\u201cNostradamus, The Man the Myth and The Music\u201d<\/strong><\/a> article in Steel Mill around the time of the record\u2019s release. To note, not many similar albums have seen the light of day after Priest unleashed this opus. Some might say the well of Nostradamus had ran dry, but with so many power and progressive metal bands heading down the path of epic concept albums, this theme was bound to suffer inflation.<\/p>\nNot only deciding to go for story telling route, Priest wrote and recorded enough material for a double album, for the second time in their career. However, for the first time they released the results as such. Recordings took place throughout 2007 and early 2008 and ran mostly smoothly as the group had eased in again with their definitive line-up. K.K. Downing<\/strong> and Glenn Tipton<\/strong> dug out their synthesizer guitars for the first time since Twin Turbos -sessions over two decades prior. Keyboards also played prominent role, with Deep Purple<\/strong>\u2019s Don Airey<\/strong> supplementing keys and orchestral arrangements. Pete Whitfield<\/strong> mixed real strings to the sound palette, which greatly added to dynamic essence of music. Downing and Tipton also produced the album themselves with \u201cPainkiller<\/strong>\u201d\u2019s mixer Attie Bauw<\/strong> once again handling the final sonic tweaks in Amsterdam.<\/p>\nThe album reached far back in Priest catalogue and not unlike 2005\u00b4s \u201cAngel Of Retribution\u201d<\/strong> pulled influences from all previous decades, mostly from 1970\u2019s with strong echoes of \u201cSad Wings Of Destiny\u201d<\/strong> and \u201cSin After Sin\u201d<\/strong> spread throughout. This didn\u2019t sit well with many late-coming Priest fans who thought the band started and ended with \u201cPainkiller\u201d. For that metal genre, Priest\u2019s 1990 record defined an era and for band to try replicate it 18 years after the fact would have been pointless, not to mention certainly bound for failure. Instead they brought in subtle influences of 1986\u2019s \u201cTurbo\u201d,<\/strong> epic grandiose of 1988\u2019s \u201cRam It Down\u201d<\/strong> and with \u201cDeath\u201d<\/strong> and \u201cWar\u201d<\/strong> there were shades of bands late 1990\u2019s heavier output. Title track recalled \u201cPainkiller\u201d in its classic fury and with \u201cLost Love\u201d<\/strong> and it\u2019s obvious 1970\u2019s influenced folk music Priest went almost to the other end of spectrum, sounding not too far from Ritchie Blackmore<\/strong>\u2019s 21th century renaissance project Blackmore\u2019s Night.<\/strong><\/p>\n
Rob Halford<\/strong>\u2019s deeper vocals and core trio Tipton\/Halford\/Downing\u2019s song writing however, lent itself well to amalgam of 1970\u2019s and 2000\u2019s influences. Rob even sang in Italian during the song \u201cPestilence And Plague\u201d<\/strong> and also spoke French. This is not as unusual as one might first think, with vocalist having drawn inspiration from opera and Luciano Pavarotti<\/strong> in particular.<\/p>\nThe epic tale of Nostradamus and orchestral overtones made the record a timeless venture, as always Priest set trends as opposed to following them. In 2008 even with progressive metal albums on the rise, there was virtually nothing out there resembling Nostradamus\u2019 musical output. Tipton and Downing produced the album and as opposed to industrial tinged and over crammed metal that was dominating the air waves in 2008, sonically \u201cNostradamus\u201d breathed more freely.<\/p>\n
The track which we are dissecting here comes third on the second disc of the CD version. \u201cAlone\u201d<\/strong> originated from an earlier writing session by K.K. Downing and was possibly one of the contenders for \u201cAngel Of Retribution\u201d -album, In retrospect it is slightly easier to understand it having been discarded at the time, as the arrangement is more melodic than anything on the 2005 album. However, for \u201cNostradamus\u201d, its classic aura was a perfect fit. Like many other tracks on the album \u201cAlone\u201d displays breath taking excellence in creating various mood shifts, dynamics in arrangement and individual performances. These become more obvious only after repeated listening. It seems clear the band spent considerable amount of time fine-tuning the material towards its final shape.<\/p>\n\u201cAlone\u201d stands very much in its own two feet with nothing else in vast Judas Priest back catalogue to compare it to. There are shades of 1970\u2019s Priest output as well as on several other tracks on \u201cNostradamus\u201d but the main arrangement is eerie in a way the band had never attempted before.<\/p>\n
