Heavy Metal

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Heavy metal (often referred to simply as metal) is a genre of rock music that developed in the late 1960s and early 1970s, largely in the United Kingdom and the United States. With roots in blues-rock and psychedelic rock, the bands that created heavy metal developed a thick, massive sound, characterized by highly amplified distortion, extended guitar solos, emphatic beats, and overall loudness. Heavy metal lyrics and performance styles are generally associated with masculinity and machismo.

The first heavy metal bands (Proto) such as Led Zeppelin, Black Sabbath and Deep Purple attracted large audiences, though they were often critically reviled, a status common throughout the history of the genre. In the mid-1970s Judas Priest helped spur the genre’s evolution by discarding much of its blues influence; Motörhead introduced a punk rock sensibility and an increasing emphasis on speed. Bands in the New Wave of British Heavy Metal (NWoBHM) such as Iron Maiden followed in a similar vein. Before the end of the decade, heavy metal had attracted a worldwide following of fans known as “metalheads” or “headbangers”.

Visit the NWoBHM sub-genre page for more details on this particular music movement.

Source: http://en.wikipedia.org/wiki/Traditional_Heavy_Metal

Inclusive Traditional Heavy Metal Genres

Melodic Metal is often short for Melodic Heavy Metal and as such is usually included under Traditional Heavy Metal on the MMA. On rare occasions Melodic Metal releases may also be included under Power Metal however, such as Arven's Black is the Colour (2013).

Sub-genre collaborators (+ child sub-genres & shared with Hard Rock and Glam Metal):
  • 666sharon666 (Leader)

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Showing only albums and EPs | Based on members ratings & MMA custom algorithm | 24 hours caching

IRON MAIDEN Powerslave Album Cover Powerslave
IRON MAIDEN
4.51 | 203 ratings
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BLACK SABBATH Paranoid Album Cover Paranoid
BLACK SABBATH
4.48 | 197 ratings
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RAINBOW Rising Album Cover Rising
RAINBOW
4.49 | 140 ratings
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IRON MAIDEN Seventh Son Of A Seventh Son Album Cover Seventh Son Of A Seventh Son
IRON MAIDEN
4.47 | 178 ratings
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DIO Holy Diver Album Cover Holy Diver
DIO
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BLACK SABBATH
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HELL Curse & Chapter Album Cover Curse & Chapter
HELL
4.70 | 16 ratings
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IRON MAIDEN Somewhere In Time Album Cover Somewhere In Time
IRON MAIDEN
4.37 | 156 ratings
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IRON MAIDEN The Number Of The Beast Album Cover The Number Of The Beast
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BLACK SABBATH Master Of Reality Album Cover Master Of Reality
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4.35 | 163 ratings
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MANILLA ROAD The Deluge Album Cover The Deluge
MANILLA ROAD
4.61 | 18 ratings
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heavy metal Music Reviews

DOKKEN Breaking The Chains

Album · 1981 · Heavy Metal
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siLLy puPPy
The band DOKKEN grew out of a solo career of lead singer Don DOKKEN who found himself in Germany supplying the backup wailing heard on the Scorpion’s classic rocker “Blackout.” Producer Dieter Dierks basically gave Don free reign to record some demos in leftover studio time which resulted in the what would become the band DOKKEN’s first album BREAKING THE CHAINS. At the time Don DOKKEN invited guitarist George Lynch, drummer Mick Brown and bassist Peter Baltes to round out the slots. Juan Croucier would rerecord the bass tracks for the 1983 US release but would immediately jump ship and join Ratt but left his mark on this debut album released as a Don DOKKEN solo album in 1981 in Europe and then reconfigured to be the band’s debut album in the US in 1983.

With BREAKING THE CHAINS, Don DOKKEN and crew found a unique niche in the up and coming glam metal market that was quickly becoming the next big thing in the US. While the band would quickly find success with their followup “Tooth And Nail,” on BREAKING THE CHAINS the band was still somewhat of a studio sensation and not a true band unit yet therefore this album sounds a bit polished and designed to be fairly commercial with catchy pop hooks laced with a crunchy metal bombast. Despite the rather tenuous circumstances which brought BREAKING THE CHAINS into existence, it still pretty much displays the sound that would become DOKKEN’s staple for the rest of the 80s where they would churn out several multi-platinum albums.

