Saturday, 7 November 2026

Random albums I want to talk about #9: PRIMAL FEAR - Domination (2025, Reigning Phoenix Music)

In this series of posts I'll discuss a random album in my collection I feel like talking about!


Primal Fear are a band I've liked for a few years now, but the only album I actually owned for a lot of that time was their self-titled debut from 1997. Like so many other bands I enjoy, it's hard to find a lot of their albums here in the UK, and I just never got around to picking up more. I decided to buy Domination when it dropped in September last year along with fellow German power metaller's Rage's 2025 album A New World Rising, just because I wanted something else - anything else - from both bands, as well as something brand new to add to the collection. When I wrote my 2025 wrap-up at the end of the last year, I actually ranked A New World Rising above Domination in my list of new albums that year, and how much I enjoyed them. Ask me again now though, and I'll put Primal Fear above Rage (I still enjoy that latest Rage album as much as I did last year, for the record).

See, Primal Fear came to my favourite local(ish) venue - KK's Steel Mill in Wolverhampton - in March this year, with Ronnie Romero supporting. Whenever it was I bought my ticket (maybe January), I gave Domination far more attention and played it far more in the space of 2 months than I did the year prior. It grew on me immensely, because in my 2025 wrap-up I effectively said that I enjoyed this album but had gripes with the production values regarding Ralf Scheepers' vocals. I felt like there was some sort of weird distortion, maybe even autotune, tampering going on. I couldn't put my finger on it. So I span it a few times last year, but it was kind of overshadowed by Rage's album. Obviously when you buy tickets to see a band live, you deliberately listen to whatever latest album they've put out as much as you can before the concert (well, I do anyway), and it was at that point any of the gripes I had with Domination before started to perish. This is one classy Germanic heavy/power metal album!

I'm not quite sure where my vocal department criticisms came from when I first heard the album last year. I don't really hear those strange issues with Ralf's voice whenever I listen to the CD anymore. And after seeing them live, I can honestly say that he sounds fantastic live. The guy is 61 now, but he was hitting the highs no problem at all during the concert. The guy is a hell of a presence on stage; he's built like a tank and clearly looks after himself physically - it only adds to the band's energy. Anyhow, it was a great show, one of my favourite live performances I've seen this year, and it's nice to have seen Scheepers on stage finally, because I was listening to those early Gamma Ray albums he sang on years before I got into Primal Fear.

One thing I have to say regarding Domination is that this is a perfect album to listen to in the gym. I mean, perfect. I lift weights 4 times a week and have done for years, and I also run a 5k outdoors on top of this once or twice a week when I can as well. I've lost count how many times I've listened to the album this year whilst exercising. Get yourself to the gym, stick hard-hitting traditional power metal numbers such as 'The Hunter', 'Destroyer', 'Crossfire' or the almost thrashy 'March Boy March' to see what I mean. Your testosterone will boost in seconds!! Songs like these are composed of kick-ass, no-nonsense metallic riffage and balanced perfectly with instantly memorable, catchy and highly vocally-focused choruses. You only have to listen to them once for them to be eternally engrained into your consciousness. The same goes for fist-pumping anthems like 'I Am the Primal Fear' (what a chorus this one has!!) and 'Heroes and Gods'! There are some great ballads scattered too - 'Tears of Fire' and 'Eden' are melodic and majestic, but there's still a hefty amount of muscle behind them, particularly in the stellar lead guitar work that is smattered throughout them. 'Eden' even features guest female vocals from Melissa Bonny from the symphonic band Ad Infinitum, and she and Ralf's vocal styles work very well together.

I don't dislike any track on here, even if some are slightly better than others - although I will say that the album's finale, 'A Tune I Won't Forget', is a bit of a snooze-fest, and completely inferior to 'Tears of Fire' and 'Eden' as far as ballads go. On the upside, mid-tempo 'The Dead Don't Die' sounds like a modern Saxon tune with Ralf on vocals instead of Biff Byford. Not a bad thing at all. The chorus to 'Scream' is almost too simplistic vocally, but it works so well as a workout song! And there is even a terrific, melodic instrumental on here called 'Hallucinations', which features some very pretty, tuneful lead guitars from long-time guitarist and songwriting contributor Magnus Karlsson. They wisely played this live as a sort of interval song, and it helped break-up the pace of the concert very well. Also, Domination's production is very clean and modern, which can be a good or bad thing depending on how you like your metal to sound. I don't have a problem with clean production depending on the band or genre. I think it works really well with a band like Primal Fear. I think it helps bring out Ralf's clean singing style, and I also think it benefits the guitars in terms of both riffs and solos, since the music is a nice mixture of heavy and melodic (as power metal should be). Bands like Judas Priest, Testament, Saxon etc. have all had clean, modern production jobs on their albums for a long time now, and it totally works for them too. Someone should tell Iron Maiden!

If I'd reviewed this album last year, I think I'd have scored it somewhere within mid 7/10 range. My scoring is, as you can see, much higher now. Seeing them live on the Domination tour has likely also boosted my opinion of this album, but as I said earlier, this is a PERFECT gym/running album for me. I honestly think it's tied with Glenn Hughes' Chosen (who I also saw live last year) as my favourite record of 2025 now. Some people will no doubt feel my rating is too high, especially after scoring Blood Incantation's critically acclaimed Absolute Elsewhere the same in my last post, but you have to understand that we all hear things differently!! I spend a lot of my free time training so the fact I've listened to it so many times in that setting now means I can only give it this level of praise. And I think thoroughly enjoying seeing a band live promoting the same album also adds a level of sentimentality, which no doubt affects my rating too. So it's an 8.9/10.

Unsurprisingly, I've added a few more Primal Fear albums to my collection over the course of the year - Unbreakable (2012), Rulebreaker (2016) and Apocalypse (2018). I think they're all really cool too.
Adam's rating: 8.9/10

Sunday, 1 November 2026

A post about Adam's CD Gallery!