Unlike several other songs on the record, it is not preceded by a mood creating intro, beginning right after slower and darker \u201cExiled\u201d.<\/strong> The song is introduced by string of guitar notes and quietly strengthening background effects. This sets the scene reaching for epic and desolate landscapes. Use of echo adds to atmosphere. At 0:36 K.K. joins in with quiet solo work, long-stretched notes reminding of seagulls crying out on a misty beach at the break of dawn.<\/p>\nKeyboards glide in gracefully straight from beginning, remaining in presence for most of the song. Most assumed Priest had brought in a string section or at least a full orchestra but in fact it was all done by Don Airey on keyboards plus K.K. and Glenn utilizing their trusted guitar synthesizers.<\/p>\n
Rob begins singing using his by now very impressive low register. Keyboards take more prominent role while another acoustic guitar takes over as first chorus begins. Bass is also introduced at 1:10, overall sound is considerably louder than anything that has come across before, making listener tune in to what the singer is saying. This is another example of 35 years of recording mastery, fine-tuning a craft that is not conscious, yet moves listener in a very conscious way. It is attaching sentiments, thoughts and memories into notes. The song is not only telling a story, it is declaring emotion.<\/p>\n
Drums kick in with restrained force at 1:36 and bass playing is more than revolutionary here with Ian Hill\u2019<\/strong>s playing at forefront. More metal sounding guitar work is introduced after this, there\u2019s a noticeable Zakk Wylde<\/strong> -inspired lick repeated for example at 1:39 and a minute later. There are even shades of Priest\u2019s \u201cJugulator\u201d<\/strong> -era here, although these come forward more prominently during the album closer \u201cFuture Of Mankind\u201d<\/strong>.<\/p>\nChorus contains some interesting shred-like guitar playing and here with drums, Scott Travis<\/strong> again demonstrates his ability for interesting fills. Otherwise song\u2019s tempo and backbone are relatively straightforward. There is a great pulse-like quality in rhyming of words and vocals. Music supports the drive perfectly. Note the switch in tempo as Rob wails high-pitched \u201cLeft alone!\u201d.<\/em> At this point mood clearly changes with a threat of violence emerging.<\/p>\nSecond chorus implements new background voices which lift the song into operatic spheres. There is a constant flow in arrangement, each part following another seamlessly. Bridge has Rob moving into angrier character. He sounds increasingly menacing on \u201cdarkness falls on judgement day\u201d.<\/em> Once again pay attention how music shifts beneath him affirming tighter grip on things. Halford\u2019s vocals are also double tracked which further adds tension and draws listener in, speed is increasing but song has no trouble back pedalling when needed.<\/p>\nAscension from bridge to lead break lasts merely three seconds but it is impressive, you can almost hear the musical gears switching again. Guitar solo by Glenn follows from 4:00 onwards and is divided into two parts, first one offering more traditional work for 15 seconds before backing down. Keyboards provide transition to second part which lasts roughly until 4:50, after this noticeably loud clear guitar strumming takes over.<\/p>\n