The best known track is the opening title track which showcases Don DOKKEN’s smooth vocal style set above Lynch’s metal bombast and Croucier and Brown’s strong rhythmic drive. DOKKEN excelled at exceedingly melodic hooks and BREAKING THE CHAINS delivers those in abundance. The band would quickly score as openers for Blue Oyster Cult but the album itself was a flop and almost got the band dropped from its label who held out for the sophomore which proved to be a big ticket item. While overall BREAKING THE CHAINS is a stellar batch of catchy pop metal tracks, the production is a little less than desirable and the band would go on to create more interestingly designed hooks. While this debut is an ok listening experience, it neither displays the band’s best songwriting nor the over the top instrumental antics that the members would be allowed to show off on future albums.

QUEENSRŸCHE American Soldier

Album · 2009 · Heavy Metal
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UMUR
"American Soldier" is the 11th full-length studio album by US hard rock/heavy metal act Queensrÿche. The album was released through Rhino Entertainment in March 2009. After playing on "Tribe (2003)", and becoming a permanent member of the band on "Operation: Mindcrime II (2006)", guitarist Mike Stone made his last appearance on a Queensrÿche album on the covers album "Take Cover (2007)". Therefore "American Soldier" was recorded by the four-piece Geoff Tate (vocals), Michael Wilton (guitars, backing vocals), Eddie Jackson (bass, backing vocals), and Scott Rockenfield (drums, percussion).

Stylistically the music on the album is hard rock/heavy metal and unmistakably the sound of Queensrÿche. Although there are many differences, there are also some similar traits to especially two of the band´s previous releases and in some ways the music sounds like a combination of the music style "Promised Land (1994)" and "Tribe (2003)". The use of saxophone on a couple of the songs of course leads my thoughts toward the former while the dark mood and heavy riffing remind me of the latter.

"American Soldier" is a concept album where the lyrics (as the title suggests), are about American Soldiers in times of war and peace. As the liner notes say: "This record is dedicated and was inspired by stories from soldiers who have served America during times of war and peace. Thank you!". A celebration of the men and women who have made sometimes great sacrifices to keep America safe. The stories are generally melancholic and are meant to bring awareness to the problem that many war veterans have a hard time adjusting to society when they return home after serving their country in foreign lands. There are also some tracks about having to deal with a bad conscience having killed people in the line of duty. The songs are centered around the powerful vocals and strong vocal lines by Geoff Tate. There´s a guest appearance on the song "Home Again" when Geoff Tate sings duet with his 10 year old daughter Emily Tate. The tracks feature many samples with soldiers speaking about their experiences which works well for the atmosphere of the album.

Not surprisingly the musicianship is top notch and "American Soldier" also features a professional and well sounding production, but in the end the album becomes a bit too predictable and formulaic vers/chorus styled and a slightly more playful and adventurous songwriting approach could have elevated the album to a higher state, because "American Soldier" definitely has the potential to be something special. As it is it´s an album featuring some moments of excellence, but also quite a few more unremarkable parts. A 3 - 3.5 star (65%) rating is warranted.

W.A.S.P. School Daze

Single · 1984 · Heavy Metal
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UMUR
"School Daze" is a single release by US heavy metal act W.A.S.P.. The single was released through Capitol Records in 1984. The A-side is lifted off the band´s self-titled 1984 debut full-length studio album, and the B-side of the single features a cover of "Paint it Black" by The Rolling Stones.

Both tracks are well performed and W.A.S.P. manage to put their own identity into "Paint it Black", while still staying fairly true to the original. Both tracks are also well produced featuring a raw yet detailed production. It can always be argued how much value a two track single represents, when you already have the A-side featured on an album, but quality wise "School Daze" is a fine release by W.A.S.P., and a 3 - 3.5 star (65%) rating is deserved.

