“Exciter” is still perhaps the star of the album, and opens it up in blistering style, with a scintillating drum beat from Les Binks and hard core bass from Ian Hill, which is matched by the blazing guitars of K. K. Downing and Glen Tipton. Topping it off is Rob Halford’s high level vocals piercing through to create the kind of high energy and high velocity track that kicks off an album in the best way possible. "White Heat, Red Hot" continues this excellence with another rousing performance by the two guitarists.
The cover of Spooky Tooth’s “Better by You, Better Than Me” is surprisingly effective and enjoyable. Though it was record company-mandated in order to try and soften the heavy metal mood that permeated this new release, it is so well done again that it still fits in perfectly on the album. This was the song (and album) that was at the centre of the controversy in 1990 where the band was taken to court over supposed subliminal messages (“Do it!”) masked but heard if played backwards, to which two men shot themselves after listening to the album. The case was dismissed (check out the documentary “Dream Deceivers: The Story Behind James Vance Vs. Judas Priest” for the story, it is well worth a look), but it gave this song and album both free press and notoriety.
The title track “Stained Class” is another ripping song, rattling along with the fire and force that the first half of the album set up. This is followed by "Invader" which is simple in concept but perfect in execution. Sometimes the simple songs are the best, and this is one of them. “Saints in Hell” channels Led Zeppelin throughout, again utilising a middle section that sounds like it is a freeform live exposition piece, with Halford’s vocals almost Plant-like and the guitars almost Page-like, while the following track “Savage” is the most straight forward song on the album.
“Beyond the Realms of Death” is a throwback to the progressive roots of the band, switching between from the quiet acoustic opening to the full blown electric hard rock, as well as having the technically perfect guitar solo to the faster thrash based solo, and Halford’s immaculate vocals hitting all the extremes with precision. Blowing out to almost seven minutes, this has become a timeless classic for the band and taps into every corner of the Priest armoury. It is still a gem. “Heroes End” has tinges of Skyhooks in it, which is a very strange thing to say I know, but the less heavy aspects of the song still remind me of their style. It closes out the album nicely with a heavy riff and a rocking vocal track.
For me the most interesting part of this album is how few of the songs have become mainstream go-to Judas Priest songs, both by fans and the band itself. Much of the album has rarely been played live since the tour to promote it was completed which in itself is not an unusual thing, but for an album that is so highly regarded it has so few of its individual components making a name for themselves away from the album itself. Most can name “Beyond the Realms of Death” and “Exciter” perhaps, but beyond that the songs seem to become transparent. Even after the controversy over the civil action over the suicide attempts, Stained Class may remain a great album but as a whole rather than the sum of its parts.
Stained Class remains one of the great Judas Priest albums. Though the band’s musical style would vary over the course of the 1980’s decade, this album was written and recorded when they were still on the rise in their attempt to create a heavier environment away from their early progressive beginnings, and that is still here and can be heard in the songs on this album. The drive and determination is all enshrined in the vinyl it was cut into, and none of it has dated over the past forty years, which still makes it a pleasure to put on and air guitar to.
Rating: “Fall to your knees and repent if you please”. 4/5
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