I don't really know what the point of this post is, it's just something I've wanted to do for a while now. I suppose I just want to discuss why I even do this in the first place, how my mind works and what makes me tick... I guess? I did touch on these points, particularly within the 'About' page, and probably throughout however many other posts too, but sometimes I just want to write for the sake of writing. So here is a post about, erm, why this blog exists?!

First of all, let me just say that if I did this for clicks, then this blog probably wouldn't read the way it does at all. Or even look the way it does. Would I even be favouring a blog format? Honestly, I'd probably just start a YouTube channel - maybe it's just me, but I think on average more people get their info/entertainment etc. from videos these days than written text. Even I've debated starting a YouTube channel for fun, but again not for views/clicks. It's just not me. No, the reason why this blog reads the way it does, presents itself the way it does and just exists as it is in general is because it is the most honest representation of me and my music hobby. I know I ramble a lot here, but it is me spewing all my thoughts in a single space. I don't get paid to do this, and that means I can do whatever I feel like here. There's stuff I've written on this site that I think is total rubbish, and there's also stuff I'm proud of too. But even the stuff that's crap and could do with an update was at least written from an honest, personal point of view with no financial backing, no meticulous editing, no clickbait-type bollocks and whatever else. It's just the thoughts and rambles from an average working man, now in his mid-30s, who happens to be a huge heavy metal/rock nut and physical music collector since his early teens!

There's nothing wrong with professional journalist spaces or well-established music review sites with lots of collaborators. They serve a purpose. You're almost always going to get well-written material that can either be full of detail or just get straight to the point. And I'm certainly not saying a personal blog format like Adam's CD Gallery is superior to a professionally-written source. It's often just a different style of writing, that's all. It's a bit like Rotten Tomatoes, where critic review averages are stacked up alongside user scores. Neither opinion is wrong, but they're often noticeably different from one another.

I must confess, I had a quick look to see how ChatGPT described the blog the other day, out of curiosity. It effectively described it as if I was talking to the reader about mostly metal music over a few beers! And I actually kind of agreed - I think that's a good way of summarising Adam's CD Gallery. I tend to just write stuff as I go along, but I almost always have points I want to make before I start to write too. I don't write to a specific layout, it all just comes out... although I can't deny the fact I do have stylistic habits that no doubt repeat throughout the blog.

Really though, this blog is both a hobby and kind of a safe space for me personally. I don't have a long list of hobbies. Outside of anything music-related, I've enjoyed fitness and going to the gym throughout practically my entire adult life, going to traditional pubs around the UK and drinking real ale, and watching/reading about history. But writing on this blog is one of my absolute favourite solo hobbies. Sure, I'm not always in the mood to write, but when I am, it's something I thoroughly enjoy doing. As I said on the 'About' page, it's almost like therapy for me at this point. I don't think I could be comfortable going about not writing or saying ANYTHING about the thing I am most passionate about. If some people enjoy reading what I have to say about the albums I own, the concerts I go to and anything else I feel like mentioning, then that's great. If some people visit this blog just once and think I'm full of shit, then that's fine too. I'm not going to stop or change the way I do things here, because I think that would defeat the point of an honest personal music hobby space in the first place.

Back to the YouTube thing. I like the idea of doing something there alongside the blog, but I don't really know if I'm comfortable showing my face to the world. It's always put me off doing it. Not that it's something I really want to do - if it was, I'd have given it a go already. Writing on the blog feels far less intrusive to me, and I can still share anything I want without actively showing my face every time I want to post anything. I know there's YouTubers that haven't revealed their face, but I'm already doing that here on the blog anyway.

Well, that's about all I have to say on that subject. How about some updates? Well, I got married to the love of my life last week and spent the last few days in one of my favourite places on Earth, Ireland. At one point in my life I never thought I'd ever achieve this, and it has been the happiest time of my life. I'm back home in England now with a chesty cough I've picked up somewhere, but I couldn't be happier!

As far as upcoming blog stuff goes, I recently finished my Gamma Ray post, or at least reviewing all their main studio albums. I think I've still got one of their live albums in my collection to talk about, but I'll get around to that when I feel like it. I don't have any full discographies I feel like reviewing right now. I'm tempted to update my old Body Count post after seeing them at Bloodstock again in August. That page is a bit shit now, and I think there's only 1 album I'm missing from them in my collection (2020's Carnivore). We'll see. I definitely plan to do more 'Random albums I feel like talking about' and 'Blast from the past albums' posts over the next few weeks, as well as any other misc. articles, and seeing as it's now November, I'll start working on my yearly wrap-up post in the next few weeks no doubt. I have a couple of gigs coming up (Suffocation next Wednesday and Deep Purple later on this month, praying for Ian Gillan's health right now after last night), and I'm ashamed to say I haven't gotten around to buying Tony Iommi's new album yet either, From the Dark. I'll make sure I get it soon and hopefully review it before the end of the year.

That's all for now.

Cheers,
Adam

Saturday, 17 October 2026

Random albums I want to talk about #8: BLOOD INCANTATION - Absolute Elsewhere (2024, Century Media)

In this series of posts I'll discuss a random album in my collection I feel like talking about!

At some point fairly recently I mentioned this album. I can't remember what post it was, but I know I was talking about certain things getting lots of hype, and me being deliberately contrarian as a result of it. Basically, Blood Incantation's Absolute Elsewhere has been a talking point in metal circles all over the internet since it's release this time 2 years ago. And until this past week, I'd managed to avoid it entirely. I don't like being told over and over again about how great something supposedly is. If anything, it makes me not want to give it the time of day. And to be honest, I was getting fed up of people on forums and places like Reddit, dick-riding this album to no end. And then of course, I caved in very recently and randomly decided I'd like to hear Absolute Elsewhere for myself. 