SOULHEALER Up From The Ashes

Album · 2018 · Heavy Metal
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Kev Rowland
Finnish band SoulHealer are back with their fourth album, their first since they went through a few line-up changes last year. What we have here is traditional heavy metal that contains huge elements of Saxon, Scorpions, Helloween and Blind Guardian. There are certainly times when I found myself smiling, and gently moving the noggin, but there are a couple of things that mean that this album isn’t as good as the band think it is. Firstly, the songs themselves are quite boring to be honest: there is the feeling that the get up and go has already got up and gone, and they could do with upping the tempo and providing more aggression. I certainly get the impression that the production has watered down their attack, and that live they would be quite a different proposition. That is also the place where I would more likely forgive singer Jori Kärki, as there are times when he goes for notes that he just can’t hit cleanly or with enough power.

The result is an album which most Metalheads will enjoy to a certain level, but it is unlikely that anyone will be frequently returning to it. Not bad, but certainly not brilliant either.

SORCERY Stuntrock

Album · 1979 · Heavy Metal
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voila_la_scorie
Holy crap, but these guys know how to start off an album! Pick slides, power chords, and crashing cymbals pierced by a high shrieking vocal. Within seconds you’re carried into an all-out ass buster. Take your most rockinest rollinest KISS and inject a powerful dose of Uriah Heep and there you have “Sacrifice”, the opening track of Sorcery’s 1978 album, “Stunt Rock”.

Sorcery were one of two concurrent bands in late seventies America with the same name that were playing hard rock, with one leaning more toward heavy psychedelic rock and the other ripping up the vinyl grooves with hard charging rock. Their debut album, “Stunt Rock”, served as a movie soundtrack for an Italian movie of the same name.

But sure, any band can rip your face off with the album opener. What about the rest of the album? Ballads and blues? No way! Sorcery stick to a solid hard rock core and with a total Satanic/sacrificial theme. With song titles like “Sacrifice”, “Wizards Council”, “Talking with the Devil”, “Burned Alive”, “Book of Magic”, and “Mark of the Beast”, Sorcery take a late seventies hard rock approach to black magic and devilish deviation. The music is kick ass but too fun to be really dark in spite of the lyrics. Again, imagine KISS meets Uriah Heep.

This album pretty much sticks to its powerhouse rock sound with “The Bird Song” being the only exception as most of it is acoustic before bringing it to a close with a Uriah Heep-like ending. The CD version comes with a bonus track, “Power Mad”. I had to order mine as a near-mint used copy from Italy. The recording does sound at times like it came off a very good piece of vinyl, but I honestly don’t notice it except on the title track and a couple of others.

If you have a chance to give this a listen you’re in for a solid dose of kick ass hard rock. Great guitar sound! Some late seventies rock clichés. Overall great stuff!

heavy metal movie reviews

ACCEPT Restless & Live

Movie · 2017 · Heavy Metal
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Kingcrimsonprog
Restless & Live is a concert release from the veteran German Heavy Metal legends Accept. It was released on Nuclear Blast Records in 2017 on several formats; such as a CD set with tracks taken from different concerts across the touring cycle for Blind Rage (their third studio album since being reinvigorated by the joining of new singer Mark Tornillo). It was also released as a Blu Ray of a single entire performance at 2015’s Bang Your Head Festival. If you’ve got a bit more money to splash out you can get a set with the Blu Ray and CD versions, or if you prefer DVDs that’s also an option.

My personal preference for concert movies or albums is that they come from on single concert not a mix of shows, and if available preferably on Blu Ray, so for me this was the version I went for and am most happy with. (which this review will be focusing on).

In terms of specs: The Blu Ray version is in 1080p with PCM Stereo and DTS HD Master 5.1 options, Region:All. There aren’t any bonus features. There’s a booklet with some photos but no linear notes.

So the main reason you are buying this disc is for the concert; which is about an hour and forty-five minutes of blistering classic Heavy Metal. The 18-song tracklisting is pretty heavily focused on the three Tornillo-era albums, with a few of the classic ’80s crowdpleasing tunes added in as well. So if you’ve already got the DVD that came with Blind Rage its still worth checking this out for the different tracklisting and higher production values. (The CD version of Restless & Wild contains 27 songs and more of a mix of material).

