Since Rob Halford left Judas Priest in 1992, fans have hoped for a reunion, especially after two weak efforts with replacement singer Tim Owens. A string of critically acclaimed solo efforts by Halford did little to fill the void. Last year, fans' wishes came true, with a summer reunion tour and now the first "real" Priest album since 1990's epic "Painkiller."

"Angel of Retribution" is a clear return to Priest's roots. Gone are the rapid-fire, thrash themes of the band's past four albums. The aptly named "Judas Rising" and the first single "Revolution" have the band returning to a heavy, classic sound not heard since "Sin After Sin" in the late '70s. Halford's solo influence is evident on "Deal With the Devil," and the more modern Priest explodes on "Demonizer." Halford's ferocius voice and Glenn Tipton's brilliant guitar work make it one of the strongest tracks on the album. There are also three ballads, including "Angel," one of the most powerful ballads the band has ever created.

The 10-minute "Loch Ness" closes the album in unusual fashion. The dark tale may turn some fans off with its slow, plodding pace, but it's a welcome return to a writing style Priest abandoned 25 years ago. Although it takes some getting used to, Priest has picked up where the band left off 10 years ago.

Megadeth - “The System Has Failed”
Sanctuary Records (As appeared in the Hartford Courant Sept. 16, 2004), on Capitol Records' Canadadian site, here.

As one of the founding fathers of thrash metal, Dave Mustaine has never been given the credit he deserves. He’s an opinionated musical genius and guitar virtuoso. Yet, after 20-plus years in the business, he gets little respect.

After 2001’s epic The World Needs A Hero and proceeding tour, Mustaine shocked the metal world by disbanding Megadeth due to a debilitating hand injury and personal reasons. Fortunately, his absence was brief.

Wanting to do it all his way this time, Mustaine worked with all hired guns for Megadeth’s new release, The System Has Failed, including ex-guitarist Chris Poland who’s jazzy fingers add a touch of the band’s classic sound.

“System” is the most personal Megadeth album yet, but that’s not to say it isn’t hard-hitting and familiarly biting. Mustaine has had his share of bouts with drugs, and cleverly metaphorical tunes like “The Scorpion” document the madness of battling the needle. As I climb onto your back/I will promise not to sting/I will tell you what you want to hear and not mean anything/I will treat you like a dog/as I shoot my venom in/Cuz you knew all along/I am a scorpion. It’s brilliant. Melding words like that with superbly catchy riffs and you have yourself a masterpiece.

Mustaine also finds plenty of room for slamming the country’s foreign policy (“Blackmailing the Universe”) and former associates (“Something I’m Not”).

The system may be failing, but Megadeth certainly has not. Fans old and new will rank The System Has Failed as one of the band’s best.
—Devin Comiskey

Exodus - “Tempo of the Damned”
Nuclear Blast Records
June 19,2004

A dozen years removed from their last studio release and the untimely death of original lead singer Paul Baloff in 2002, one of the forefathers of the underground thrash metal scene — Exodus —has awoken. And what a wakeup Tempo of the Damned is.

The harshly anti-war “Scar Spangled Banner” launches Tempo with fluid and catchy guitar riffs and simply mind-blowing drum work that permeates the entire album. It also sets the stage for an album that must translate into a beautiful chorus of flying bodies at a live show.

Don’t be fooled by the occasionally over-the-top, punch-in-the-face lyrics as found in tracks like “Culling the Herd” or “Sealed with a Fist.” The emotion behind the music is real and is what makes Tempo a standout. Exodus also displays some of the most extraordinary musicianship present in the music today. The best example is found on the fourth track, “Shroud of Urine” — an earth-rumbling, grooving monster of a song that proves just how serious this revived outfit is.

