Review Summary: The last Judas Priest album you need to hear.
After the release of
Ram It Down, Judas Priest were in a crisis. They had been recording for about a decade and a half and it seemed that they were worn out. Effectively, it looked like metal now belonged to a new generation, and the band was starting to look like a thing of the past. Keen on proving that they still had it in them, they released
Painkiller.
Painkiller seems like an attempt to return to the band’s classic 70’s era. The band certainly sounds more metallic on here than they do on everything done from
Hell Bent For Leather/Killing Machine to
Ram It Down.
Granted,
Ram It Down had quite a metallic edge to it, but this album went even further.
The key change was on drums: Scott Travis replaced John Holland, who had served on more Priest studio albums than any other drummer up to that time (a grand total of 5). Travis would go on to equal Holland’s record, albeit in a poorer fashion, since every album after
Painkiller with the arguable exception of
Angel of Retribution pretty much sucked. More importantly, Travis brought to the table a loud and fast style that suited the new album’s direction. Although it’s the reviewer’s opinion that Travis is a tad overrated, particularly when compared to the likes of Les Binks and Simon Phillips, he nevertheless demonstrates some chops on here.
The opening title track begins with a nice drum solo which leads into the main riff. Once Halford begins singing, we know that this is a very different Priest album. The falsettos, the blistering guitar leads, the fast drumming, etc., are all in contrast to the more moderate tendencies found in earlier records. Also of note is that this is a concept album, themed around an imaginary apocalypse.
As the record progresses, it feels consistent enough to hold the listener’s attention up to the end. Akin to a merciless beating on a boxing ring,
Painkiller delivers a pummeling that should please many a metal fan. The one break in this drama is “A Touch Of Evil”, which has a slower pace but still feels suited to the album it’s in.
What’s good about this album is how consistent it is. With the exception of one track, every song works well enough. Also, the musicianship is very good, with pleasing guitar solos being a major highlight. As mentioned earlier, Travis’s drumming is very fast and has a major role on the album; even if he’s no virtuoso, he manages to deliver a very good performance. And Halford’s does an impressive job on vocals, even if they feel overdone at times.
But there are flaws. Firstly, this album doesn’t really have the spark of the 70’s classics. It certainly might feel like an attempt to relive that era, but just doesn’t get there. Second, the riffs are mostly forgettable and lack distinctive elements. Thirdly, with the exception of “A Touch of Evil” all of the songs follow a similar trend: loud, fast and apocalyptic-ish. While some might not have an issue with this, others might eventually get bored with such a formula. Also, the track “All Guns Blazing” feels a bit unnecessary on the record; and Halford’s falsettos may prove annoying for some.
All in all, the band deserves credit for putting so much effort into this album. No matter how much some can find to criticize about it, it is still the fruit of hard labor. Plus, when taking into consideration how lackluster they’ve been ever since, then we come to realize that this is it: their last “need-to-hear” album, their last truly worthy album, the last album on which they cared to make kickass metal. Looking for a masterpiece? Jam
Sad Wings of Destiny.