Where this sudden decision to buy the album came from I don't know, but I will at least say that this is one of those albums that's been garnering praise from all kinds of metal fans. The annoying elitist in me is immediately sceptical when a record is hyped by lots of casual/newbie metalheads. Not because I think the album will be "bad", but because it means they have less to compare said album to. I know that makes me sound pretentious and snobby, but it's kind of a default reaction when you've spent more than 20 years deep-diving into a specific genre. But Absolute Elsewhere seems to be lauded by all kinds of metalheads - older, younger, veterans, newbies... you name it. Of course, it doesn't take long to find plenty of critical reviews of this thing too, with people deliberately highlighting it's hype and supposed originality as well as calling the band fake hipster metal - but by and large, this is an acclaimed effort from Blood Incantation.

I went into this album expecting to be, well, not necessarily disappointed, but quite possibly confused by all the hype. Also, on paper at least, the album shouldn't really be my cup of tea. I like death metal a lot, sure. But that's only one element of this band. I like prog too, but I can hardly call it one of my favourite genres. I'm not particularly fussed by ambient, Tangerine Dream-type stuff though (not really my thing). Even if I enjoy a lot of the musical elements of Blood Incantation, when mixed together though, I shouldn't really be into it. Anyhow, right off the bat I'll say I don't love this album - it's not one of the greatest things I've ever heard by any stretch of the imagination, and I certainly don't consider it to be some kind of definitive modern metal masterpiece either like so many others seem to. But I do think it's great - seriously. 

I can only praise the band for throwing all these styles into their formula and creating something that genuinely does work, and sound good to the ears. I'm a death metal fan, but only really a casual prog fan. And I almost never listen to purely ambient stuff, unless an ambient track happens to be packaged into a particular album. But with Absolute Elsewhere, I feel like Blood Incantation seamlessly transition across all these styles without it ever feeling forced or jarring. Even though they drift through death metal, prog rock, electronic/ambient compositions and even old-school 1970s psychedelic space rock-style fragments (Hawkwind anyone?) on each of the 2 lengthy tracks here, nothing ever feels out of place or like it shouldn't be there. The entirety of the album flows amazingly well, and this is coming from someone who mostly just wants ballsy riffs from his metal.

Oh yeah, you heard that right - Absolute Elsewhere is made up of 2 songs. You've got 'The Stargate' and 'The Message', with the former being 20 minutes long and the latter 23 minutes. Both songs are divided into 3 tracks however (dubbed 'Tablet I', 'Tablet II' and 'Tablet III'). So it's really 2 songs spread across 6 tracks. Any song that lasts 20 plus minutes, regardless of whether or not it's split into multiple segments, is long. But seeing as the whole album only lasts 43 minutes in total, I don't think the band ever overstay there welcome here. And there's so much going on musically across both tracks that I kind of just press play and don't even think about the way the album is formatted anyway. Let's be honest, proggy, experimental albums like this often go on for far too long. I'm glad Blood Incantation don't do this on their records.

The actual death metal that is present on the album is far from the heaviest you'll ever hear. But that's not really the point. Yes, the vocals during these segments are growled as expected, the guitars detuned and the drums frantic and full of blast beats, but I feel that death metal parts are used as a dynamic to add some intensity, energy to all the proggy/ambient music that is also to be found here. I wouldn't even say that every single heavy element on Absolute Elsewhere is even full-on death metal. There's actually some techy thrash metal on 'The Message [Tablet III]'. Yeah the vocals are death metal, but the riffs sound like thrash to me, a bit like Vektor or possibly modern day Testament? I will admit that on an individual level, the death metal/metal parts in general across 'The Stargate' and 'The Message' are not especially some of the best metal compositions you're ever gonna hear. They're totally competent sure, but if the band didn't have their progressive/experimental aspect, I'm not sure they would be taking the world by storm as a purely death metal act. But it's the way they've managed to implement these heavy transitions within the rest of the music that is extremely admirable and impressive to me. In short, no it's not the best death metal I've ever heard. Not at all. But within these songs, it all works remarkably well. And I will say that drummer Isaac Faulk is spectacularly tight throughout the entirety of the album.

And as for the proggy/ambient/experimental aspect of the songs (whatever you want to call it), well this is all just as important as the heavy stuff, and makes up A LOT of the music within this album. There's floaty, dreamy synths and mellotrons throughout both 'The Stargate' and 'The Message', and if I'm in the right mood, they make me drift away and get lost within the record. And that's exactly what they should be doing. There's also some fine instrumentation on here that isn't necessarily metal or ambient soundscape. 'The Message [Tablet I]' has lots of melodic guitars, as well as shoegaze-like moments and there's even a fair share of clean vocals throughout '[Tablet II]' of the same song. I'm hardly a prog guy even if I do listen to bands like Yes, Genesis, King Crimson, Dream Theater etc. in small doses, but there isn't any portion of Absolute Elsewhere that I find boring or tedious. A tad pretentious maybe (expected though), but I think prog will always carry that stigma to some extent! I don't have any serious qualms with the production either. Maybe the bass could stand out a little more? But that's about all I can really think of. It sounds modern and professional, but not horribly fake and overly clean like so many other bands these days. Again, the drums sound particularly powerful. I like when I can really praise the drums on an album because I don't find myself talking about drums in general much here!

As I said earlier, I don't think this is a "masterpiece". For starters, I think one song is quite a bit stronger than the other. 'The Stargate' is very good, but it didn't blow me away. 'The Message' however, is clearly the standout - at least in my opinion. This track is exceptional. And I do genuinely believe Absolute Elsewhere is destined to become a classic of the genre in the future. It's a prog album that even people who don't normally enjoy death metal should listen to at least once. Death metal is not for everyone, but it's only one of many factors of this album, and laid down in a way that I think lots of people will appreciate. That's probably part of the reason why so many people have been raving about this record, even 2 years on. Absolute Elsewhere is not a "true death metal album", nor is it a full-on ambient project either. It's a lot of things, and incredibly, it all comes together to create something great.

