REVIEW: JUDAS PRIEST – Live At The Palladium, New York 1981

 

JUDAS PRIEST – Live At The Palladium, New York 1981

Top Gear

There was a time when the radio played a much more significant role in both informing and entertaining people. Even in Greece, "theatrical performances" were broadcast through it, captivating audiences. Similarly, the radio also broadcasted concerts of musicians and bands, giving those who couldn't attend a chance to enjoy them remotely.

This unofficial release is a document of that era. Specifically, it includes the entire concert given by JUDAS PRIEST on July 22, 1981, at "The Palladium" in New York, as part of their "World Wide Blitz Tour."

By 1981, JUDAS PRIEST had already been a band for 11 years and had released a series of important albums, such as "Rocka Rolla," "Sad Wings of Destiny," "Sin After Sin," "Stained Class," "Killing Machine," "British Steel," and "Point of Entry."

Since "Point of Entry" was released in 1981, it's logical that a significant part of the concert's setlist (15 songs in total) includes compositions from this album. Specifically, the tracks "Solar Angels" (which opens the concert), "Heading Out to the Highway," "Desert Plains," and "Hot Rockin'" are heard. Nevertheless, PRIEST does not fail to perform live some of their classic pieces, such as "Grinder," "Hell Bent for Leather," and "Sinner," among others.

I won't analyze JUDAS PRIEST's music—it's unnecessary, as others have done it better than me. In the end, if you don't know this band, you probably stumbled upon this page by mistake (although it would be fortunate if, even by accident, this text helps you to engage with this great band). What prompted me to write this text is the feeling I got from listening to this concert.

First of all, the sound is clear and dynamic, allowing all the details to stand out—even the audience, which actively participates. Most importantly, it captures one of the band's most impressive performances, both in terms of delivery and execution. PRIEST, already in 1981, had remarkable releases behind them and exuded confidence and maturity as musicians on stage, while maintaining the enthusiasm of a band that, even subconsciously, knew they still had a lot to achieve and—most importantly—enjoyed what they did.

Despite any production flaws, these are overshadowed by the feeling it creates for the listener: the sense that, in some way, they are also at the concert, experiencing a significant moment in music history. I believe that for this reason alone, it is worth listening to the album, even just once.

Nick Parastatidis