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P R O U D L Y P R E S E N T S
Rel. date: 08.27.2014
Artist: Judas Priest
Album: Hell Bent For Leather
Label: Columbia
Catalog Nr: CK 35706
Language: English
Genre: Rock
Source: CDDA
Size: 229.46 MB
URL: T R A C K L i S T
01. Delivering The Goods 04:17
02. Rock Forever 03:20
03. Evening Star 04:05
04. Hell Bent For Leather 02:40
05. Take On The World 03:02
06. Burnin' Up 04:00
07. The Green Manalishi 03:22
08. Killing Machine 03:02
09. Running Wild 02:58
10. Before The Dawn 03:22
11. Evil Fantasies 04:14
38:22
38:22 min
229.46 MB
R E L E A S E i N F O R M A T i O N
Killing Machine (also known as Hell Bent for Leather) is the fifth
studio album by British heavy metal band Judas Priest. With its
release in October 1978, the album pushed the band towards a more
commercial style; however, it still contained the dark lyrical
themes of their previous albums. At about the same time, the band
members adopted their now-famous "leather-and-studs" image
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
Original Press
G R E E T i N G S
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