My personal rating is an 8.9/10. I hesitated to round off the score to a 9 because I think one song is clearly better and more memorable than the other (even if 'The Stargate' is still really good), and also because it's not an album I can see myself playing more than a few times a year. I listened to it a handful of times this week in the car on the way home from my late shift at 10pm, and it was great under those circumstances. But I can't see myself listening to it in the gym, or when I go for a run. It just isn't the sort of metal I listen to regularly. A lot of the time I just want no-nonsense riffy, arse-kicking music! I have to be in the right mood for this one, otherwise I find myself turning it off after a couple of minutes.

On a side note, I love this band's artwork. Blood Incantation have 3 albums and an EP if I'm not mistaken. Absolute Elsewhere is the only one I currently own, but I'll likely pick up the rest of their stuff at some point. Anyhow, amazing album cover. Pure cosmic, psychedelic brilliance! I don't like their logo however. Unreadable metal logos have gotten out of hand and are kind of a joke to me now, Blood Incantation's is no exception!
Adam's rating: 8.9/10

Tuesday, 13 October 2026

Collection showcase #3 - BLACK SABBATH

I've said it on here a billion times already - alongside Deep Purple and Judas Priest, Black Sabbath are my absolute favourite band of all time. Paranoid was not the first album I ever bought (AC/DC's Back in Black was), but it was the first heavy metal album I ever bought, and still ranks among the absolute earliest pickups in my CD collection. So at this point in time, they're a band I've been listening to religiously forever. 

I love all eras of this band, from the original Ozzy Osbourne years, the Ronnie James Dio era, the short-lived Ian Gillan stint and the underrated Tony Martin periods (which has been getting the credit and attention it deserves more recently). Some are better than others of course, but I'm not one of those fake "Ozzy-Sabbath only" fans. There are missteps in this catalogue for sure, but there's albums from every era here amongst my favourites. Speaking of which, my top Sabbath albums are the self-titled debut, Master of Reality, Vol. 4, Sabbath Bloody Sabbath, Heaven and Hell and Born Again. Following closely behind are Paranoid, Sabotage, Mob Rules, The Eternal Idol, Headless Cross, Tyr and Cross Purposes... but I like literally every one of their studio albums albums to some degree! Only 13 is mediocre in my books, but even that one has it's moments.

There's a lot of live albums, bootlegs etc. out there too, as you can see. Most of Sabbath's live output is really good, but I have to say I don't think they have any absolute seminal live albums like some other bands do. I adore this band, but they've never topped bands like Deep Purple, Thin Lizzy, UFO, Queen, Judas Priest or Iron Maiden when it comes to live albums. Still, I totally recommend picking up the 2002 live package Past Lives (2 CDs of 70s Ozzy-era live material, including Live at Last), plus the Dio-era Live Evil from 1983 is a classic in it's own right.

As with most of my favourite bands, I have a portion of vinyl. Not a lot, but a few. I don't think I'll ever buy everything again on vinyl due to cost, and the fact I'm simply not a dedicated vinyl junkie. It's nice to have LPs, and I do pick them up occasionally, but I'm far too committed to my CD collection. Either way, it's still nice to play some of these albums on my turntable.

Studio albums:



  • Black Sabbath (1970)
  • Black Sabbath (1970, Deluxe Expanded Edition)
  • Paranoid (1970)
  • Paranoid (1970, Deluxe Expanded Edition)
  • Master of Reality (1971)
  • Master of Reality (1971, Deluxe Expanded Edition)
  • Vol. 4 (1972)
  • Sabbath Bloody Sabbath (1973)
  • Sabotage (1975)
  • Technical Ecstasy (1976)
  • Never Say Die! (1978)
  • Heaven and Hell (1980)
  • Heaven and Hell (1980, Deluxe Expanded Edition)
  • Mob Rules (1981)
  • Mob Rules (1981, Deluxe Expanded Edition)
  • Born Again (1983)
  • Born Again (1983, Deluxe Expanded Edition)
  • Seventh Star (1986)
  • Seventh Star (1986, Deluxe Expanded Edition)
  • The Eternal Idol (1987)
  • The Eternal Idol (1987, Deluxe Expanded Edition)
  • Headless Cross (1989)
  • Tyr (1990)
  • Tyr (1990, 1999 reissue)
  • Dehumanizer (1992)
  • Dehumanizer (1992, Deluxe Expanded Edition)
  • Cross Purposes (1994)
  • Forbidden (1995)
  • The Devil You Know (2009)
  • 13 (2013)

Live albums/Compilations:
  • We Sold Our Soul for Rock 'n' Roll (1976, compilation)
  • Live at Last (1980, live album)
  • Live Evil (1983, live album)
  • Live Evil (1983, Deluxe Expanded Edition, live album)
  • Reunion (1998, live album)
  • Past Lives (2002, live album)
  • The Dio Years (2007, compilation)
  • Neon Nights: 30 Years of Heaven & Hell (2010, live album)
  • The End: Live in Birmingham (2017, live album)

Vinyl:
  • Master of Reality (1971)
  • Sabbath Bloody Sabbath (1973)
  • Sabotage (1975)
  • Greatest Hits (1977, compilation)
  • Never Say Die! (1978)
  • Mob Rules (1981)
  • Born Again (1983)
  • Headless Cross (1989)
  • Cross Purposes (1994)

