By: Robert Cavuoto
Judas Priest have outdone themselves with their 17th studio album; Redeemer of Souls.
Released on July 8, 2014, metalheads around the globe are already singing its praises.
And that’s no surprise. Priest have a well-earned reputation as the “Masters of Metal”. Billboard projects that they’ll likely sell more than 30,000 units in the United States in its first week of sales, resulting in the band’s first-ever Top 10 effort in the U.S.
This is great news for Priest and their avid fans, who have supported them for 40 years!
On the heels of their hot selling new CD the band has already announced a tour this Fall in the States with Steel Panther.
If you are wondering what to expect from Redeemer of Souls, think blazing riffs, memorable hooks, and tons of dual leads. Think aggressive raw guitar tones that explode through the speakers on such songs as “Hell and Back,” “Down in Flames,” and “Halls of Valhalla.”
With guitarist Richie Faulkner now in the fold, the band is fuel-injected with his writing and playing abilities. These are not recycled songs or unreleased tracks like so many big name bands are trying to do to recapture some of their lost popularity. Priest embraces their history and legacy and continue to fly the flag for new metal. They’ve gone to the woodshed on Redeemer and built its songs from the ground up – designed to be played live.
Comprised of Rob Halford [vocals], Glenn Tipton [guitar], Richie Faulkner [guitar], Ian Hill [bass], and Scott Travis [drums], the group is a force to be reckoned on this new molten release.
I had the pleasure of speaking with Glenn Tipton and Richie Faulkner live in New York to get their first hand view of the CD and the teamwork, dedication, and what the love of metal can produce – Redeemer of Souls!
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Robert Cavuoto: When you sit down to write new material for Priest, how do you evolve as a band yet stay true to Judas Priest’s history and legacy?
Glenn Tipton: We just sat down and wrote. We didn’t consciously try and do a Priest album, which is surprising. Neither of us knew how it was going to work out.
We knew that Richie blended in perfectly onstage, but we had no idea, how we were going to write together. It’s like a miracle. We carried on writing the way we always have; bringing in ideas and then joining them together. Priest songs just emerged one after the other. We wrote about 19 to 20 songs.
Robert: I’m assuming you brought that energy to writing and recording.
Richie Faulkner: It’s impossible for me to say, but from what I’ve heard from fans and the band, there seems to be some kind of renewed vigor. We didn’t consciously want to go back and revisit any time period in the band’s career. We just wanted to write from the heart – pure metal. The character of the band is so strong – the band’s never lost it over the last four years in my opinion.
Robert: I imagine that when you sit down to write for Priest, you have riffs stockpiled, was that the case?
Richie Faulkner: All those riffs that you developed as a teenager which you can’t play in your own band, because it sounds too much like Priest; now you can bring it all forward.
I listened to twin guitar bands like Priest, Sabbath, Thin Lizzie and Maiden for inspiration, to learn how write and convey emotion. I was learning how to write Priest songs long before I joined the band. So when I did join, it was a very natural process. The band came from progressive blues, and I’ve always been true to that music when I started playing guitar. So, it was a very natural meshing.
Robert: I understand that you didn’t consciously go out to write a typical Priest album or try to repeat yourself in any way, but was there any Priest album that was used as a template or a gauge?
Glenn Tipton: No, we didn’t consciously sit down and try and relate songs from the past. There are elements that are similar to other songs, but that’s where it ends. These songs stand alone in their own right, which is just the way we write. It’s the natural things that come out of us and makes up Judas Priest songs. We’re lucky that the formula works for us and is very recognizable.
Richie Faulkner: You can give 13 new tracks to 13 fans and they’ll all come up with, “Oh, that’s something from this era or that year.” And every one will be different.
It’s interesting to hear two people say different things about the same song and where it could be placed, or what it reminds them of in the band’s career.
Robert: What was it about the song “Redeemer of Souls” that made you choose it as the CD’s title, as there were so many great songs that could have worked equally as well?
Glenn Tipton: I think we all felt it was just very appropriate, the same way we did with Sad Wings of Destiny. It’s just got a ring about it that’s Priest. It could be good, bad or evil. You really don’t know, but you don’t want to be upsetting him! [Laughter]
Richie Faulkner: It could be an uplifting thing too, a redeemer of souls. It’s quite a positive statement to make whatever you’re trying to put it to.
If you’re redeemed and have any redeeming quality it’s a positive thing. Or is it? And it’s that question mark throughout Priest’s career, with songs like “The Sentinel” or “Sad Wings of Destiny”.
