LA’s famous Emo Nite is coming to The Bomb Factory this June for the biggest party yet! Get ready to rock out (or cry (or both, we don’t judge)) to…Read More
Judas Priest: Firepower 2018
Saxon, Black Star Riders
Sat, April 28, 2018
Doors: 7:00 pm / Show: 8:00 pm (event ends at 12:00 am)The Bomb Factory
This event is all ages
Special offer! A CD of download of Judas Priest's forthcoming album, Firepower (coming in early 2018), is included with every pair of tickets you order for this show. You will receive an email with instructions on how to redeem this offer approximately 7 days after your ticket purchase.https://www.thebombfactory.com/event/1580396/
Priest have during their nearly 50-year career. Their presence and influence remains at
an all-time high as evidenced by 2018's 'Firepower' being the highest charting album of
their career, a 2010 Grammy Award win for 'Best Metal Performance', plus being a 2006
VH1 Rock Honors recipient and a 2017 Rock and Roll Hall of Fame nomination.
Judas Priest originally formed in 1969 in Birmingham, England (an area that many feel
birthed heavy metal). Rob Halford, Glenn Tipton, K.K. Downing and Ian Hill would be
the nucleus of musicians (along with several different drummers over the years) that
would go on to change the face of heavy metal. After a 'feeling out' period of a couple of
albums, 1974's 'Rocka Rolla' and 1976's 'Sad Wings of Destiny' this line-up truly hit their
stride. The result was a quartet of albums that separated Priest from the rest of the hard
rock pack - 1977's 'Sin After Sin', 1978's 'Stained Class' and 'Hell Bent for Leather', and
1979's 'Unleashed in the East', which spawned such metal anthems as 'Sinner',
'Diamonds and Rust', 'Hell Bent for Leather', and 'The Green Manalishi (With the Two-
Pronged Crown)'. Also, Priest were one of the first metal bands to exclusively wear
leather and studs – a look that began during this era and would eventually be embraced
by metal heads throughout the world.
It could be said that Priest simply owned the '80s as they were second to none as far as
pure metal goes, releasing such all-time classic albums as 1980's 'British Steel', 1981's
'Point of Entry', 1982's 'Screaming for Vengeance', and 1984's 'Defenders of the Faith'.
Once more, these titles spawned countless enduring metal anthems including 'Breaking
the Law', 'Living After Midnight', 'Heading Out to the Highway', and 'You've Got Another
Thing Coming'. The '80s were also a decade where Priest became a global arena
headliner, offering show-stopping sets at some of the world's biggest festivals, including
the first-ever Monsters of Rock Festival at Donington Park (1980) in the United
Kingdom, the US Festival (1983) in the United States and Live Aid (1985) in the United
The remainder of the '80s saw Priest embrace more melodic hard rock sounds on
1986's 'Turbo' and 1988's 'Ram it Down' (in addition to their second live set, 1987's
'Priest...Live!') before releasing arguably the heaviest release of their entire career,
1990's 'Painkiller' (which saw the arrival of Scott Travis on drums). Judas Priest were
special guests on the 2004 Ozzfest, appearing alongside Black Sabbath, before issuing
'Angel of Retribution' a year later.
2008 saw the release of the double disc concept album, 'Nostradamus', which peaked
at #11 on the Billboard 200, and a year later 'A Touch of Evil: Live' was issued (which
led to the group's aforementioned Grammy Award win due to a killer rendition of the
classic, 'Dissident Aggressor').
In 2009, Priest began a celebration of the 30-year anniversary of the release of their
classic 'British Steel' album, which included a tour that saw the group perform the album
in its entirety, and was followed up by an expanded double disc version of 'British Steel'
in 2010, plus a DVD of their live show.
By 2011, Downing announced that he was exiting the band. With a still burning desire to
continue flying the flag of metal, Judas Priest decided to continue on, by enlisting
newcomer Richie Faulkner on guitar. The move seemed to have reinvigorated the band,
as evidenced by a show-stealing performance on the 'American Idol' TV program, that
also served as Faulkner's debut performance with the band (also in 2011, as was the
release of a new compilation 'The Chosen Few', which included Priest classics selected
by some of metal's biggest names) and the 'Epitaph' concert DVD in 2013. Priest’s next
studio effort would arrive in 2014, ‘Redeemer of Souls’, which scaled the U.S. charts to
#6, and was supported by another strong tour.
In 2017, Priest received a nomination for the Rock and Roll Hall of Fame, and the
following year, issuing their latest studio album, Firepower. Co-produced by Tom Allom
and Andy Sneap, the 14-track album has become one of the most successful of the
band’s entire career - landing in the top-5 of 17 countries (including their highest chart
placement ever in the U.S., at #5), and scoring their highest charting commercial rock
radio single in decades with “Lightning Strike.” After wrapping up a highly successful
winter/spring tour of North America in 2018, Judas Priest then proceeded to rock across
North America with some true heavy metal Firepower in the summer and fall - on tour
with fellow rock legends Deep Purple. And Priest continues to go from strength to
strength, including tour dates throughout the world for the remainder of 2018 and well
into 2019, plus Euro dates with metal’s prince of darkness, Ozzy Osbourne.