Bootlegs/Related albums/Misc.:
  • The Star of India Demos & Rehearsals (bootleg, demo)
  • Live in New Jersey 1975 (bootleg, live album)
  • Masters of Reality 1970-1975 (bootleg, live album)
  • Tokyo Heaven: Japan Broadcast 1980 (bootleg, live album)
  • Deep Black: The Massachusetts Broadcast 1983 (bootleg, live album)
  • Headless in Osaka: Japanese Broadcast 1989 (bootleg, live album)
  • Live Costa Mesa, USA 1991/11/15: The Priest Comes to the Sabbath (bootleg, live album)
  • Tony Iommi: 8th Star (bootleg, demo)
  • Geezer Butler: Plastic Planet (1995)
  • Tony Iommi: The 1996 DEP Sessions (2004)
  • Tony Iommi: Fused (2005)
  • Tony Martin: Thorns (2022)

Box sets:
  • Technical Ecstasy Super Deluxe (2021)
  • Anno Domini 1989-1995 (2024)

Wednesday, 7 October 2026

Collection showcase #2 - ANNIHILATOR

So my Annihilator collection started with my 1999 CD remaster of the 1989 debut, Alice in Hell. I picked this up during my 9th school year around 2006, and the rest is history. The Canadian metal legends ("legends" could be really just mean "legend", since Annihilator is more about Jeff Waters than anyone else - not to discredit any former members of the band) have been one of my favourite bands ever since. Needless to say, I had every Annihilator studio album in my collection around my late teens, with several more being released since then. I also accumulated all of the live albums, plus plenty of EPs and miscellaneous releases a very long time ago too, and I've also gotten hold of several of their studio albums on vinyl. I also have a lot of merch - t-shirts, hoodies etc.. Not sure I can be bothered to show any of my merch here, but maybe I will in the future.

I haven't bought much from this band in the last few years because Jeff Waters hasn't really been active with Annihilator for a while now. They haven't toured since 2019, and I'm beginning to wonder whether or not Jeff will ever revive Annihilator. Their social media/merch etc. is active, and we've had some reissues of older albums, but by and large it's hard to say to say if Annihilator will ever return. It doesn't help that Waters has a non-metal project called Amerikan Kaos on the go right now. The most recent Annihilator release I picked up was the 2025 compilation, More Noise Vol. 1, plus vinyl reissues of King of the Kill, Refresh the Demon and Carnival Diablos. But we haven't had a studio album of entirely new material since 2020's Ballistic, Sadistic. Still, I'm very fond of my Annihilator collection. There's not a lot I don't have, unless you count vinyl of course. Seeing as I'm not primarily an LP collector, I'm not making an effort to actively collect everything in the catalogue on vinyl either. I always prioritise CDs. I have some Annihilator on vinyl. If I add more in future, cool. If Waking the Fury gets a vinyl reissue, I'll buy it in a heartbeat. But if I go the rest of my life without obtaining any more Annihilator on vinyl, then that's fine with me. 

My personal favourites will always be Alice in Hell (1989), Never, Neverland (1990), Waking the Fury (2002), Double Live Annihilation (2002) and For the Demented (2017). King of the Kill (1994), Carnival Diablos (2001), Schizo Deluxe (2005), Annihilator (2010), Ballistic, Sadistic (2020)... hell, these are all runners-up in my books! A special band for me; Jeff Waters is an incredible guitar player, and I certainly don't agree with that one strange corner of the internet that thinks the only albums that matter are their first 2. Check out my Annihilator review post for the nitty gritty (it was largely updated back in 2022).

Studio albums:


  • Alice in Hell (1989)
  • Never, Neverland (1990)
  • Set the World on Fire (1993)
  • King of the Kill (1994)
  • Refresh the Demon (1996)
  • Remains (1997)
  • Criteria for a Black Widow (1999)
  • Carnival Diablos (2001)
  • Waking the Fury (2002)
  • All for You (2004)
  • Schizo Deluxe (2005)
  • Metal (2007)
  • Annihilator (2010, limited edition box set)
  • Feast (2013, limited edition digibook)
  • Suicide Society (2015, limited edition digibook)
  • For the Demented (2017)
  • Ballistic, Sadistic (2020)
  • Metal II (2022)

EPs/Live albums/Misc.:
  • Stonewall (1990, single)
  • Set the World on Fire (1993, single)
  • Bag of Tricks (1994, compilation)
  • In Command: Live 1989-1990 (1996, live album)
  • Double Live Annihilation (2002, live album)
  • The One (2004, EP)
  • Ten Years in Hell (2006, DVD)
  • Live at Masters of Rock (2009, live album)
  • Triple Threat (2017, live album)
  • More Noise Vol. 1 (2025, compilation)

Vinyl:
  • Alice in Hell (1989)
  • Never, Neverland (1990)
  • King of the Kill (1994)
  • Refresh the Demon (1996)
  • Carnival Diablos (2001)
  • Metal II (2022)

Monday, 5 October 2026

Collection showcase #1 - GRAVE DIGGER

This new series of posts is basically just an excuse for me to show off a specific band/artist collection. There are plenty of bands within my entire collection whereby I own all their major studio albums, but there are some collections I am more proud of than others. This can be down to the fact some discographies are generally harder to obtain than others, or it could simply be because I have that much extra stuff on top of all the studio albums (EPs, live albums, compilations etc.).

Anyhow, the first thing I want to showcase is my Grave Digger collection. I am a HUGE fan of this band, and I'm very fond of all this stuff of theirs I've gotten hold of over the past few years... in case you couldn't tell. I think Grave Digger are massively underrated here in England, and the UK in general. They barely ever play this country, and the only time I have had a chance to see them was at Bloodstock festival way back in 2011 - and I hadn't even heard of them at the time! In fact, of all the bands that will be getting one of these 'showcase posts', my Grave Digger collection is probably the newest and fastest-growing of the lot for me. Practically every other band I plan to post for this on here are collections I've been building since my teens. Well I didn't pick up anything by Grave Digger until 2023, aged 31. I bought Tunes of War, Ballads of a Hangman and The Clans Will Rise Again from the same Ebay seller and have been hooked ever since.