The tracklisting is: 1. Stampede 2. Stalingrad 3. London Leatherboys 4. Restless & Wild 5. Dying Breed 6. Final Journey 7. Shadow Soldiers 8. Losers & Winners 9. 200 Years 10. Midnite Mover 11. No Shelter 12. Princess Of The Dawn 14. Pandemic 15. Fast As A Shark 16. Metal Heart 17. Teutonic Terror 18. Balls To The Wall

The performance is tight and professional but still has that ‘live’ feeling and energy, it isn’t all sterile but it isn’t loose and sloppy either, its just right. They all give it gusto and look pretty into it. There’s no complaints on vocals, musicianship or song selection for me. Wolf Hoffman’s guitar solos are as entertaining as you would expect and there’s a fun bass versus guitar trade off section at one point. The camera work, editing, sound and mix are all solid. Nothing jarring or out of place, no sync issues, all instruments audible and in correct balance. The songs sound clear and yet muscular.

Its a pretty simple and honest affair. There’s no gimmicks here; no big show with giant robot crabs on stage or band members catching fire or shooting lazers out of their eyes, and there’s no life changing documentary, no animations weaved into the concert or anything… but if you want to buy an Accept live concert and watch songs like ‘Fast As A Shark’ and ‘Balls To The Wall’ played well by the new line-up and competently captured and prepared for home viewing then it is an absolutely fine product and I highly recommend it to fans of the band, especially to fans of the newer three albums. For me, watching songs like ‘No Shelter,’ ‘Stalingrad’ and ‘Pandemic’ belted out enthusiastically are worth the money.

If you are new to the band, this is a very strong starting place, (if not entirely representative of the overall discography) and if you are a fan already its a worthy addition to your collection.

IRON MAIDEN Live After Death

Movie · 1985 · NWoBHM
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siLLy puPPy
Universally cited as one of the absolute best live albums of all time, LIVE AFTER DEATH is the first live album / video release of IRON MAIDEN’s classic early Bruce Dickinson years and was recorded during their “World Slavery Tour.” Despite lasting a whopping 331 days, this double LP album only took two venues as their source for representing their electric live performances. The first 13 tracks were recorded at the Long Beach Arena in California, USA and the remaining five tracks were taken from a night at Hammersmith Odeon in London. While LIVE AFTER DEATH was released both as audio LP and video VHS in 1985, the two aren’t exactly identical in content. The audio LP originally contained 18 tracks (one of which is “Intro: Churchill’s Speech”) but the VHS visual experience only had 14 tracks. Unfortunately when LIVE AFTER DEATH was originally released on CD it was too long for a single disc and instead of simply issuing a double disc, EMI unwisely decided to cut the last five tracks which included the Odeon performance, therefore it is highly advisable to obtain the Sanctuary remastered version which was released as a double disc and retains the entire run of one classic song after another.

LIVE AFTER DEATH is the absolute perfect live album. I very rarely put live albums high on my list of favorites because more often than not something or many things prevent them from capturing my attention and worthiness as essential. If it’s not the weak production values then it is the inability of the band to capture the magic that is manufactured in the studio. That is not the case here. IRON MAIDEN was at the pinnacle of their creative prowess at this point and after several outstanding and classic albums to mine for material, they perfectly execute these live performances and offer every little ounce of excitement heard on the studio releases. Bruce Dickinson nails the vocals and the thundering trio of Steve Harris’ bass and the guitar synergy of Dave Murray and Adrian Smith accompanied by Nikko McBrain’s stellar drumming style doesn’t get any better. While most of the tracks are performed rather faithfully to their studio versions, there is plenty of live improvisation taking places as well. Standout moments include Bruce’s attempt to get audience participation on “Running Free” and another great difference can be heard on “Revelations” where the tempo is upped and Bruce changes the vocal phrasing to make the track sound different and refreshed.

