If you had happened to stop off on your journey to the past, and taken in Judas Priest's debut album Rocka Rolla, you could be forgiven wondering just what it was that allowed the band to eventually find their feet in the music world, and become the juggernaut that they became. Certainly, there is very little to get excited about there, and it probably wouldn't surprise you that the songs that were rejected for that album by the producer eventually found themselves onSad Wings of Destiny, which is a marked improvement, and a much better assessment of where the band was coming from at the time of its release.
At least three songs that appear on this album - the brilliant and timeless "Victim of Changes", the rocking "Tyrant" and equally foot tapping "Genocide" - had their formation before the recording of the first album, but were left off that vinyl. Hindsight would suggest that was an error, but the fact they appear here shows the strength of the songs that they could force their way onto the second album. "Victim of Changes" has been a part of Judas Priest folklore forever, a song that has some reflections of Queen's "Bohemian Rhapsody", in that two songs were woven together to produce the one, where it ebbs and flows with harder and softer parts, with loud then quiet guitars, with Rob's vocals subtly moving between the sweet soft section through to the hard pumping screams which he is renown for. At almost eight minutes long it is the first Judas Priest classic, and contains everything you need to know about the band in one song. "Tyrant" is a more straight forward heavy track, driven along by a hard riffing chorus of the guitars, the compelling drum beat and Halford's vocals in a middle stream range that allows the layman to sing along without having to stretch themselves. "Genocide" follows a similar path, forming the basis of the standard Priest formula for the present and the future, with the great rhythm section holding together the song, allowing both Tipton and Downing their chance to shine on their solo pieces and Halford to control the song through his vocals.
Elsewhere on the album there is a mix within the songs. "Epitaph" is the piano based song with layered vocals that almost mimics a Queen song, which while Halford's vocals do suit in this instance is a strange direction to go in. This is followed by "Island of Domination", which along with its predecessor is an average song that is likable but not exceptional. "Dreamer Deceiver" is the other slow ballad-like track on the album which is dominated by the vocals of Halford again, starting in the quiet reflective fashion before reaching for the ceiling by the end of the song, which leads immediately into the heavier and faster "Deceiver" amalgamating the best parts of the Priest sound to complete the first side of the album with aplomb.
Arguably the best track on the album, even more importantly than "Victim of Changes", is "The Ripper", which has also stood the test of time since its release. This is the song that perhaps best showcases what Judas Priest brought to the table. The twin guitars of Tipton and Downing really fire here, in the short, sharp sub-three minutes that the song goes for, while Halford's amazing vocal chords get their full work out during the song. It is still as good today as it was on its release, and it is one of the songs all fans know.
Sad Wings of Destiny signals the true beginning for Judas Priest, with several memorable songs and the viable beginnings of the twin guitar and super vocals attack which would lead them to become one of the leading lights in the true beginnings of heavy metal music.
Rating: "Underneath the gas lamp, where the air is cold and damp". 3.5/5
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