This is a fantastic catalogue. Consistent as hell. Chris Boltendahl's vocals are an acquired taste, I will admit. But 95% of this discography is just true Germanic heavy/power/speed metal goodness. Crunchy guitars, endless riffs, blazing solos, lyrics about history... in fact, Grave Digger have recorded several concept albums over the years - it's something they never struggle with (unlike many other bands). But really, I like all of these records. Check out my Grave Digger reviews post for a complete rundown of this catalogue. My personal favourites are The Reaper (1993), Tunes of War (1996), Excalibur (1999), The Grave Digger (2001) and Rheingold (2003), with Heart of Darkness (1995), Knights of the Cross (1998), Clash of the Gods (2012) and Fields of Blood (2020) not too far behind. Extra special shoutout to the awesome EP Symphony of Death (1993) and the double live album 25 to Live (2005).

Studio albums:


  • Heavy Metal Breakdown (1984)
  • Witch Hunter (1985)
  • War Games (1986)
  • The Reaper (1993)
  • Heart of Darkness (1995)
  • Tunes of War (1996)
  • Knights of the Cross (1998)
  • Excalibur (1999)
  • Excalibur (1999, vinyl LP)
  • The Grave Digger (2001, promo CD)
  • The Grave Digger (2001, limited edition)
  • Rheingold (2003)
  • The Last Supper (2005)
  • Liberty or Death (2007)
  • Ballads of a Hangman (2009)
  • The Clans Will Rise Again (2010)
  • Clash of the Gods (2012)
  • Return of the Reaper (2014)
  • Healed by Metal (2017)
  • The Living Dead (2018)
  • Fields of Blood (2020)
  • Symbol of Eternity (2022)
  • Bone Collector (2025)

EPs/Live albums/Misc.:


  • Symphony of Death (1993, EP)
  • Yesterday (2006, EP)
  • Pray (2008, EP)
  • The Ballad of Mary (2011, EP)
  • Tunes of Wacken - Live (2002, live album)
  • 25 to Live (2005, live album)
  • The Clans Are Still Marching - Live at Wacken 2010 (2011, live album)
  • Exhumation (The Early Years) (2015, re-recording compilation)

Saturday, 3 October 2026

Judas Priest - LEAST favourite track from every album!

A few months ago I made one of these posts covering all my least favourite songs from every Black Sabbath album. Now it's Judas Priest's turn. As with the previous post I won't be counting low-hanging fruit choices here either, i.e. instrumentals/interludes/intro tracks - that'd be too easy (e.g. 'Caviar and Meths', 'Prelude', 'The Hellion', 'Battle Hymn' and whatever else).


ROCKA ROLLA (1974) - 'One for the Road'
Just to be clear, I like every track on Rocka Rolla. I think it's an underrated debut and a perfectly serviceable heavy album from the 1970s. Picking a least favourite song then, was difficult (especially since I'm not allowed to pick the instrumental 'Caviar and Meths'!). I didn't think it'd be fair to choose any part of the 'Winter/Deep Freeze/Winter Retreat' thing either, because despite the fact most versions of this album space them out as separate songs, I consider all 3 of them to form a single long song. So I went with the opening track, 'One for the Road'. In truth, it's a strong opener; kind of a bluesy mid-tempo hard rocker, with some catchy riffs and a terrific opening lyric from Rob Halford ("Where would you be without music? You would be nowhere at all."). But stacked up against the rest of this album, I feel it has less character than the other songs, and I don't really hear many traces of their signature heavy metal sound that was to come. Good song, just not a great one.

SAD WINGS OF DESTINY (1976) - 'Epitaph'
This is my favourite Priest record (although not by much at all), so calling out a "worst song" feels like blasphemy to me! Not only is it one of the best metal albums of the 1970s, I truly believe this is one of the greatest heavy metal albums of all time. Sadly, my pick for weakest track has to go to 'Epitaph' - not because it's incompetent in any way of course, but because it's the least metallic song on here. Granted, not being heavy does not automatically make it the worst, but 'Epitaph' is an entirely piano-driven ballad with lots of layered, Queen-like vocal melodies. In truth, it's stupendous. It displays the creativity of the band's songwriting as well as the vocal talents of Rob Halford. But it's also the only song on Sad Wings of Destiny I don't ever listen to individually. It's an album-only kind of affair for me, whilst the rest of the album has songs I can also listen to on an individual basis as well as within the album tracklisting itself.

SIN AFTER SIN (1977) - 'Raw Deal'
Another impossibly difficult task - picking a least favourite song from an album I love from start to finish. I guess I'm gonna have to go with 'Raw Deal', and the reason for this is because I think it lacks the intensity when stacked up to Sin After Sin's other heavy tracks. It's heavy alright, but compared to scorchers like 'Sinner', 'Starbreaker' and the groundbreaking 'Dissident Aggressor', 'Raw Deal' doesn't quite cut the mustard. And yes, I really like the ballads on this one (more so as time goes on), 'Here Come the Tears' and 'Last Rose of Summer' as well as the Joan Baez cover, 'Diamonds and Rust' (Baez herself even loves Priest's version!). Still, 'Raw Deal' is no slouch. Like I said, I love every track on this album.