The video release offers all the theatrical visuals of the tour. The “Powerslave” album was based on ancient Egypt and likewise the stage was Egyptified to the max with sarcophagi, hieroglyphs and a mummified Eddie embellished with ridiculous amounts of pyrotechnics. The tour was a smashing success and this release whether it be audio or video is the perfect testimony to the genius that went into every single detail. The sound and mixing is perfect as well as Martin Birch found the perfect balance of every cast member and delivered one of the most satisfying production jobs for a live release that i have ever heard. In the visual department Jim Yukich perfectly captured two nights in Long Beach showing a great band doing great things at the peak of their game. Another piece of perfection with this one is the brilliant cover art of Derek Riggs surpassing previous album themes of Eddie as the mascot by incorporating those themes of previous albums covers and then putting it all on steroids. The spread of the album is breathtaking in content and color with the boldness of the yellows and blues. Every aspect of talent on board with this release guarantees to wake the dead. I cannot find one negative thing to say about it. It is true that Bruce doesn’t hit every note exactly as on the studio version every single time but when he doesn’t he offers interesting new ways of interpreting the classics. This is simply one of the most perfect live releases i have ever encountered and even MAIDEN themselves haven’t even come close to achieving similar results. Masterpiece.

OZZY OSBOURNE God Bless Ozzy Osbourne

Movie · 2011 · Heavy Metal
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progshine
It is an interesting documentary that tries to focus on his personal life. But it stays in the middle of the road in the end.

You have this big and interesting chunk talking about Sabbath then when it comes to his solo career they talk about 2 albums and... that's it.

Look, if you're doing a documentary or you focus on the music or in the person, every documentary that tries to do both end up staying in the middle of the fail road.

This is interesting, it gives you an idea how Ozzy was really in bad shape for so many years and how he turned things around, but it's far away from being a great and complete documentary.

BLACK LABEL SOCIETY The European Invasion: Doom Troopin' Live

Movie · 2006 · Heavy Metal
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Kingcrimsonprog
Doom Troopin’ Live: The European Invasion is a live concert video from Black Label Society, available on Blu-Ray. It documents the European leg of their touring in support of ‘Mafia.’

The setlist is fairly heavily comprised of material from the ‘Mafia’ and ‘The Blessed Hellride’ albums, with little from the first three records, which may be disappointing if its your only BLS video purchase, but which does result in little crossover with their other DVD ‘Boozed Broozed & Broken Boned.’ A similar idea to Kiss’ Alive II perhaps.

There are 16 tracks in the main Paris concert according to the back of the box but three of those are jamming. They tease the crowd with a bit of ‘Iron Man’ and ‘Mama I’m Coming Home’ for example. Plenty of the time between songs is given over for additional guitar soloing as well.

It’s a decent mix of fast and slow, its mostly heavy but there’s a bit of light in there and it gives a lot of time over to Zack’s guitar talents, without wasting too much time away from actual songs. I think a good balance has been struck of all of Black Label’s constituent parts.

The performance is fairly strong, noticeably so on the ballads. Zack has a good stage presence pumping fists, pointing and striking poses, although some of the spoken crowd interaction is very mumbled and hard to make out. A lot of the songs feel a lot faster, louder and heavier live than they did on record, and feel crunchier and more earthy sounding. The drumming in particular is a lot more impressive live; Craig Nunemacher has a lot of character I hadn’t noticed before seeing this.

I think the sound is very good. Its well mixed, fairly heavy and the songs have bite. It feels ‘live enough’ but it isn’t sloppy. Again, a good balance has been struck, this time between concert-feel and actually good sound.

There was a fair amount of effort put into the stage design too; mic stands made out of chains, skulls on plinths, an impromptu pub made out of amplifiers with beer sat on it, flashing siren lights, BLS banners etc. There’s a professional looking lighting show and the camera work is well done. So in one way, it’s a good looking concert too.