With Sacrifice they filled your heads with heavy metal thunder, and now Saxon want nothing more than to crush them with their very own, hand-crafted, not-safe-for-children brand new album, Battering Ram. Not. A. Problem.
With Biff Byford singing as well as he ever has, Paul Quinn and Doug Scarratt making full use of the term ‘shredding’ with their guitars and the lock-steady rhythm of Nibbs Carter’s bass and Nigel Glockler’s drums, the future and the past crash together in an ear-scintillatingly engaging, raucous, melodic-yet-classically heavy ten songs collection which will instantly be hailed as a Saxon classic. The title track, with its delectable twin guitar assault heralding the album’s commencement, gives the listener an instant crack around the chops, whilst traditionalists will be delighted to hear such a perfect marriage of old, classic Saxon with the newer, fresher invective in such riff-fronted fare as “Destroyer” and “Stand Your Ground”, but there are still moments of space and exploration which fans will love.
“This one’s a natural progression from Sacrifice,” says Byford, “There’s a bit less rock’n’roll and a bit more ‘heavy’ on it. We wanted to keep focused on a style rather than moving around too much.”
Produced by Andy Sneap (Megadeth, Testament, Exodus Accept) at his Backstage Recording Studios in rural Derbyshire, Saxon were able to hone in and whittle down any excess, finding the sonic space and balance to let Battering Ram’s riffs and melodies get the necessary space to scream front and center, Sneap bringing a crispness to the sound which evokes memories of the early ‘80s without for one moment sounding dated. “Yes, Andy has been in charge of everything with this album, I keep on overview of it all, but he’s done a great job and we’re both pleased with the results. We have a great partnership.”
Lyrically, Battering Ram covers a variety of social situations, like the screaming fans who rage at the gig barriers (“Battering Ram”) or engaging in some good old fashioned myth (“The Devil’s Footprint” - a 200 year old tale of people waking up in winter snowfall to see unexplained hoof prints which they followed, looking for an answer in vain).
“When I’m writing lyrics I like to switch back and forth between complex things, reality and rock’n’roll,” says Byford, “I thought the whole folklore behind “The Devil’s Footprint” made it great material for a metal song, being that it’s both historic and mythical.
“With “Queen of Hearts” I wanted to write something around Lewis Carroll’s Alice In Wonderland, and it’s about the chess game that happens in the story. I wanted it to have prog-feeling in the way of its ambiance and mood. Then you have songs like “Destroyer” and “Hard and Fast” which are ‘80s inspired songs with that modern slant on it. I’m a big fan of Marvel comics, and I wanted to write a song around the character Destroyer, and with “Hard and Fast” it’s as the title suggests, about driving fast! I do like to tie the lyric into the song, so if it’s going to be a song about driving fast, well, it has to be a fast, hard song!”
There is also the album’s closing cut, haunting, gripping, melancholic tale of the First World War, “The Kingdom of The Cross”, where a poem unfurls the feelings and horrors which comprised this most brutal of global conflicts. “This year is the centenary of the end of the First World War. Nigel had a piece of music which he played on a synthesizer for a couple of years that I really liked. We had an actor (and singer), David Bower from the band Hell, read the poem and I sang the choruses. I didn’t want it to be typical Saxon, so it is just keyboards, bass, me and Dave.”
Wonderfully uncompromising, with Battering Ram Saxon have once again established their rightly-venerated credentials as Kings and vanguards of heavy metal music.
On 23 February 2015, the band’s second album, The Killer Instinct, is released via Nuclear Blast. Produced by Nick Raskulinecz (Foo Fighters, Rush, Mastodon, Alice In Chains), The Killer Instinct is hard rock in the classic tradition. And as guitarist Scott Gorham says: “We’re so confident about this album. It’s a step up in the evolution of Black Star Riders.”
It was in 2012 that Black Star Riders was formed by four members of Thin Lizzy – Gorham, lead vocalist/guitarist Ricky Warwick, co-lead guitarist Damon Johnson and bassist Marco Mendoza – plus former Megadeth and Alice Cooper drummer Jimmy DeGrasso. The band’s debut album All Hell Breaks Loose was released in 2013, and drew widespread acclaim in Classic Rock, MOJO, Metal Hammer and Kerrang!
But now, with The Killer Instinct, Black Star Riders have taken it up another notch. “We’ve gone to the next level with this record,” Ricky Warwick says. “It’s the album that really defines Black Star Riders.” And Damon Johnson is equally emphatic. “This is the band I’ve dreamed about being in all my life,” he says. “A lean, mean, dirty rock’n’roll band. And I really feel that this is a great album – a huge step in the progression of this band.”
