JUDAS PRIEST are a band that should need no introduction. One of the bands that helped craft the sound of heavy metal, they have flown the metal flag for over fifty years, leaving a trail of classic material in their wake. The band today are still going strong, releasing two late-career classics in the form of 2018’s Firepower and 2024’s Invincible Shield, the band are showing no signs of slowing down. But what about the album that preceded their glorious return to form?
Like many of their peers, JUDAS PRIEST had struggled in the nineties against the onslaught of grunge and nu-metal, but with Rob Halford’s return in 2003 after his departure the previous decade, the band were riding the wave of a return in popularity of classic metal. Their ferocious comeback album of 2006 Angel Of Retribution capitalised on this and was well-received by fans and critics alike. What quite convinced them to then release an overblown symphonic metal mess based on the 16th century astrologer in the form of Nostrodamus as a follow up, is not something that Nostrodamus himself could have predicted. Clocking in at monstrous 102 minutes, the album was seen as a poor man’s Seventh Son Of A Seventh Son.
After the less than glamorous reception for Nostrodamus, the band received another blow: the sudden exit of founding guitarist KK Downing in 2011. This was due to in KK’s words “an on-going breakdown in working relationships between myself, elements of the band and management for some time”. This happened right on the eve of their Epitaph World Tour, which at the time was rumoured to be their last. The band then picked the relatively unknown Richie Falkner to replace the legendary former guitarist, and embarked on their “last world tour” (it wasn’t).
All of this context is to say that the run up to Redeemer Of Souls was somewhat tumultuous. Many were concerned at what a JUDAS PRIEST album would sound like without the iconic twin leads of Glen Tipton and KK Downing, and whether it could even be possible. The band ploughed on regardless, and preparation began for the album.
In a rather telling statement, guitarist Glen Tipton stated that “Sometimes in the past we may have come under fire for being too adventurous musically – so we have listened. From start to finish, Redeemer Of Souls is 13 songs of pure classic PRIEST metal.” A not so subtle reference to the mixed reaction to Nostrodamus.
Classic PREIST was certainly what the fans received when Redeemer Of Souls was released in July 2014. The album received a decent reception from the critics at the time, with AllMusic declaring it is the “anthesis to Nostrodamus” and Rolling Stone stating that “Redeemer Of Souls is proof that PRIEST can still call themselves metal’s defenders of the faith”. It is certainly a solid effort for a band on their seventeenth album, with standout tracks such as Dragonaut, Halls Of Valhalla and Metalizer serving as a reminder that no one does classic metal like JUDAS PRIEST.
The problem that Redeemer of Souls has is the two albums that come after it. Fire Power and Invincible Shied are rightfully seen as modern classics, and some of the best work the band has ever done. Redeemer Of Souls sounds dated in comparison, and severely lacks the sonic punch that producer Andy Sneap brought with on the last two albums.
The legacy of Redeemer of Souls is a mixed bag. Louder ranked it 14th in their listicle of the band’s discography, assessing that it was “not quite the sizzling return to form that many proclaimed it to be”, with Blabbermouth serving an even harsher appraisal at 17th stating that “it lacks cohesion and some of the anthemic bombast we’re accustomed to, and the flat production ultimately drags this one down.”
Tracks from the album do still make an appearance however, with Sword Of Damacles popping up in 2024’s Invincible Shield tour, so the band themselves aren’t resigning Redeemer Of Souls to the musical graveyard just yet. But in it’s ten years since release, it’s hard to imagine many fans are clamouring for an anniversary show.
Redeemer Of Souls was originally released on July 14th, 2014 via Columbia Records.
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