Origins<\/h2>\n
THROUGH late 1980\u2019s, a wind of change blew across the field of metal. And we are not talking about the Scorpions<\/strong>-hit which followed couple of years later. The era of hair metal bands was all but over. The sound which Judas Priest<\/strong> embraced and ran home so brilliantly with \u201cTurbo\u201d,<\/strong> was all but completely gone out and much heavier, grittier, and technical style led by Metallica<\/strong>, Slayer<\/strong> and Testament<\/strong> had taken over. Death metal was taking its first steps, invading underground scene as it marched on. Grunge was just around the corner and would revolutionize metal within few years\u2019 time span. Traditional metal bands were viewed as dinosaurs, which today seems weird as these groups were in their mid-forties. Time seemed to run differently and one year was significantly longer back then.<\/p>\n Judas Priest\u2019s \u201cRam It Down\u201d<\/strong> was recorded in Denmark at Puk studios. It was the last Priest studio album Tom Allom<\/strong> produced, ending nearly a decade of stellar metal mastery. When the band emigrated to Denmark, they faced a new situation, as they had half of the album in the can already. \u201cTwin Turbos\u201d<\/em> recorded in 1985 and 1986, was a planned double album which never happened. Originally this was envisioned to be an even mix of lighter, pop influenced music and metal. Most of the heavier, traditional sounding Priest material was held over and first planned for bonus cuts on the \u201cPriest..Live<\/strong>\u201d in 1987. This never materialized, in hindsight luckily, as live album worked perfectly as an entity.<\/p>\n The band had four heavier tracks ready to go, namely \u201cLove You To Death\u201d, \u201cHard As Iron\u201d, \u201cMonsters Of Rock\u201d <\/strong>and \u201cRam It Down\u201d. <\/strong>Some of the other songs like \u201cAll Fired Up\u201d <\/strong>and \u201cRed, White & Blue\u201d<\/strong> were sounding much closer to \u201cTurbo\u201d so they remained in the shelf. The band also wrote few new songs, which wasn\u2019t an easy task since they were trying now to create cohesive record around three-year-old material. In the end the band left final decision for the label.<\/p>\n Both Rob Halford<\/strong> and Glenn Tipton<\/strong> mentioned during interviews that they had no idea what was going to make the final cut. Glenn questioned the inclusion of “Love You To Death”, while assuming “Red, White & Blue” was a shoe-in, yet the exact opposite took place.<\/p>\n Rob told Metal Hammer about an epic titled “My Design<\/strong>” that’s “like a ride into the depths of hell”,<\/em> yet it never appeared; and other new songs held back included the atmospheric power ballad “Fire Burns Below”<\/strong> and the octane-charged “Thunder Road”<\/strong>, which bore a similar arrangement to parts of “Johnny B. Goode”,<\/strong> due to the fact that the riff was written for the new song before the film opportunity became known. But only one line from “Thunder Road” survived in the bridge to “I’m A Rocker”<\/strong>, as the label opted for Chuck Berry<\/strong> -cover instead, due to its potential to become a single.<\/p>\n CBS preferred the \u201cTurbo\u201d -remakes over some of the new material. Later these songs were somewhat misplaced on \u201cStained Class\u201d<\/strong> and \u201cPoint Of Entry\u201d<\/strong> -remasters, as they clearly resonated with late 1980\u2019s era of Judas Priest. The decision to cut melodic \u201cThunder Road\u201d in retrospect was right. In many ways the song is like \u201cLove Zone\u201d<\/strong> which did make the \u201cRam It Down\u201d -track list and today sounds somewhat out of place with its mid-1980\u2019s heavy rock riff and vibe. \u201cFire Burns Below\u201d on the other hand, was clearly unfinished arrangement, a slightly cheesy love song with programmed drums.<\/p>\n The album for a while had working title of \u201cMonsters Of Rock\u201d but this was perhaps wisely seen as too much of a cliched choice, with also a festival of the same name being very popular at the time. Eventually record\u2019s fastest and fiercest track, \u201cRam It Down\u201d with statement like -cover was chosen to represent the album. Title track was also released as promo single, while hardly being a commercial tune.<\/p>\n Decision to go back to heavy metal was very conscious and Halford confirmed this in an interview after album\u2019s release:<\/p>\n We all agreed that we just wanted to make a down and out heavy metal, hardcore record. With that attitude in mind, that\u2019s what we went about to proceed to do and I think, to a degree, yes, it\u2019s certainly the heaviest thing we\u2019ve done in recent years and we\u2019re very, very happy with it.