During the second part of solo, lead guitar is kept unusually low in the mix but is given its own character once again. At 4:43 notes retort back crying out in some unfathomable pain. Ian\u2019s bass on the other hand, is again very prominent here. Overall solo makes listener anxious and keeps him\/her on the edge before more familiar sounds of verses and choruses pull faithful back from the brink. Although guitar feedback here lasts for only 20 seconds, it carries definite resonance. More than clear reference to 1977\u2019s \u201cSin After Sin\u201d and its most famous track \u201cSinner\u201d<\/strong> in particular.<\/p>\nAs we return to last verses there is a change in atmosphere again. Rob\u2019s vocals during third verse differ from two previous ones with him now clearly straining with emotion. Choir of masses give impression of gigantic howls at 5:50. Towards the end Halford again unleashes several impressive shouts of \u201cAlone!\u201d,<\/em> last one six seconds long. He rarely uses his legendary higher register on \u201cNostradamus\u201d but when he does, listener instantly pays more attention. Vocal arrangement is nothing short of exceptional for this track.<\/p>\nFor outro at 6:54 another solo passage follows featuring K.K. ripping away with his classic lead style, this adds to distressed atmosphere and outlook of the character who seems to be in agony and confusion throughout, with subtle and growing tension gradually building towards song\u2019s conclusion. During solo we can hear K.K. utilize bends and whammy bar, this lead sits somewhere in between two previous ones. It\u2019s not as loud or as disturbing but somehow strikingly violent in delivery.<\/p>\nKevin Winter\/Getty Images<\/figcaption><\/figure>\nAfter this final lead break \u201cAlone\u201d ends in quiet keyboard passage repeating the chorus melody and quickly fading out. K.K.\u2019s soloing also gradually fades out along with keyboards like stormy clouds before calm. This creates haunting effect. Echoes of main character repeating his sentiment keep on ringing out until softly morphing into keyboard-led intro piece \u201cShadows In The Flame\u201d.<\/strong> Following track \u201cVisions\u201d<\/strong> is the most \u201cTurbo\u201d-sounding number on the record and also most commercially accessible backed with instantly hooking guitar riff. Released as single, it didn\u2019t generate huge stir in the charts but along with title track got a Grammy nomination.<\/p>\nWhile the actual award went to Metallica<\/strong>\u2019s \u201cMy Apocalypse\u201d,<\/strong> nomination was a major signpost on general public acknowledging work and achievements of often neglected heavy metal pioneer. Priest of course had nagged a Grammy nomination before with ground-breaking \u201cPainkiller\u201d, but their status as living legends was only established firmly after Rob Halford\u2019s return to the band. And in 2010 the band finally secured first prize with their live rendition of \u201cDissident Aggressor\u201d<\/strong> from \u201cA Touch Of Evil Live\u201d<\/strong> -album.<\/p>\nK.K. Downing commented the \u201cAlone\u2019s\u201d background and style in his recent Heavy Duty<\/em> -biography:<\/p>\nThe basis of \u201cAlone\u201d was an idea that I\u2019d put forward for \u201cAngel Of Retribution\u201d, but for some reason it didn\u2019t fly at the time. I never really knew why. When I reworked and reintroduced it under these entirely new circumstances, it fit in perfectly with what we were trying to do. The music spoke one word to me: \u201cvoid\u201d. And that tied perfectly with the song title, \u201cAlone\u201d.<\/p><\/blockquote>\n
Main character in the song certainly reflects the described void, it almost being the essence of his soul. Music backs this with funeral-like fatalism in its delivery. The song is one of the lengthiest in the record, almost stretching out to eight minutes. Yet it works with parts and emotions bouncing off each other creating a gripping arrangement which gradually builds to its natural conclusion.<\/p>\n