STAINED CLASS (1978) - 'Better by You, Better Than Me'
And again, choosing a weakest track from one of the most important, benchmark albums of a genre feels so wrong. 'Better by You, Better Than Me' is my least favourite. Does this count as cheating, seeing as it's a cover? Nah, I don't think so. This particular cover of Spooky Tooth in question is iconic to the album, and a huge part of Stained Class. I guess the reason it's also the weakest song on here to me is the fact it's slightly more obvious that it wasn't written by Judas Priest. But as far as covers go, it's actually terrific. Probably better than the original. Maybe. It also got Priest in a lot of trouble years later in 1990, when the band were accused of being responsible for the suicide attempts of 2 young US men. That's a whole other story for you to unpack, but Priest were of course found innocent.

KILLING MACHINE (1978)
- 'Evil Fantasies'
Everyone always shits on 'Evening Star', but I love that tune! And I don't think 'Take On the World' is hugely popular either, but again, I love it. Well, I almost picked 'Before the Dawn', but I think that's a pretty stunning ballad these days. So I've gone with the album's final track, 'Evil Fantasies'. To be honest, I like every song on Killing Machine once again, but 'Evil Fantasies' has more of a throwaway feel compared to the rest of the tracks I suppose. It's still a solid, heavy and stomping closer - if a little too slow-paced. The chorus is particularly great though. It just isn't as memorable as the rest of the heavy cuts on here, to my ears anyway.

BRITISH STEEL (1980) - 'You Don't Have to Be Old to Be Wise'
Now this was much easier. 'You Don't Have to Be Old to Be Wise' is not awful by any means, but it's the one song on British Steel that I can happily skip and not feel any less satisfied. I occasionally see 'United' take a lot of flak from fans online - yeah okay, it's basically just 'Take On the World' with different lyrics. But the chorus is waaayyy too catchy for it to make this list! 'You Don't Have to Be Old to Be Wise' however, is just a fairly mundane, radio-friendly pop metal number. It's harmless, but it lacks the hooks of the equally radio-friendly 'Living After Midnight', and is kind of forgettable next to the rest of this album.

POINT OF ENTRY (1981) - 'You Say Yes'
Point of Entry was the first real dip in quality for Judas Priest (in my opinion), so there were a handful of potential song choices here sadly. 'Troubleshooter', 'All the Way' and 'Turning Circles'... none of these are particularly exciting songs, but none of them are really "bad" either. 'You Say Yes' however - now this one is pretty lame. Judas Priest does boogie bar rock?! Sure, that jumpy riff is catchy - but it's annoyingly catchy, not catchy because the songwriting is actually clever. 'Spaceman' by Babylon Zoo was catchy as well, doesn't make it good. Indeed, 'You Say Yes' is throwaway fluff. Not the worst thing Priest ever laid down, but certainly not anything more than filler.

SCREAMING FOR VENGEANCE (1982) - 'Pain and Pleasure'
Everyone loves Screaming for Vengeance, including me, but 'Pain and Pleasure' is the easy pick here for weakest song. I mean, nothing on here is legitimately "weak" - the album is a revered classic, and completely overshadows Point of Entry. But compared to every other track, 'Pain and Pleasure' just lacks any obvious standard high point for me. It's a solid enough slow groover, but the riffs are unremarkable, the hooks aren't notable and it's easily the most generic song Screaming for Vengeance has to offer. The good news is that this is still Screaming for Vengeance we're talkin' about - even the worst song is still enjoyable for what it is.

DEFENDERS OF THE FAITH (1984) - 'Night Comes Down'
In my opinion, the best album they made in the 80s. 'Freewheel Burning', 'Jawbreaker', 'Eat Me Alive', 'Rock Hard Ride Free', 'Love Bites', 'Some Heads Are Gonna Roll', the motherfucking 'SENTINEL'!! The majority of this record is absolutely stellar. But 'Night Comes Down' brings things down a tad. Still a decent ballad with plenty of emotion from Mr. Halford all things considered, but not one of their best either. Compared to intensity of nearly everything else on here, it was always gonna come out in last place. The real easy pick would have been the title track, but it's just an outro piece to 'Heavy Duty' that lasts no more than a minute and a half, so I didn't count it.

TURBO (1986) - 'Private Property'
Turbo has been a grower for me over the years, but even if I rate it higher today than I did my 2020 review, it's still probably my least favourite Judas Priest album, and always has been. So picking a worst song was actually more difficult than you'd think. My first thoughts were the stupid anthems 'Rock You All Around the World' and 'Parental Guidance' - but I enjoy their choruses more than I'd like to admit! So right now I'll go with 'Private Property'. Even though it follows the same pop metal, commercial formula as the rest of this album, it's just lacking in almost every aspect. I don't find it particularly memorable, save for the chanted chorus. The synthy intro is annoying, and it just encapsulates all that is wrong with Turbo and Judas Priest in 1986, which was abandoning their die-hard metal fanbase and effectively trying to appeal to the Sunset Strip hair rock scene of LA. You're a heavy metal band from Birmingham lads, don't forget that!

RAM IT DOWN (1988) - 'Johnny B. Goode'
Another flawed album in the catalogue, but one that can at least claim a handful of classic cuts. 'Ram It Down', 'Blood Red Skies', 'Hard as Iron'... you certainly won't find any of these tracks on this list! Okay, my pick is low-hanging fruit, but how can it not be the cover of Chuck Berry's 'Johnny B. Goode'?! It's terrible, and serves no purpose on this album. The only thing I will say is that it was originally recorded for some crappy 80s teen film (Johnny Be Good) starring Robert Downey Jr. and Anthony Michael Hall, so it's highly likely the band just threw this in to fill some space on the resulting LP. 

PAINKILLER (1990) - 'One Shot at Glory'
Any metal fan with half a brain knows that Painkiller is one of the all-time greats of the genre. It's one of the albums that exemplifies heavy metal for me. So there is no correct answer here (I mean, there is no correct answer to any of these choices, it's all subjective. But you know what I mean...). My personal least favourite track on the album is the closing cut, 'One Shot at Glory'. Why? I dunno. It's pretty much perfect, like everything else on here. It's awesome. But I had to pick something!!