In another way however, the visuals are the only letdown for me as the editing is a bit distracting. A lot of time, especially in the earlier songs, is given over to fancy effects, going black and white momentarily, screen overlays, slow motion, fake film grain etc. which some viewers may find a bit too distracting. Luckily instances of this reduce as the show goes on. It isn’t enough to spoil the concert in my opinion, but if you are picky about that sort of thing I would recommend that you try before you buy it.

I had read negative reviews about this concert stating either that Zack was miming his vocals, that there were very obvious vocal overdubs or that the audio and video were out of synch. Whichever way, if you look at his mouth it doesn’t match the sound of the singing. That would have been a huge letdown for me. I was worried because the same vocal-synching issue had been a fairly big distraction on a Marilyn Manson and a Queensrÿche Blu-Ray I owned and I didn’t want to buy this if it shared the same problem.

I looked on youtube to see footage from the DVD which indeed had the problem, but read reviews that claimed the problem didn’t exist. Luckily when I watch my copy (region 0 Blu-Ray, with the audio set to DTS HD Master Audio) there is no issue at all. All the tom rolls, guitar solos and singing matches what you see on screen. Admittedly, Zack has a lot of effects on his vocals, other members do backing vocals and there are some sections of pre-recorded music like in lots of concerts, that you were never meant to think was live, but that’s about it.

The bonus features include an extra four songs (‘Been A Long Time,’ ‘Suicide Messiah,’ ‘Stillborn’ with massive extended-jam & ‘Genocide Junkies’) from London, three music videos from the Mafia album, a making-of for the ‘Suicide Messiah’ video and a 50-minute documentary feature called ‘Backstage Pass.’

The video is 1080i HD Widescreen 16:9 (1.78:1). The audio options are LPCM Stereo, Dolby Digital 5.1 or DTS HD Master Audio

Overall, this is a fairly enjoyable Blu-Ray with a well performed and sounding concert and some interesting extras. I would recommend it if you like the band, as long as you aren’t very picking about over-edited concerts or only like the early material.

JUDAS PRIEST Rising In The East

Movie · 2005 · Heavy Metal
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Kingcrimsonprog
Opening with the classic double punch of `The Hellion/Electric Eye,’ you know that this concert is going to be good.

The band do their best to mix a diverse career spanning set list with playing all their biggest hits and do a pretty successful job, managing to cover a full five songs from their then new `Angel of Retribution,’ album with their big hits like `Breaking the Law,’ `Living After Midnight,’ and `You’ve Got Another Thing Coming,’ while still playing at least one song from their less famous `Point of Entry,’ `Turbo,’ and `Ram It Down,’ albums.

Musically, the band are on fire, with impressive guitar soloing, energetic on stage performances and drummer Scott Travis playing songs harder, with confidence and authority that makes them sound that much heavier and tighter. The band are playing on a fairly large stage with elaborate set pieces, risers and of course, the famous motorcycle.

Some fans have made a lot of complaints about Rob Halford’s performance here, but with the sole exception of the vocals on the track `Painkiller,’ (which, as it happens has impossibly difficult vocals to begin with) I think these complaints are pretty off the mark.

If you need proof that Rob can still reach those high notes see the `You’re Possessing Me,’ scream in `A Touch of Evil’ or indeed the entire performance of the fast and high pitched `Riding on the Wind.’

Furthermore Rob’s whole on-stage attitude is a winner, seeming genuinely pleased each and every time the crowd gets a sing along moment correct, adding little Robotic Walk gestures to `Metal Gods,’ and generally looking like he’s giving it his all, to the point where he is sweating and red in the face, not because he can’t hack it, but rather because he’s giving it his very all.

Even if you do for some reason take exception with Rob, there is simply no denying the performances of Glen, Scott, Ian and Mr. Downing who all blast away like a well oiled machine, but with the energy of a much younger band.

In terms of camera, editing, sound and mix there really isn’t anything to complain about, everything is handled well and the whole package is as slick and professional as you would hope for from a band of their size.

Overall this is a great looking and great sounding DVD from Judas Priest and that alone should have you interested, add to that an interesting set list and dismiss the complaints about Rob and you should find `Rising In The East,’ a really worthy addition to your collection.

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