The artwork for this CD is thought provoking, as well. Who is he? Where did he come from? What does he represent? It just typifies Priest.
Robert: There are some blazingly tasteful leads on the CD. How do you determine who will take which lead?
Glenn Tipton: It’s a gut feeling, really. If Richie came up with an idea for a song, then normally he’d take the lead, or he’d take the first part of the lead break. It would show me the feel he has for it, so I could reflect on it if I’m answering him.
Neither of us is selfish. I want to play, but I’ll be quiet and let Richie play which is fine by me [Laughing]. So it’s just a sixth sense now, we already have what it takes some players a long time to get. We found that we work well together.
Robert: On stage you have great chemistry. Was there ever a concern about blending your unique styles for the new CD?
Glenn Tipton: Richie’s and my styles are different, but they blend well together, and that’s the secret.
If you’ve have two guitar players with exactly the same sound, you’re not going to get that stereo imaging going on. I usually have a little bit more to the bass. Richie’s probably got a little more bottom end in his sound. But, that’s great because he gives an overall stereo guitar effect greater depth.
Of course, Richie uses Les Pauls and Gibsons and I use Hamer, so there’s a changing tone there. But, it all just works and it did from the word go. It’s still very, very Priest-like.
Richie Faulkner: Growing up on Priest, knowing inherently what to do and when to do it. It’s an inherent thing. When there’s a solo coming up you’re firing ideas off at each other and trading licks.
If something is calling out for a double lead part or a trade-off part, it’s pretty organic. I’m very much a lead guitar player.
I’ve been in bands with twin lead guitar players, and have been weaned on that. I didn’t have to put a different hat when it came to writing or playing. And I think that’s the best way, if that’s who you are. It comes out easy. All of a sudden you’ve got 19 songs. It just melded together perfectly, I think, because of the background and the type of players we are and who we grew up listening too.
Robert: Priest is extremely famous for writing great and memorable riffs. On Redeemer of Souls it’s clearly evident. Is that a formula that the band has always stood for and do you feel that great riffs are a dying art?
Glenn Tipton: That’s because we’re proud to be a metal band, and a metal band is based around guitar riffs.
I think you’re right; a lot of bands don’t write in that way or feel it’s outdated to write like that. We don’t. We’re proud to do it, and that’s the way we’ve structured our songs.
A good riff doesn’t always mean it’s a great song, you know. You can have a great riff, and try as hard as you like to make a great song out of it and it doesn’t work.
On the other hand, you can have kind of a simple riff and know right away? Riffs aren’t the easiest things to come up with. Maybe that’s part of what people do now – they write songs, regardless of riffs and put core structures around them.
Richie Faulkner: I think radio greatly overplays vocal-heavy songs. It’s all about the vocal melodies, the singer, and having a 3 1/2 minute song.
As far as I’m concerned, we have this with the benefit of great riffs – the musical interest. You think the riffs are going to be used up, there’s going to be no more riffs [Laughter] but there’s always new ones, there all inspired by things around you and what’s gone on in the past. There are riffs on this CD that really excite me. Coming up with them was great as a creative team, then playing them on the record. We put some great work out and then put the vocals on top of it!
Robert: You mentioned you did 19 to 20 songs, what became of the left over tracks not on the bonus CD?
Glenn Tipton: There’s only one that didn’t make it. We sort of ran out of time; we were going to work on it, but we didn’t. It’s just a cool idea for a song.
Robert: I would love to hear the CD played live in its entirety, but I know that’s not feasible, as Maiden has done it in the past and the fans weren’t thrilled. What songs can we expect to hear live?
Glenn Tipton: That’s what we were saying earlier. We’d love to play it, but obviously, we still have to play some of the old Judas Priest classics. It’s a difficult decision. It’s the most difficult decision we have to come up with every tour cycle. In the next few days, maybe we’ll all put some suggestions together and try to get a rough set list together.
Richie Faulkner: We were talking about it last night over dinner. With all the songs on there – there’s no filler – so, they all lend themselves to a live arena. You could go out and play the album from start to finish, but with songs like “Hell Bent for Leather,” and “Living After Midnight” people would riot it you didn’t play them.
Glenn Tipton
Robert: People would rip out their seat cushions and throw them onto the stage. [Laughter]
Glenn Tipton: We won’t mention that! [Laughing].
Robert: A lot of bands like Van Halen and Aerosmith have revisited their early demos and unreleased songs and put together CDs. Have you ever thought of doing that with Judas Priest?