<\/p><\/blockquote>\n The band was also very open on listening to what fans where requesting instead of pushing towards completely new direction, the backlash of \u201cTurbo\u201d causing demands for Priest to be Priest, ironically sometimes forgetting Priest was about versatility and not simply being heavy for the sake of being heavy.<\/p>\n Most of the \u201cTwin Turbos\u201d -material either from the original sessions in 1986 or new cuts for \u201cRam It Down\u201d were later released on Priest remasters, with only couple of songs remaining in the vaults as we speak. Adding to the material Priest had in the can, the band also wrote with pop hitmakers Stock, Aitken & Waterman<\/strong> and decided to record Chuck Berry\u2019s rock classic \u201cJohnny B. Goode\u201d for inclusion in Anthony Michael Hall<\/strong> -movie of a same name. This no doubt stemmed from a previous decision to exclude \u201cReckless\u201d<\/strong> from Top Gun<\/em> and place the track to the tail end of \u201cTurbo\u201d.<\/p>\n Unfortunately, \u201cJohnny B. Goode\u201d movie was no Top Gun and the song wasn\u2019t \u201cReckless\u201d either. Film tanked at the box office and although the song was much better cut than most non-fans give credit, it stood no chance. \u201cJohnny B. Goode\u201d might be worth its own story someday but for now it\u2019s not the song we want dissect here, which is the most epic composition the band had attempted in a while and certainly the most grandiose, emotional moment on \u201cRam It Down\u201d -album.<\/p>\n \u201cBlood Red Skies\u201d<\/strong> opened the B-side of old vinyl and cassette, thus in many ways starting the journey of \u201cRam It Down\u201d again after Priest had bombed listener with tales of classic metal, topping it with last song of the A-side, fast and furious \u201cHard As Iron\u201d – another leftover from \u201cTurbo\u201d-sessions.<\/p>\n \u201cBlood Red Skies\u201d wasn\u2019t too dissimilar to \u201cTurbo\u2019s\u201d side-B opener \u201cOut In The Cold\u201d<\/strong> but its closest counterpart was \u201cThe Sentinel\u201d<\/strong> from 1984\u2019s \u201cDefenders Of The Faith\u201d<\/strong> with arrangement offering similar brilliant dynamics and versatility. In every essence \u201cBlood Red Skies\u201d was the centrepiece of the record and the one song most people remember despite it being played live for the first time 23 years after release and not featured on the original album tour. Its inclusion on compilation albums has no doubt also raised song\u2019s profile.<\/p>\n The drum tracks on many parts of the record got fans raising their eyebrows and \u201cTurbo\u201d certainly had added enhancements, which were essential part of what made the record as great as it was. However, \u201cBlood Red Skies\u201d was clearly the song which pointed towards the use of drum machine. While at the time, the rumours of enhanced studio trickery were largely ignored, these were not denied in interviews many years later.<\/p>\n Glenn recalled in 2005:<\/p>\n I can’t remember how much of Dave Holland<\/strong>‘s performance on \u201cRam It Down\u201d was done on a drum machine, but I do remember that we weren’t happy with the snare sound and back in those days you couldn’t just add a sample. It wasn’t that easy.<\/p><\/blockquote>\n K.K. Downing added in his biography later:<\/p>\n For some of the fans, that wasn\u2019t a popular decision. They thought it went against what Priest was all about but for me it made sense. There\u2019s something so relentless about a drum machine. To me it\u2019s like an unstoppable robotic creature and that automated beat fit perfectly with those songs. I couldn\u2019t have imagined recording a song like \u201cBlood Red Skies\u201d without that drum machine.<\/p><\/blockquote>\n Whether this contributed to Holland\u2019s exit from the band after \u201cRam It Down\u201d -tour is up for debate, but as the two most obviously rhythm based tracks \u201cBlood Red Skies\u201d and \u201cHard As Iron\u201d were not performed on tour, certainly point to use of something else than manpower on record.<\/p>\n In Metal Hammer interview promoting the record\u2019s release, Rob compared \u201cBlood Red Skies\u201d to 1970\u2019s Priest-anthem \u201cVictim Of Changes\u201d:<\/strong><\/p>\n \u201cBlood Red Skies\u201d will be a really unique track – it has all the dark and light construction elements that are all different characters of metal; peculiarities that are in ‘Victim Of Changes’. This begins in a weird way, with some atmospheric drum effects, and it tells a robot story and pneumatic fingers and laser rays. It’s a metallic fantasy, in which Priest are the best.