past Trilogy: Three Body Problem/The Dark Forest/Death's End, by Liu Cixin (expertly crafted blend of hard and soft sci-fi, transcending everything I'd ever read before... I highly recommend this to everyone!)

Bas-Lag series: Perdito Street Station/The Scar/Iron Council, by China Mieville (fascinating world of weird fantasy, written with style, merging magic and steam punk technology)

Deptford Trilogy: Fifth Business/The Manticore/World of Wonders, by Roberston Davies (enthralling psychological metaphysical Canadian lit - as good as it gets. I first read this in high school and still love the bizarre characters and engaging narrative)

Maddaddam Trilogy: Oryx and Crake/Year of the Flood/Maddaddam, by Margaret Atwood (written by the queen of Canadian speculative fiction, these novels relate a strangely funny and sometimes sad story of a post-apocalyptic world)

Ready For the Future of Music

Here in my bunker, I'm ready for the predicted demise of Spotify and its brethren of streaming music services. I've got my big ol' stash of CDs, vinyl records, a few cassette tapes (!), and whatever tunes are on my two MP3 players and my laptop. I think that'll get me through.

So when Skynet falls and all the Cloud and online music is gone, or at least rendered inaccessible, I'll just fire up my generator and spin some of my old K-Tel records, thumbing my nose at the rest of the world. Yeah, that'll show 'em.

It's not like I don't look to the webiverse for music, though. I do go down one too many rabbit holes on Youtube now and then. That's how I discover both old and new music that I'd never heard before. Then I can decide what I like and don't like, and might consider buying an actual physical recording of the stuff I really, really like. Hey, it's not like the "old days" when you'd just have to trust your gut and shell out that five-to-ten bucks for the latest record by Cheap Trick or whoever. More impulsive and less discerning. There might be an advance single to wet your appetite, but certainly not the deluge of pre-release songs and videos now available online. There was some risk back then, but there was also a greater sense of anticipation... and then a greater sense of satisfaction and enjoyment once you owned and played that long-awaited and sought-after album. 

As simple and easy as it is to access every song in the world these days, there's something missing... the process of that anticipation, the hunt, the wait, the visual stimulus and even the feel in your hands of finally having that special something by your favourite artist. When it's just a click away, it's all so out of sight, out of mind. But when you have a record, or even a CD or tape, in your hand, it's so much more interesting, fun, engaging, and rewarding. You went out of your way to find and obtain this, so you're much more invested in the music. A little relationship has been forged. 

Another thing that I feel is lacking in the streaming music model: it doesn't encourage the listener to aim for albums. It's all about throwing a crap-ton of songs into your playlist. I've talked to so many people, mostly under age 30, who tell me they have all the Beatles and Pink Floyd music. Great! I say. Then I ask which are their favourite albums. Blank stare. Nothing. They don't know a thing about the original sources of those classic songs. The album format has sadly fallen out of favour, at least for the modern mainstream and its average Joe and Jill listener. The guys and gals who don't buy any music at all. They just want wallpaper sounds at the touch of a button.

But as I interrogate these hapless music newbies, I begin to realize they need a proper education, so I gently encourage them to at least seek out a single full album by the Beatles or Floyd, to appreciate the music as it was originally intended. To see what I'm talking about... and maybe get hooked on the idea of a self-contained package of songs... the album. 

Sure, many a song can be enjoyed as a standalone - on its own merit (radio programming has worked that route for decades), but within the context of the studio album, the power of the song is even greater in its connectedness to the tracks before and after it. Sgt. Pepper's Lonely Hearts Club Band, the album, is a magnificent creation that every so-called Beatles fan (and everyone else) should hear, if not own in some format (even digital). Don't just listen to the title track and leave it at that; there is so much more to the Sgt. Pepper experience when taken as a whole album. The same goes for the song If by Pink Floyd. A neat little tune off a very odd album (not one of my faves, but still of interest), Atom Heart Mother. By itself, If is fine, a snapshot of Floyd at that time. But play the entire album and you've got not just a snapshot but a movie.

To carry that movie analogy further, think of a song as a single character in a movie. Often, that's how a song operates anyway... it's an intimate look at a person or a relationship. In a nutshell. Listen to a full album from start to finish and you'll experience a series of musical stories or threads of stories that weave together to make a bigger impact as a whole than isolated chunks of that "movie" (like movie scenes, perhaps). There can be (should be!) meaning in a song, but whatever we get from it will be manyfold if taken with its accompanying musical companions, the songs that the artist arranged carefully in a sequence that tells some sort of story. 

Not every album is a concept album in the traditional sense (like a Yes or early Rush disc), but there is a flow and mood and pacing of the format that is undeniable. For example, if you've heard Tom Petty's Full Moon Fever album front to back, you know exactly what I mean. Never, ever have I put that CD on and skipped to a particular song. Then again, that album is so densely packed with amazing tracks that it's pretty much impossible to single out a best tune. What I'm saying is that Full Moon Fever was so perfectly constructed... every song in just the right place... that it plays like a continuing story (or movie, if you will), even if not every song links in an obvious way to the others. Lyrically, musically, thematically - however you see it, a mood is established and it twists and turns and alters as you work your way through the album. Listen to those songs out of order and it sounds kind of wrong, doesn't it?

And now I think it's time to check out today's new purchase, a 99-cent record from 1976 - in very good condition, a K-Tel collection of rock and pop gems. There's the ever-present gawdy album cover art - the requisite K-Tel brightly-coloured crazy design.There's some Guess Who, Abba, Ohio Players, BeeGees, War, and many others. I'm sure this album will see me through, too, as I hunker down in my bunker.