Lyrics are told from we- and us-perspective. They originate from someone clearly being oppressed and under pressure to flog with the masses. Theme is familiar from every Judas Priest -album and no doubt stemmed from their hard-edged industrial background in Birmingham. Some of the records like \u201cTurbo\u201d and \u201cRam It Down\u201d<\/strong> were more subdued in relaying the message but with \u201cAngel Of Retribution\u201d the autobiographical approach returned in more direct fashion with songs like \u201cDeal With The Devil\u201d<\/strong> and \u201cWorth Fighting For\u201d<\/strong>. \u201cNostradamus\u201d while obviously telling the tale of a legendary prophet, carried similar resonances.<\/p>\nThis setting is made obvious right from the first line \u201cthey say we are fools\u201d.<\/em> Rob sings his voice just slightly cracking, giving a palpable sense of sadness, bitterness and betrayal. As the song progresses, he moves more into character and the defiant attitude and frustration are taking more space, chorus has him backed by choir of supporters in \u201cwe just wanna be left alone!<\/em>\u201d<\/p>\nThose in control are criticizing the ways of the oppressed in \u201cwe lost our way\u201d<\/em> and later see Nostradamus replying: \u201cwe chose our course\u201d<\/em>. The defiant stature of the seer is made obvious with \u201cenduring in a rage we got strong\u201d.<\/p>\nYet there also is constant sense of tragedy and sadness erupting through, as if protagonist is giving almost martyr-hinged descriptions of his path. \u201cRunning from the blaze<\/em>\u201d refers to tragedies behind him while \u201cYou\u2019ll hear my name, on judgement day\u201d<\/em> speaks of those ahead.<\/p>\n
In the bridge Nostradamus speaks of future and his name outliving most of his opponents, which turned out to be true. Towards the end a warning for judgement day is issued. Rob sings these ending lines with increasing frustration, displaying a sense of fragile desperation at the same time. Here it\u2019s not the hell-bent for anger- fighter in 1980\u2019s \u201cBreaking The Law\u201d<\/strong> and \u201cGrinder\u201d,<\/strong> but somehow the even younger man from earlier \u201cHere Come The Tears\u201d<\/strong> and the desolation of innocence in \u201cDying To Meet You\u201d<\/strong>.<\/p>\nProtagonist reacts as is expected with shame, but is he referring to shame of the oppressed or the identity being ashamed of itself? This question has been asked before on Priest songs and tales, once again we are left with listener drawing his or her own conclusions and parallels with vague answer at best: You\u2019re to blame.<\/em><\/p>\nLegacy<\/h2>\n Nostradamus and indeed the whole era surrounding him have been a fertile ground for heavy metal music to explore and draw inspiration. Bands like Iron Maiden<\/strong> have based their whole career on writing about historical characters, battles and events. Judas Priest on the other hand have in their almost 50 year career created several classic stories and figures of their own but occasionally delved into actual history on songs like \u201cLoch Ness,\u201d \u201cThe Ripper\u201d<\/strong> and \u201cSavage.\u201d<\/strong><\/p>\nPriest\u2019s \u201cNostradamus\u201d was a full double album featuring over 100 minutes of music chronicling the famous prophet\u2019s life and adventures. A monumental project two years in the making, this promised to be group\u2019s most effective record to date. The subject matter was relatively easy to adapt to a modern society and was close enough to previous themes explored by Priest on their earlier albums.<\/p>\n
As Rob Halford stated in interview:<\/p>\n
On a human level, he went through a lot of things that we can all relate to. He had acceptance and rejection. A lot of people didn\u2019t like what he did much in the same way some people don\u2019t like metal. He was banished into exile and he lost his wife and children to the plague. A lot of terrible things happened to him. We thought it was important to get that human part of the story and still have a great time with the prophecies like the Four Horsemen and Death.<\/p><\/blockquote>\n
There had been few attempts to picture Nostradamus\u2019 life and prophecies sonically before. First in line – although not very well known in the heavy rock genre – is \u201cNostradamus \u2013 A Rock Opera\u201d<\/strong> album by Bulgarian guitarist Nikolo Kotzev.<\/strong> This record mostly combines melodic hard rock with lush orchestrations. Musical highlights are \u201cDesecration\u201d<\/strong> and \u201cIntroduction\u201d<\/strong> where soaring vocals and choirs create an interesting and powerful counterpoint.<\/p>\n