<\/p><\/blockquote>\n The tale of \u201cBlood Red Skies\u201d begins with haunting intro, synth sounds emulating winds and desolation lasting over 30 seconds. Guitar chords start after this and carry same haunting menace, the use of echo and synthesizer fills soundscape with brilliance. Nothing similar can be heard anywhere in Priest\u2019s discography.<\/p>\n The first vocal line \u201cas the sun goes down…\u201d<\/em> is as dramatic opening as it gets. Nowhere did Judas Priest excel as well as wringing every inch of drama and story telling depth out the fusion in lyrics and music. Halford\u2019s vocals and arrangement move listener immediately towards the post-apocalyptic city and desert right behind it.<\/p>\n As Rob begins singing, one simply cannot do anything but listen and remain mesmerized. Rob’s vocals are immediately reaching operatic heights. In various parts of the track, the voice goes to depths and areas not heard at least during the early 1980\u2019s and never again after that. It has shades of forthcoming \u201cPainkiller\u2019s\u201d<\/strong> razor-sharp violence but is overall more majestic, desperate, and close to angelic in delivery.<\/p>\n While Halford pushes his voice higher during intro, synthesizer rushes in with waves of sound enhancing the singer perfectly. As Rob draws breath at 1:42, synthesizer beat kicks with heavier guitar riff perfectly following mechanized drumbeat. Effect is astounding, switching of gears familiar from countless Judas Priest -classics throughout the years. Second guitar joins in for power chords at 1:54 and creates hauntingly doom like atmosphere until drum fill breaks it and sets the scene for first proper verse.<\/p>\n From the opening line of the verse \u201cfelt the hand of justice\u201d<\/em> to \u201cthrough shattered city, watched by laser eyes\u201d,<\/em> main character carries on with sound of menace in his voice. It is a grittier version of a person sighing \u201cYou won\u2019t hear me, but you\u2019ll feel me\u201d <\/em>in \u201cTurbo Lover\u201d<\/strong> just couple of years before. Especially through verses, Halford\u2019s voice switches between sinister and remorseful, going from whisper to scream within just few lines. His theatrical background comes to full play here.<\/p>\n At 3:14 synth effect recalls \u201cMetal Gods\u201d<\/strong> from 1980\u2019s \u201cBritish Steel\u201d<\/strong>. During this part you can literally picture laser eyes ascending above you, scanning the city. Right after this and during the \u201cautomatic sniper\u201d<\/em> -part, guitar joins in on verse melody. There are now more patrols on the move, hunting the protagonist down. Note bass work underneath, again adding almost doom-like feeling to arrangement.<\/p>\n Chorus is mainly controlled by lead character\u2019s declaration, with music offering support role until final \u201cI\u2019ll fight you under blood red skies\u201d.<\/em> As Rob\u2019s voice again soars to the top of the world, the arrangement kicks into higher phase and starts driving the song along faster. During chorus\u2019 mid-range parts, Halford sounds like himself 7-8 years before this point, from \u201cBritish Steel\u201d and \u201cPoint Of Entry\u201d.<\/p>\n Bridge switches gear again, with Rob moving to even higher register, now somehow sounding fragile and triumphant at the same time. Synth guitar plays melodic lines supporting lead vocals. These are almost becoming a choir of desperation, guitar becoming one with the singer. Vocals are double tracked with finesse, adding to overall drama.<\/p>\n While Rob goes for ultimate heights during bridge\u2019s \u201cAs I die a legend will be born\u201d,<\/em> music backs down considerably allowing space for lead vocalist to control the song with amazing scream. The final line of the bridge, \u201cYou\u2019ll never take me alive\u201d<\/em> lasts ten seconds.<\/p>\n Main riff is given four rounds before solo section and as usual in Judas Priest -arrangement, all add something new to mix. Synth takes up more room and adjusts its attack with more grace and power each round building up tension as we move towards solo.<\/p>\n Guitar solo by K.K. starts at 5:08. Against pulsating rhythm, lead break creates a world of its own here. Volume is kept in right balance with solo on top and in perfect synchronization with drums, bass, and synthesizer. K.K. plays great melody lines, building tension towards the end before Rob takes over last note around 5:32.