Glenn Tipton: Yes and no. I mean we haven’t got any unreleased material – we may have one or two ideas for songs. We used a lot up on the boxed set when we gave bonus tracks away.
But, there’s something to be said for leaving a song alone once you’ve done it. You could probably better it, but would it really be better? Because then the original production sound would have vanished.
Some people think, production-wise, the sound is awful from the early days while others love the production. They think it was intentional, which, in a way, I suppose it was. They love the sound that was recorded, mixed, put down, and pressed at the time. So I think there’s something to be said for leaving a song, alone. You can change it, and you might better it, but it won’t be the same.
Robert: I thought the guitar tone and raw attack on the songs were stellar, particularly; “Down in Flames.” What amps did you use?
Glenn Tipton: We used a lot of Engl amps, like the Ironball.
Richie Faulkner: We used our live rigs, as well, which are big 100-watt heads for different textures. We also used 15 and 30-watt heads and different combinations of those. Whatever it was, we went for a pure approach. It’s Glenn playing through an amp through a mike. There’s no over-embellishment.
Robert: No pedals to get that crushing sound?
Richie Faulkner: A little bit of Uni-Vibe Chorus. The sound comes through the amp through the mike from the player. We wanted to give it all unique-sounding guitar sounds. We wanted something that stood out, something that was inherent to Judas Priest, but unique sounding.
It was a pure approach, miked-up guitar and bass cabinets, miked-up drums and Rob screaming through the mike. That’s as pure as it gets!
Robert: As I mentioned to you through Twitter, my favorite song was “Crossfire”. Tell me a little about it and who is playing the wah wah pedal?
Glenn Tipton: Richie’s playing the wah wah pedal. That song was originally Richie’s idea. It’s great because it’s so blues oriented, but still very progressive. Whether it can make it into the live set, we’re not sure, but it would be a great song to play live.
Richie Faulkner: I’ve been on social networks, as you know, seeing a lot of attention to “Crossfire”. We released a few songs initially, and that one’s got a lot of attention with no press. So, it’s interesting to see, and there is a nod to the blues. There is a bit of wah-wah in it.
I think the wah can be overdone. I use it quite a lot but in different ways than some people. I use it like a voice rather than a go-to crutch to rescue a song. Michael Schenker is one of my biggest influences. He used to leave it on 99% to time, but that’s just creating a sound.
Robert: How do you stay in touch with the latest technologies and at the same time stay true to the integrity of what you’re trying to get across in your music and your style?
Glenn Tipton: You’ve got to be careful when you change equipment, because you think sometimes you’re improving your sound.
Through the years, you go back and listen to your guitar sound and it’s fucking great. You think you’ve progressed, but you don’t always; sometimes you can take a step backwards without realizing it.
It’s a strange thing. It’s the ultimate problem, particularly if you’re in different studios, or even the same studio re-miking the same amps two years later. Different songs need different qualities. You’ve got to get the sound from out of the studio and into the control room, and it’s the same old problem. It doesn’t always mean you walk into the studio and get a great guitar sound. It’s got to sound great in the control room and to get it from outside to the control room is sometimes very difficult.
Robert: Then to have it sound good on the CD and on the radio, as well as compressed into an MP3.
Glenn Tipton: Exactly. People play these songs on so many systems. Some make it sound better; some make it sound worse. You just have to hope their system makes it sound like what it should sound like.
Robert: Was there a secret weapon that you used for Redeemer of Souls?
Glenn Tipton: There is, but we can’t tell you, it’s a secret. [Laughter].
Not really, except we did do everything to try and make it sound live. Priest is a live band.
I’m not trying to say we went into the studio and played these songs and recorded them as we played them. There’s no programming; there’s no processing. If there is some processing, it’s very little. It’s just like overdubs, and layers, and little bits and pieces and highlights. And I think the secret was trying to get a very natural sounding album, rather than frills.
You can get too good a guitar sound that’s too smooth – doesn’t have that raw edge. Because that raw edge creates excitement. In the past we’ve been guilty of double-tracking each other on rhythm guitars, then saying, “You’re a little bit off there.”
You should leave it, because it makes the track sound bigger if they’re a little bit off. A few little bits and pieces that are wayward make the whole thing sound bigger and more natural, whereas they can sound too refined, too smooth, too spot-on and too artificial.
Robert: You’re taking Steel Panther out on the road as an opening act. How did that come about, and tell me what can we expect?
