When we last left the history of Judas Priest, the band had just released their 1974 debut album, Rocka Rolla on Gull Records. However, upon its release, the album was a flop, garnering negative reviews. In dire financial straits, the band requested a monthly payment of £50, which equates to £676.42 in 2026. Facing their own financial challenges at the time, Gull declined the request.
Though the reasons are disputed, depending on who you ask, John Hinch would leave the band in 1975. The most commonly agreed upon reasoning was that the other members were looking for a drummer who could match their evolving energy of music. Further, he had musical differences and personal conflicts, particularly with guitarist Glenn Tipton. Alan Moore, who had previously joined and quit in 1972, would return to the band to replace him.
With finances tight, the guy restricted themselves to one meal per day and even took part time jobs while recording their second album, 1976's Sad Wings Of Destiny. Though the band would embark on a tour of the UK in support of its release, the album would struggle, being overshadowed by the emerging punk rock spreading across the county.
Continued tight finances at Gull frustrated the band, leading to Moore quitting again, this time permanently. Fortunately, Sad Wings Of Destiny had caught the attention of CBS Records. With the help of new manager, David Hemmings, Judas Priest signed to the label, finally receiving a significant budget to record with. Unfortunately, the split from Gull required them to forfeit their rights to their two previous albums, including all demos.
Judas Priest would release their major label debut, 1977's Sin After Sin. However, without Moore, who actually quit during the initial recording sessions, Simon Phillips was brought in, who recorded all the songs which appeared on the album. While they offered him the position permanently, he would decline, resulting in Les Binks taking the role.
Both Stained Class and Killing Machine would be released in 1978, the latter receiving a title change to Hell Bent For Leather in the USA and released in 1979. Their three albums under CBS would not only chart in the UK, but become certified gold. Further, their latter two albums would also chart in the USA on the Billboard 200. It would be around this time that the band would also adopt their leather and studs image.
1979's Unleashed In The East would be the bands first of many live albums, and their first to go platinum. However, the album itself would be criticized for its studio overdubbing and enhancements. However, what would come from it would be the retooling of previous studio tracks to their faster and heavier live sound, which became more popular versions among fans.
At the time Les Binks was already feeling underappreciated for his contributions to the band, and more or less didn't feel like a full member of the band. Coupled with management suggesting he forego his fees for the Unleashed In The East album, he quit. He would be replaced by former Trapeze drummer, Dave Holland. The lineup of Rob Halford, K.K. Downing, Glenn Tipton, Ian Hill, and Dave Holland would go on to record six studio, and one live album between 1980 and 1988.
Among those releases was 1984's Defenders Of The Faith. For those of you keeping up with my listening sessions, you may be aware that Judas Priest kind of surprised me, and have become a band I'd call myself a fan of. While I've yet to hear an album that I'd consider perfect, what I haven't heard is anything I'd call bad.
Defenders Of The Faith delivers another solid entry in the Priest discography. While I knew nothing from it going in, standouts for me were Jawbreaker, Rock Hard Rock Free, The Sentinel, Love Bites, Eat Me Alive, and Night Comes Down. Not bad for an album I randomly picked up at a used CD shop.
What surprises me most of all is how excited I still am to go from album to album. Typically, when I've tackled an entire era discography of an artist, the music has its ups and downs, but even when good, leads to a bit of fatigue and burnout. I've yet to reach that point with them. I'm just as thrilled to hear tomorrow's album, 1986's Turbo as I was to hear todays, and all the ones that preceded it.
Beyond that, I've not much to say.
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