<\/p>\n No need for more verses so the final two lines of second verse lead to final chorus, which has even more power brought to forefront. Notice powerful drum fills before chorus. Riff kicks in again, this time offering two rounds without vocalist and then Rob joining in. Song gradually fades out with Halford soaring to incredible heights while declaring war cries of \u201cYou\u2019ll never take me alive!\u201d \u201cI\u2019m telling you!\u201d, \u201chands of justice!\u201d, \u201cI will stand! I will fight!\u201d, \u201cnever surrender!\u201d, \u201cas the sun goes down!\u201d<\/em> as outro.<\/p>\n Glenn plays some licks towards the end as song fades out in lengthy crescendo. Guitar takes more space after 7-minute mark is passed. Tipton\u2019s playing starts carrying the song forward with Halford supplementing his pledges over it. It would be interesting to hear complete take without fade-out some day: maybe for 40th<\/sup> anniversary of \u201cRam It Down\u201d?<\/p>\n Rob\u2019s final \u201cAs the sun goes down<\/em>\u201d is stretched to ten seconds and the last thing we hear is his emotional cry with riff charging on in an endless circle. Song ends with the same line it began, once again the scene where events are taking place is just as important as the actual storyline.<\/p>\n Before next song \u201cI\u2019m A Rocker\u201d begins there is a palpable sense of closure in few seconds of silence. Death has possibly claimed a victory but it\u2019s a shallow one. There are more songs on the B-side of \u201cRam It Down\u201d and the whole album ends with \u201cMonsters Of Rock\u201d, which is interesting enough in itself and another strange animal in the Judas Priest back catalogue. However, one cannot deny \u201cBlood Red Skies\u201d would have been a perfect closer as even listener is often breathless after song\u2019s conclusion.<\/p>\n Throughout this song and in many places elsewhere on \u201cRam It Down\u201d, guitars are produced unlike anything else in Priest catalogue, even without the synths, guitars have an over-processed and compressed tone. Difference between \u201cPainkiller\u201d and even \u201cTurbo\u201d is more than clear here. On \u201cBlood Red Skies\u201d this sound works in song\u2019s favour unlike bonus cuts released on Priest remasters, where synth and effects are used in overkill mode distracting from the natural arrangement of the track.<\/p>\n Glenn was clear in interviews at the time, that synths were retained on \u201cRam It Down\u201d but used in more underpinned way, while K.K. added in guitar-themed interview 1989:<\/p>\n We did a whole bunch of experimenting, getting amps done up left, right and centre. We tried different guitars. The whole effects thing is becoming a lot more complicated these days. We experimented with digital effects. We have never been ones to say, ‘Okay, we’re Judas Priest; let’s plug into Marshalls and go.’ We have always been ones to receive technology anywhere, at any price, any time, and to try different things out.<\/p><\/blockquote>\n \u201cBlood Red Skies\u201d in every way possible, stands atop great metal classics and on epic scale everything clicks and is synchronized to perfection. If there is something to be criticized here, bass sound is often buried under pounding drums and keyboard effects, however when it resurfaces as on second verses key moments, it greatly adds to sonic palette. Ian Hill\u2019<\/strong>s work came towards the forefront in much better fashion when band eventually played the song live.<\/p>\n Guitars, relentless drums and synth work all combined for a perfect arrangement. At the centre of the song Rob Halford gives one of his greatest ever vocal performances. His voice seems to shatter the earth, gravel with emotion, and fill out Grand Canyon at the same time.<\/p>\n Musically many referenced \u201cBlood Red Skies\u201d as \u201cRam It Down\u201d\u2019s own \u201cTurbo\u201d-moment, but the song has timeless quality that transcends decades. The song could have been on \u201cSad Wings Of Destiny\u201d<\/strong> with its opening carrying soft undertone and yet threatening atmosphere. \u201cStained Class\u201d bore the same sci-fi themes and the pulsating beat is virtually lifted from cold as steel production scope of \u201cDefenders Of The Faith\u201d.