The main problem with this CD is the mish mash of different vocalists each excellent on their own but in this writer\u2019s opinion do not cohesively work as characters in an opera piece. Most obvious example is Glenn Hughes<\/strong>. His talent and achievements as soul\/hard rock vocalist are unquestionable, but as King Henri II he simply isn\u2019t very convincing. Technically faultless but you won\u2019t have a picture of a sixteenth century ruler in your head. Of course, this view is entirely subjective.<\/p>\nThe best performance purely from a story telling point is probably delivered by a Swedish singer G\u00f6ran Edman<\/strong>. He sounds like a man from that era hundreds of years ago, which is exactly as it should be. A fine work also comes by courtesy of Jorn Lande<\/strong> who has sang on numerous albums and has the gift of adapting himself to any situation. Still Kotzev\u2019s work on the ensemble – a 35-piece orchestra and writing the arrangements should be rightfully commended.<\/p>\nKotzev mostly emphasises Nostradamus\u2019 life although takes few stabs at his predictions for World War I & II, interestingly he places the end of the world at 3797 as originally written down. Nowadays most writers use 7000 A.D. but like said before there is just no way of knowing this for sure. Not much attention is given to forthcoming events, it is worth to note that Kotzev\u2019s work was released in the spring of 2001, mere months before the WTC-attack took place.<\/p>\n
There are other musical chapters in the story of Nostradamus worth mentioning. Thin Lizzy<\/strong>\u2019s 1981 LP \u201cRenegade\u201d<\/strong> featured a mention of the prophet in impressive opening cut \u201cAngel Of Death.\u201d<\/strong> The American shock rockers W.A.S.P.<\/strong> delivered a line of abovementioned Nostradamus\u2019 prophecy of Hitler<\/strong> in bleak \u201cUnholy Terror.\u201d<\/strong> The song in which it appears, \u201cCharisma\u201d<\/strong> is one of that album\u2019s highlights.<\/p>\nAnother shock artist Marilyn Manson<\/strong> himself told his 1996 album \u201cAntichrist Superstar\u201d<\/strong> was in fact based on Nostradamus\u2019 prediction of the third Anti-Christ. Germany\u2019s Helloween<\/strong> on the other hand released \u201cTime Of The Oath\u201d<\/strong> in the same year, the excellent title track draws inspiration from a great world war Nostradamus (according to some) predicted to take place between 1994-2000.<\/p>\nFinnish power metal group Stratovarius<\/strong> released arguably their most accomplished album \u201cVisions\u201d<\/strong> in 1997. The epic title track which concludes the record is solely based on Nostradamus\u2019 predictions from Centuries with lines lifted straight from his original text \u2013 translated into English naturally. Track focuses on the end of the world, which Nostradamus in parts described very similarly to the Book of Revelations. You have to remember that during the 16th century organized religion held everyone firmly in their grasp, it was the ultimate state of rules. Most of the people viewed the end of days as fire and brimstone, seven angels, seven trumpets and a cross on the door for those who wished for afterlife. Had Nostradamus lived few hundred years later, his visions might have been somewhat bleaker still.<\/p>\nAnd there is even a band called Nostradameus<\/strong> (notice the clever add of one letter, no doubt to avoid possible copyright issues) hailing from Sweden, with plenty of power metal sounds incorporated.<\/p>\nRob Halford explaining the enormous potential behind the life story and surroundings of Nostradamus upon records release:<\/p>\n
We have this man who was an alchemist and who lived in a magical time with all the swords and shields. Depending on where your heart is at, you can say it is clich\u00e9, but it is just a perception. We feel metal fans embrace this time period of five hundred years ago, Medieval Europe. There were a lot of magical things that were happening at that time. It was a very metal time and he is a metal man. You couldn\u2019t really do that with many people who have lived through history. There is a very small number of individuals who have maintained that kind of connection to the modern world. It is a brilliant opportunity to cover his life.<\/p><\/blockquote>\n