The Killer Instinct represents a coming of age for Black Star Riders. As Warwick explains, the band had a different mindset going into this album. “When we started writing for All Hell Breaks Loose, we still weren’t sure if it was going to be a Thin Lizzy album,” he says. “This time, we didn’t have that pressure. We knew we were making a Black Star Riders album, and on a creative level, that opened more doors for us.”
Thin Lizzy is in the DNA of Black Star Riders. That much is undeniable: and for Scott Gorham, especially so. When Thin Lizzy rose to fame in the 1970s, led by legendary frontman Phil Lynott, it was Gorham – alongside Brian Robertson and Gary Moore – who defined the band’s trademark twin-lead guitar sound on landmark albums such as Jailbreak, Bad Reputation, Black Rose and Live And Dangerous. And in Black Star Riders – in the partnership between Gorham and Damon Johnson – a part of that sound lives on. “That mystical, legendary twin-guitar thing,” as Johnson calls it.
But as Warwick says: “We know who we are. We want to move forward and find our own way, our own sound. It’s important to us to retain the spirit and the soul of Thin Lizzy. We’ll always have that because Scott’s in the band. But we’ve got a lot of shows under our belts as Black Star Riders, and that’s helped gel the band.”
Gorham puts it very simply: “Black Star Riders is its own thing. You just have to power ahead and write what you write and not have to think about history.”
Gorham credits Nick Raskulinecz as a key figure in the creation of this new album. “Nick had so many great ideas – he became the sixth member of the band.” In addition, he says that new bassist Robert Crane has fitted in seamlessly as the perfect replacement for Marco Mendoza. “Robert just nailed it straight off the bat.” And with this team in place, the goal for Black Star Riders was simple. “We wanted this to be a better record than the first one,” Gorham says. “And it is – there’s no doubt about that.”
The Killer Instinct was recorded at Rock Falcon, the studio in Nashville, Tennessee, owned by Nick Raskulinecz. The whole album was cut in 21 days, but after All Hell Breaks Loose was done in just 12 days, that extra time proved beneficial. “But with this album,” Gorham explains, “we could do a basic track, sit back, think about it, work on additional parts, and then lay ’em in there.”
The results speak for themselves. “This album,” Gorham says, “has more depth.” Damon Johnson concurs. “We had more time, had a blast making it, and you can hear it. It’s not just the groove in the music – it’s the groove in the writing, in playing together as a band.”
Johnson and Warwick are the primary songwriters in Black Star Riders and have been since day one. “When it comes to writing, Ricky and I do the heavy lifting,” he says. “But Scott is the foundation of this band. This thing doesn’t happen without Scott Gorham.”
Johnson cites the song Soldierstown as an example of the kind of “monster riff” that Gorham brings to this album. “It’s very grand in its scope,” he says. “It has the feel of some of those classic Thin Lizzy songs – Black Rose and Emerald.”
Soldierstown is also an example of the depth that Ricky Warwick brings to Black Star Riders in his lyrics. The subject of this song is terrorism – for the Northern Ireland-born singer, a subject of profound personal significance. Warwick says: “The scenario in Soldierstown is one that has happened so many times in history, and it still happens now. Terrorists come to a house and say: ‘Give up your strongest son, he has to go and fight.’ There’s that expression: you lose a finger to save a hand.”
There are other songs on the album that Warwick describes as “storytelling” – such as Charlie I Gotta Go, its title a reference to Charles Manson. But much of what he writes is drawn from his own life. “I got a little more personal on this record,” he says. And this is most powerfully illustrated in a song that is destined to become a Black Star Riders classic: Finest Hour. “It’s about my first girlfriend,” he says. “We were living in Glasgow, we were sixteen, into music, and we’d go to gigs at Barrowlands. That song is me reaching out to her and saying: they were good times, I hope you remember them, and I hope you’re okay.”
For Warwick, the beauty of Finest Hour is in its simplicity. “There are only three chords in that song,” he says. “The best songs are like that.” And the emotive quality in it is echoed in what Johnson describes as this album’s most leftfield track, Blindsided. “It’s an epic song,” Johnson says, “with an epic Ricky Warwick lyric. And that beautiful guitar figure is Ricky’s. It gets me like Wish You Were Here by Pink Floyd or Tuesday’s Gone by Lynyrd Skynyrd. It’s one of those classic guitar statements.”
In fact, the album as a whole is a defining statement. Above all else, The Killer Instinct proves that Black Star Riders is a classic rock band in its own right.
“We’ve come a long way in two years,” Gorham says. “And you’ve got to feel good about that. I trust these guys with my life. We’re like brothers, and that’s a big thing in a band. When you have that trust in each other, that’s when you’ve got a fucking great combination.”
With The Killer Instinct, Black Star Riders have truly arrived. “There’s something really special about this band,” Gorham says. “And it has the potential to keep on evolving. We’ve made a great record – and I still think there’s more to come.”
The Bomb Factory
2713 Canton Street
Dallas, TX, 75226