<\/p>\n Lyrics may well have been inspired by Halford\u2019s at the time relatively new home in Phoenix, Arizona. Themes related to vast landscapes are present in 1981\u2019s \u201cDesert Plains<\/strong>\u201d and later in \u201cWorth Fighting For\u201d<\/strong> although the story of \u201cBlood Red Skies\u201d has a much clearer fantasy element.<\/p>\n The scene is set from the start and instantly recalls some the classic 1980\u2019s action and sci-fi movies, there are shades of iconic Mad Max<\/em> and even Star Wars<\/em>. Main character is roaming in a desolate futuristic city, keeping to the shadows and quite palpably is under a constant threat. He believes he is bound to die but accepts his destiny. The line \u201cIt said I\u2019ll not see tomorrow\u201d<\/em> could refer to some unknown threat but mostly likely life itself telling him that its time has come to pass.<\/p>\n <\/p>\n The future is laid out with cybernetic heartbeat, digital precise, pneumatic fingers, laser eyes and computer sights. The theme closely follows a popular Arnold Schwarzenegger<\/strong> movie Running Man<\/em> which also may have been an inspiration for lyrics. Phrases like \u201chands of justice\u201d <\/em>most likely attach to an entity passing judgement on a single man for crimes never committed, he is hunted down and has no chance against cold, merciless machinery.<\/p>\n Words seem to portray a time where law has been taken unto everyman\u2019s own hands. <\/em>There are threats of throwing protagonist out to the streets, night squad gliding and scanning a decaying paradise, representing a technological city somewhere in the future.<\/p>\n Also interesting is the notion K.K. makes (see comments panel, right) of a lone hero protecting his world against machines from another planet. A set-up and scenery from the movie Matrix,<\/em> which would invade big screens over ten years later. Just take a look at the clouds above Zion, black after disappearance of solar energy caused by the war between man and machine, you can lift “Blood Red Skies” straight to the soundtrack.<\/p>\n Chorus is ultimately a war cry against this unknown force, with seemingly unavoidable battle taking place under blood red skies. This emphasizing the world where war is about to erupt is central in song\u2019s message. \u201cBlood Red Skies\u201d, while at first seems million miles from early 1970\u2019s bleak industrial midlands scene where Judas Priest started out, begins to create a strong connection here. It is not so much the imagery, but the sentiment lying behind. The person crying his war cry is the same one who is expressing his frustration in 1976\u2019s \u201cDreamer Deceiver\u201d<\/strong> and later on 1978\u2019s \u201cSavage\u201d<\/strong> and even more so on 1980\u2019s \u201cBritish Steel\u2019s\u201d several powerful takes on self-awareness and strength.<\/p>\n It’s a story of a man who will not be silenced. Though framework changes, message remains the same. Already in 1978, he defiantly stated, \u201cI demand respect\u201d,<\/em> four years later he was \u201ccallin\u2019 all the shots\u201d<\/em> and finally in 1986 he would be number one when turning it on. Parallels can be drawn through each album in Priest\u2019s back catalogue.<\/p>\n There is a bleak notion of automatic sniper with computer sights building a bridge to earlier tales of \u201cMetal Gods\u201d, \u201cElectric Eye\u201d<\/strong> and \u201cThe Sentinel\u201d, on the supremacy of machines and technological power over mankind. In the 1980\u2019s the fear of technology gaining an upper hand was very much fuelled by movies like previously mentioned Running Man and The Terminator,<\/em> cold war and nuclear threat. These things seemed to be constantly looming behind surface. Machinery while rich in tapestry, again echoes political stories of 1984\u2019s \u201cSome Heads Are Gonna Roll\u201d<\/strong> and to a lesser extent, earlier \u201cBloodstone\u201d.<\/strong><\/p>\n Towards the end the lyrics essentially thrust the song forward through fade-out. \u201cThey\u2019ll never take me alive\u201d,<\/em> the singer is defiant and full of grace here, with worn-out scenes of hero standing on mountaintop springing to mind. It is a powerful take on individualism. With possible exception of more straight forward \u201cI\u2019m A Rocker\u201d, \u201cBlood Red Skies\u201d is the only song on the album where this theme running through Judas Priest\u2019s most loved tales in many forms, comes to fore.<\/p>\n On \u201cRam It Down\u201d Rob Halford admittedly was balancing on a tightrope of slipping into parody with \u201cLove Zone\u201d and \u201cCome And Get It\u201d.