Glenn Tipton: It came about from the agents and promotions. They thought it was a good bill. They’re a tongue-in-cheek band. You either get them or you don’t. They’re good musicians, and we just think it will make a great show.
Richie Faulkner: They’re all great musicians. They have a joke and a laugh. It is what it is, but at the heart of it, they couldn’t do that if they weren’t good musicians. They might not be for everyone, but people who come down are going to want a great show and they’re going to get it – Steel Panther and the Priest.
Robert: You’re truly road warriors. What do you enjoy doing while on tour to break up the travel and down time?
Glenn Tipton: Just take a rest mainly. We usually have a good night. We’ll have a good meal and a glass of wine or a few beers – just take it easy. You need to keep your energy on the road, and, I think, get a good night’s sleep and not have to try and get up and travel 400 miles to the next gig. Just look after yourself a little bit. You need energy.
I used to play a lot of golf. I enjoyed it. I love the game, but I don’t play that often.
I like a bit of tennis; I like to fish too.
Richie Faulkner: We try to be semi-sensible; we always end up in some strip club somewhere. We go out for a bite to eat, but it escalates sometimes. . .
Glenn Tipton: Ignore everything I’ve just said. [Laughter]
Richie Faulkner: I also do a lot of writing on the road. I like to sometimes go back to my room and be creative. These days, you’ve got friends in each country. You can go and hang out, have a few drinks with them. It’s great to bring in some of the culture.
Also, I always go guitar hunting, especially in the states. Drop my bags off at the hotel, jump in a cab, or a bus, or a train or whatever and track down the local mom and pop guitar stores.
Glenn Tipton: He doesn’t even know how many guitars he’s got.
Richie Faulkner: I’ve lost count. It’s not really as easy as it should be, but I’m always tracking down Les Pauls, the ones that have been in a million bars and been abused by a million people. That’s what I look for. It’s like cheese; the smellier, the better. [Laughter]
Robert: Are you content with the public’s perception of Judas Priest’s place within Metal history?
Glenn Tipton: You can only go from what people say to you and most people will say Judas Priest has been an influence. That’s something that I’m very proud of. It means we’ve done something right. I love the songs; I love to play the songs. I’m proud to be in Priest and proud to be in a heavy metal band. I wouldn’t wish to be in any other band.
Glenn Tipton and Richie Faulkner
Robert: Richie how does it feel to be a major influence in carrying the flag for Priest’s legacy?
Richie Faulkner: As a fan of the band before joining, I’m very aware of that duty of keeping that flag flying for Priest. The band has had a 40-year career. The legacy of Judas Priest is going to be around a lot longer than 40 years. And if I can have any part in that, hopefully these songs will be around for the next 20, 40 or 50 years that I’ve been involved. If we can inspire, the next generation of Metalheads, then our job’s done. So I absolutely want to be a part of it.
Robert: What do you want Priest to be remembered for when you’ve played your last chord at the last concert?
Glenn Tipton: Personally, I’d just like to be remembered as a band that helped to inspire younger players, encouraging them to pick up a guitar. And that we were ambassadors for the cause of heavy metal and flew the flag and supported it for so many years.
Robert: Does it still seem real to you that you are a member of Judas Priest? Do you still have to pinch yourself?
Richie Faulkner: At certain times I do have to pinch myself. Other times you’re embroiled in the creative juice, but I think it helps to sit back sometimes to realize it. I’m very much aware of the duty and responsibility that I’ve got to uphold.
Robert: You’re doing a great job.
Glenn Tipton: He is doing a great job, and I’ll tell you why.
We could have got a hired gun. But that’s not what we wanted. We wanted a member of Judas Priest, and as soon as Richie walked into my house, it felt comfortable straight away with his personality. I’d never heard him play, and he’s gone on to escalate to his stage performance and writing ability. He is a member of the band; he’s not just someone who stepped in to do a job. He’s become a true member of Priest in a very short space of time, which is incredible.
Robert: I know you’re a big Star Wars fan, are there any plans to incorporate elements of the movie into your touring gear – like play a Millennium Falcon guitar?
Richie Faulkner: That’s interesting. I hadn’t thought of that until now. [Laughter].
I’ve seen a few Millennium Falcon guitars online. I don’t know how credible they are as instruments, or if they’re just novelties.
The picks I normally use have some sort of Storm Trooper or Star Wars reference. I’m actually working on some more picks now with a different Star Wars design. There might be more Star Wars related stuff, but definitely the picks.