Around the time of \u201cNostradamus\u2019s\u201d release Priest spoke openly about the possibility of playing the whole record live from start to finish. Plans were made to stage the whole event in select theatres of the world, with the obvious option of a DVD release to follow. For reasons never fully revealed this didn\u2019t take place and a regular world tour got underway although Priest talked about following it with full production later. This could have included an orchestra, multiple singers and an impressive stage set. Of course, this would even with only a handful of dates, be a massive undertaking. But no doubt, with Rob Halford having a theatre background and always adapting this into his performance, would have excelled in his role. Halford himself talked positively about the possibility and shortly after tour kicked off said Priest \u201cwere probably going to do it\u201d next year.<\/p>\n
Glenn Tipton was more reserved, stating the whole thing depended on how the album was received:<\/p>\n
In this day and age when attention spans are so low, we\u2019ve dared to make a genuine album one that you have to listen to from start to finish \u2013 you can\u2019t just dip in and out, otherwise you miss the subtlety and depth present throughout. Some made snap judgements when the only way to listen to it is in its entirety.<\/p><\/blockquote>\n
K.K. stated later in his biography that the group \u201cproscrinated\u201d and hints at Priest simply lacking courage to challenge themselves, opting instead to go a safer route playing greatest hits -set with some rarities like \u201cEat Me Alive\u201d<\/strong> and \u201cDissident Aggressor\u201d added.<\/p>\n
World tour kicked off in Helsinki, Finland early June 2008, at the time the album was yet to be released and thus understandably the first concert only featured couple of excerpts from the record. This first leg morphed into a full world tour with pretty much the same set list until concluding in March 2009. Nostradamus was only referred in Rob dressing as monk and singing \u201cDeath\u201d from a throne, this hinted at possibilities of a previously mentioned full theatre production.<\/p>\n
As it was, Priest never played \u201cAlone\u201d live. \u201cNostradamus\u201d got presented by two key tracks, \u201cThe Prophecy\u201d<\/strong> fittingly kicked off the shows and slower, menacing \u201cDeath\u201d was also featured. By summer 2009 the band changed theme of the tour to celebrate \u201cBritish Steel\u2019s\u201d<\/strong> 30th anniversary. \u201cThe Prophecy\u201d remained through this trek as well as Epitaph 2011-2012 tour.<\/p>\nDuring and after tour, Priest issued two live packages – \u201cA Touch Of Evil: Live\u201d in 2009 and \u201cBritish Steel Live\u201d<\/strong> a year later. \u201cA Touch Of Evil: Live\u201d marked the first audio live recordings since Rob Halford\u2019s return. It was essentially a selection of various cuts from 2005 and 2008 world tours. \u201cBritish Steel Live\u201d was recorded in Florida during August 2009, two months to a day before K.K. Downing\u2019s final show with Judas Priest. The concert featured the whole \u201cBritish Steel\u201d album plus selected Priest classics. On DVD \u201cThe Prophecy\u201d was featured from \u201cNostradamus\u201d \u2013 although due to time constraints the one song left on the cutting room floor for audio disc. After 2012 no \u201cNostradamus\u201d songs have been played live, to our knowledge by anyone. If you know any tribute bands presenting the songs or the album in its entirety, be in touch!<\/p>\nDespite some praising reviews, \u201cNostradamus\u201d was largely misunderstood in the public. Over ten years after its release, the band rarely mention it and for rest the fans and critics, most that do, refer to it as another epic failure. It was also the last Priest studio album K.K. Downing would play on.<\/p>\n
Even at the time of its release, many predicted the track \u201cAlone\u201d and the album \u201cNostradamus\u201d would find their rightful place in the heavy metal history only after several years or even decades would come to pass. In 2019 \u201cAlone\u2019s\u201d echoes seem to carry even more resonance, while Judas Priest continue to soldier on, this prophecy is still awaiting its conclusion.<\/p>\n
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