<\/strong> Many reference \u201cTurbo\u2019s\u201d songs lacking substance and simply relaying overused and simplified analogues on sex and having a good time, but in reality tracks like \u201cOut In The Cold\u201d and \u201cTurbo Lover\u201d were sophisticated tales of..well, having sex and good time. Track like \u201cOut In The Cold\u201d is a song of lost love, but Rob\u2019s phrases such as \u201clying awake at night\u201d and \u201call I can heart is my heartbeat\u201d were delivered with palatable conviction in more sophisticated way than say, Poison<\/strong>\u2019s pop metal \u201cLook What The Cat Dragged In\u201c<\/strong> that same year.<\/p>\n With \u201cRam It Down\u201d the theme was about Priest returning to heavy metal with full force, but half of the material came from previous recording sessions. Lyrical content sometimes did not match the fire the music tried to portray.<\/p>\n Emphasis was at time beating the message of metal over people\u2019s heads in songs like \u201cHeavy Metal\u201d<\/strong>, which understandably might have missed the boat for few years. In essence \u201cPainkiller\u201d was true return to heavy metal, and stood head and shoulders alongside thrash giants of the late 1980\u2019s. As Priest seemed to never win, it was just the kind of metal that at the time was simply too much to many old school metal fans. Personally, I always associated \u201cRam It Down\u201d more to \u201cPainkiller\u201d than \u201cTurbo\u201d as guitar work and Rob\u2019s vocals seemed to interact. Now over 30 years later, this connection to past seems clearer.<\/p>\n Although undeniably one of \u201cRam It Down\u2019s\u201d centrepieces, \u201cBlood Red Skies\u201d was not performed during the original Mercenaries Of Metal -tour 1988 and was introduced to Priest setlist 23 years later as group embarked on its \u201cEpitaph\u201d-trek in 2011. Theme of the tour was to pick at least one number from each Rob Halford -fronted studio records, and \u201cBlood Red Skies\u201d represented \u201cRam It Down\u201d \u2013 a choice fully embraced by many long time fans, although many openly admitted fearing how the band with changed line-up and 23 year older Metal God would tackle this epic song.<\/p>\n \u201cBlood Red Skies\u201d was played during the latter part of the set and according to Ian Hill, was a challenge to tackle on stage with several bass pedals in use. On the vocal front Halford obviously scaled down the amazing heights he had attempted decades before but still gave a reasonably emotional and technically faultless performance. During the first nights of the tour he attempted to sing the second part of intro in high voice resonating the original studio cut and was clearly struggling. Same happened with parts of the bridge, and as tour progressed Rob keyed in a more operatic and deeper style like many tracks on 2008\u2019s \u201cNostradamus\u201d<\/strong>. This approach worked well for the song and by spring of 2012 balance of higher parts and menacing lower scale -singing produced impressive results.<\/p>\n An official live performance is included in the \u201cEpitaph\u201d DVD\/Blu-ray, which was shot in London, at Hammersmith Apollo during the final date of the Judas Priest -world tour in May 2012. The dynamics remain impressive while naturally some of the original cut\u2019s power is lost through transmission to live stage. Halford gracefully steps back and forth concentrating on his delivery and towards the end pushes well towards the high register with flames bursting out beside him. Richie Faulkner<\/strong> replicates K.K.\u2019s main solo well adding to the mix his usual Randy Rhoads<\/strong> \u2013influenced fast runs. In comparison, Glenn\u2019s outro leads seem somewhat restrained.<\/p>\n Song\u2019s pace is slightly slower compared to studio master, but at the same time more fitting to tempos on other songs in the set at the time. Keyboards and synths seem to have been added from tape and enhanced in live mix but work in song\u2019s favour as Halford simply remarks \u201cwhat drama\u201d<\/em> after the song has ended. Live arrangements for these originally fade-out studio tracks are always executed in fine style by Priest. \u201cBlood Red Skies\u201d is no exception with main riff given couple of rounds before abrupt stop.<\/p>\n \u201cBlood Red Skies\u201d was dropped from the show after this tour and so far, hasn\u2019t returned. In fact, no material from \u201cRam It Down\u201d has been aired in Judas Priest\u2019s live concerts since 2012. Ultimately a challenging song to interpret in its original format, it would be interesting to hear an acoustic rendition of \u201cBlood Red Skies\u201d along with several other Priest classics. Rob\u2019s deeper voice would most likely complete this arrangement in classic fashion.