JUGULATOR (1997) - 'Brain Dead'
I'm very much a part of the "Jugulator is a real Judas Priest album" camp, if such thing exists. Yeah I know, it's the first of 2 albums without Rob Halford (Tim 'Ripper' Owens took the reigns for a few years whilst Rob went solo), and one I immediately connected with ever since I first got my hands on it more than half my lifetime ago. Sure, it isn't perfect. By and large though, I really like Jugulator. However, 'Brain Dead' is the track I tend to forget about. It's heavy as fuck - the entire album is. In fact, a lot of fans consider Jugulator to be too heavy to be classic Priest. But the bulk of this album sounds like a natural progression from Painkiller to me. 'Brain Dead' on the other hand, sounds more like Pantera and Machine Head blended together than it does 1990s Priest. The riffs are full of groove, and there's even guitar harmonics in this one. Tim Owens, ironically, is the most Priest thing about this tune in my opinion. Not really a bad song under it's own merit, but not really worthy of the Judas Priest brand either. 

DEMOLITION (2001)
- 'Metal Messiah'
I'll admit that Tim Owens' last outing with Judas Priest is a patchy affair, but I've always felt it had it's fair share of genuinely good moments. That said, Demolition certainly isn't without it's faults. Most people will tell you 'Cyberface' is the worst song on the album, but for me it's always been 'Metal Messiah'. Owens' almost-rapped vocals (!!) on this track never fail to grate on me, and the composition of this song in general just rubs me the wrong way. There's a few mediocre songs to be found on this record ('Close to You', 'Cyberface', 'In Between') as well as some great ones ('Hell Is Home', 'Feed on Me', 'Bloodsuckers') but 'Metal Messiah' is the only one I flat-out dislike on all levels. 

ANGEL OF RETRIBUTION
(2005)
- 'Angel'
Rob Halford's powerful comeback to the Priest comes in the form of 2005's Angel of Retribution, an album I love these days, but one that took me a surprisingly long time to really appreciate. Many people will no doubt tell you the experimental 13 minute epic, 'Lochness', is this album's weakest link. Not me. For me, it's the insanely mellow, lightweight ballad 'Angel'. I know I'm in the minority with this pick. The general feeling I get is that most fans love this song, and I will totally give Rob nothing but praise for his vocal performance on it. But it's just a bit too soft for my liking. Except for maybe 'Epitaph', past Priest ballads like 'Last Rose of Summer' and 'A Touch of Evil' etc. were never really as floaty as this. I guess it's just not what I want to hear from the band, even if I respect the talents of the band for writing it.

NOSTRADAMUS (2008)
- 'New Beginnings'
Due to the experimental, almost symphonic nature of the concept album that is Nostradamus, it is easily the most polarising effort in this entire catalogue. To make matters even more controversial, it's also a double album that lasts a whopping 1 hour and 42 minutes in total. Although there's a decent share of genuinely great songs within this project, there's also a lot of interlude tracks and dodgy one's to sit through as well. I don't particularly enjoy 'New Beginnings' all that much. It's one of the last songs on the entire album, which already means I'm pretty tired of Nostradamus at this point anyway. But sitting through another tedious ballad this late into the album is a chore to say the least. The inclusion of the piano with the rest of the instruments is nice, as is Rob's vocal performance (as always), but if you took away Halford, it barely even sounds like Judas Priest to me.    

REDEEMER OF SOULS (2014) - 'Hell & Back'
Judas Priest have pretty much always operated as a songwriting trio - Rob Halford plus guitarists Glenn Tipton and KK Downing. KK would retire in 2011 however, with Richie Faulkner taking his place. That also means the songwriting trio now consists of Halford/Tipton/Faulkner, and despite the fact Redeemer of Souls is absolutely home to some fantastic songs ('Dragonaut', 'Redeemer of Souls', 'Halls of Valhalla', 'Sword of Damocles', 'Battle Cry'), it's also guilty of the odd filler track or 2. As much as I really enjoy this record, I stated in my updated review of this album that 'Hell & Back' is just downright boring. It is. The riffs are slow, plodding and uninspired. The song feels like it was written in 5 minutes and put on the album to kill some time. The guitar soloing is nice, but in general this is Priest by the numbers. Thankfully 'Hell & Back' is not representative of Redeemer of Souls as a whole.

FIREPOWER (2018) - 'Spectre'
This album is a modern classic! Richie Faulkner really moulded himself into Judas Priest as an integral member of the band by this point. There aren't any poor tracks to speak of, but 'Spectre' is as close to generic as it gets. A bit like 'Hell & Back' from Redeemer of Souls, 'Spectre' too is kinda slow and lumbering in structure, but it does pack more punch by comparison, with a particularly strong vocal performance from Rob. I do wonder if Andy Sneap's excellent production is what makes this song better than it really is however? Because there's nothing in it's composition that is especially brilliant, and is certainly the most "autopilot Priest" track within Firepower. 

INVINCIBLE SHIELD (2024) - 'Escape from Reality'
Judas Priest returned in 2024 with Invincible Shield - an album even better than Firepower! As with the predecessor, there aren't any actual "poor" tracks here, but 'Escape from Reality' is just about lacking in creativity/energy compared to nearly everything else on offer here. It's mid-tempo pacing is not necessarily a problem, but the riffing is undoubtedly less exciting than most of the other songs here - especially when you've just sat through instant classics like 'Panic Attack', 'The Serpent and the King', 'Invincible Shield', 'Gates of Hell' and 'As God Is My Witness'. And it doesn't have the same passion as the terrific ballad 'Crown of Horns' either. But you know... as with 'Spectre' from Firepower, Andy Sneap's amazing production still brings this seemingly average song to life.