Tempo of the Damned should appeal to all fans of metal, speed or old school. It has it all but all in the instantly recognizable sound and power of Exodus. Any metal bands slated to release an album this year must listen carefully to Tempo. If their music can’t compare, then they need to start over.
—Devin Comiskey

Primal Fear - “Devil’s Ground”
Nuclear Blast Records
June 19,2004

Consistency. It’s nice to know that some of the great metal bands out there just stick to what they’re good at. Primal Fear is one of them. Instead of conforming their style to whatever trend record execs determine is popular this year or what will get airplay on U.S. radio, Primal Fear remains Primal Fear.

The German power-metal quintet is back with another solid offering in Devil’s Ground, a continuance of the band’s trademark metal banner-waving style with anthems like “Metal is Forever” and “In Metal.”

Although the lyrics on Devil’s Ground are just as dark as on last year’s best-selling Black Sun, it has a lighter feeling and isn’t as hard-hitting. It has a more 80’s classic metal feel to it, chugging riffs and all.

Singer Ralf Sheepers’ silky smooth vocals are in as good a shape as ever, belting out nearly every note with heart and melody — and plenty of power. The mythical tale of “The Healer” is an epic ballad that Scheepers handles brilliantly, which proves why he’s one of the best voices in metal.

The closing, title track, a spoken word piece, contrasts with the rest of the album and is something no one should listen to in the dark.

Damageplan - “New Found Power”
Elektra Records
June 5, 2004

One would imagine that if you took the musical genius behind Pantera and matched it up with an upcoming star guitarist, you’d have one heck of a metal band. Damageplan — made up of Dimebag Darrel, Vinnie Paul, Bob Zilla and former Halford guitarist Pat Lachman — attempts to be that ‘superband,’ but they fall disappointingly short in their first effort together on New Found Power.

From the get-go, NFP sounds like an all-too-familiar death metal band, complete with rapid-fire drums, down-tuned guitars and a fierce pace. Yet, the band struggles to find any sort of identity throughout the album, as the pace and styles are all over the place. Is it Pantera? Is it Damageplan? Is it someone else? It’s hard to figure out here. “Blink of an Eye” sounds like a Linkin Park spoof.

The use of the growling death metal vocals has more than run its course, and isn’t needed here. It’s also perhaps the worse use of Mr. Lachman’s abilities, as he doesn’t even play guitar with this band and waits until the fourth track, “Pride,” to show what he’s capable of vocally. That’s like having Pavarotti sing country songs. It’s a waste.

Amidst the sonic confusion are several signs of brilliance, as heard on “Blunt Force Trauma.” It’s like the cool riffs are just begging to come out. Yet, the over-aggression (or confusion) of the band quickly kills the flow.

Damageplan had a chance to refresh the genre, but they lost focus on their freshman album. Let’s hope for more consistency next time.
—Devin Comiskey

Iron Maiden - “Dance of Death”
Columbia Records

The return of singer Bruce Dickinson and guitarist Adrian Smith to the Iron Maiden fold in 2000 generated much excitement and yet another album (Brave New World) worthy of legendary status – far from the two previous lackluster offerings with vocalist Blaze Bailey in the mid-90's. Two years and a world tour later, Iron Maiden delivers "Dance of Death" to maintain its standing atop the metal ranks and to prove to any doubters that the reunion was not a one-off event to generate attention for a washed up act or milk its fans on an endless “farewell” tour.

In maintaining the band's history of theme-based albums, Dance of Death takes on a decidedly Renaissance-era tone with some songs that conjure visions of the movie “Eyes Wide Shut.” The lyrics, however, are clearly self-reflective, full of personal despair and anxiety, and throw a few jabs at the current climate of war and politics.

A first for Maiden in the band’s twenty-plus year life is a song penned by drummer Nico McBrain, "New Frontier." A bit on the monotonous side, the tune is still classic Maiden.

Dance of Death will seem like somewhat of a lackluster offering by one of the grandfathers of metal at first. There are some throwaway songs like "Gates of Tomorrow," which seem more like filler than anything else on this CD, and "Face in the Sand" is a musical leftover from Brave New World. However, the title track and "Paschendale" are clear reminders that Iron Maiden is not ready for retirement any time soon and is still capable of producing spectacular epics.