<\/p>\n To this day \u201cRam It Down\u201d remains misunderstood record and is rarely mentioned when discussing Judas Priest\u2019s greatest moments or great heavy metal albums of 1980\u2019s in general. Even an LP like \u201cPoint Of Entry\u201d which caused much debate among fans, is nowadays mentioned more often than \u201cRam It Down\u201d.<\/p>\n At the time of its release, it was hailed by the band as return to classic metal of \u201cDefenders Of The Faith\u201d. Yet after just two years and the release of \u201cPainkiller\u201d, \u201cRam It Down\u201d was among critics and general public grouped together with \u201cTurbo\u201d as misstep of a heavy metal originator. It came at a time when thrash metal was all the rage, and more and more extreme bands were starting to gain foothold. At the same time, the Los Angeles\/Sunset Strip based hair metal scene was on its last legs. \u201cRam It Down\u201d represented a sound that was becoming hopelessly out of vogue, despite the strength of the songs and undeniable class of the musicianship. Priest\u2019s reluctance to feature the album in their live shows for 17 years did not help.<\/p>\n Leap from \u201cRam It Down\u201d to \u201cPainkiller\u201d seemed drastic at the time and looking back the biggest difference was the overall sound, production and the drum style of Dave Holland\u2019s replacement Scott Travis<\/strong>. \u201dRam It Down\u201d marked the last time Priest worked with Tom Allom and perhaps everyone sensed it was time for change. On the other hand, Priest was a band who never followed trends. They simply and successfully reinvented themselves from record to record, often over a timespan of just months or years, proving more their incredible talent and versality as song writers. Many viewed \u201cRam It Down\u201d as a bit of a misstep, but it\u2019s actually a steppingstone towards the full-blown metal mastery that was 1990\u2019s \u201cPainkiller\u201d.<\/p>\n \u201cRam It Down\u201d contained some of the band’s most brilliant dual guitar gymnastics and Rob’s singing soared to even greater heights. Arguably he never topped the vocal performance on this album and following tour. Media declared it Priest’s heaviest album to date and many fans had renewed hopes, but not as many found it delivered the goods. The record attained Gold status but barely broke top-30 on both sides of the Atlantic.<\/p>\n For all the push to go in a harder metal direction, audio-wise the album had managed to retain too much of the previous record\u2019s “sheen”. Much of this was down to drum machine, which gave the record an electronic feel not dissimilar to \u201cTurbo\u2019s\u201d extensively used synth guitars.<\/p>\n Glenn\u2019s thoughts on \u201cRam It Down\u201d some years later:<\/p>\n I think it\u2019s more representative of Judas Priest than, say, \u201cTurbo\u201d. \u201cTurbo” was probably the most talked about album we\u2019ve ever done, but \u201cRam It Down\u201d is definitely more in where people expect us to come from. Subconsciously we went in to the studio to prove a point. I think \u201cRam It Down\u201d is one of the most underrated albums. It sold well eventually, but it never gets cited as a great album. It\u2019s got some great songs on it.<\/p><\/blockquote>\n The band only offered two singles from the album and one music video in the form of \u201cJohnny B. Goode\u201d. Shot in black and white in a small club in Amsterdam, it did show the band in more earthly form. There were two versions of this video, one showing band on stage only and the other also including scenes from the movie. Follow-up single – the title track – didn\u2019t get a video and with not exactly a commercial tune, chart success was not forth coming. \u201cBlood Red Skies\u201d was possibly discussed as a potential single and ironically was sure fit for a Terminator -like movie soundtrack and would have probably fared better in this role than \u201cJohnny B. Goode\u201d, which was a classic rock track from 1950\u2019s.<\/p>\n![\"\"](\"http:\/\/kkdowning.net\/steelmill\/wp-content\/uploads\/2020\/07\/priest1988.jpg\")
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<\/p>\n\u201cBlood Red Skies\u201d Live<\/h2>\n
![\"\"](\"http:\/\/kkdowning.net\/steelmill\/wp-content\/uploads\/2020\/07\/Judas_Priest_Ram_It_Down.jpg\")
<\/p>\nLegacy<\/h2>\n
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