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Disco de Judas Priest: “Metalogy”
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Fecha de Publicación:2004-05-17
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Tipo:Desconocido
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Género:Rock, Classic Rock, Hard Rock
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Sello Discográfico:Legacy
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Letras Explícitas:No
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UPC:5099751289333
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Análisis (en inglés) - :
Few bands captured the kinetic energy of the {\New Wave of British Heavy Metal} as effortlessly as {$Judas Priest}. In an era that saw the decreasing popularity of bands like {$Deep Purple} and {$Black Sabbath}, the Birmingham quintet saw opportunity. Their volatile mix of searing {\metal}, {\progressive rock}, {\new wave}, and blue-collared {\bar band} brutality drew fans from every genre. While their influence on the {\hair metal} renaissance of the mid- to late '80s is undeniable, it's this early work that helped mold seminal groups like {$Metallica}, {$Iron Maiden}, and {$Mötley Crüe}. {@Sony}/{@Legacy}'s career-spanning, four-CD box set {^Metalogy} -- nestled in a dog collar-studded case -- is the first collection to chronicle the entire history of the band, from its 1974 debut to the {$Tim "Ripper" Owens}-led {^Demolition}. Discs one and two of the 65-track onslaught focus on the group's electrifying metamorphosis from chiffon-wearing, {@Gull Records} recording artists to the leather-and-gun {\metal} force of nature that redefined {\heavy metal} during the late '70s/early '80s. The differences between the forgettable {^Rocka Rolla} and the {\prog rock} epic {^Sad Wings of Destiny} are jarring, showcasing a band that couldn't decide whether or not it wanted to emulate {$Nazareth} or {$Queen}. Thankfully, it's the latter that prevailed, and what followed was a {$Bowie-esque} transformation that united both rockers and mods with a hidden fetish for the {\glam rock} sensibilities of the era, and it wasn't long before the fantasy-{\rock} musings of songs like {&"Tyrant"} evolved into motorcycle/sex rave-ups like {&"Breaking the Law"} and {&"Livin' After Midnight."} 1980's {^British Steel} and its predecessor, the often overlooked {^Hell Bent for Leather}, were milestone recordings for the group as well as the genre. {^Hell Bent} was the more diverse of the two, yielding {$Zeppelin-esque} fury on {&"Evil Fantasies"} and a healthy dose of {$Roxy Music} on the almost danceable {&"Killing Machine,"} but it was {^British Steel} that broke the band in America, a success that was doubled by 1982's {^Screaming for Vengeance}. Producer {$Tom Allom} knew the group's strengths and focused his attention on the blistering twin-guitar assault of {$K.K. Downing} and {$Glenn Tipton}, as well as harnessing {$Rob Halford}'s netherworld shriek, wrapping it in a laser precision coat of flange and delay. It's that delay-heavy vocal sound mixed with {$Halford}'s peerless scream that can be heard emitting from the throats of successive artists such as {$Perry Farrell} and the late {$Jeff Buckley}. The '80s were good to {$Priest}, providing them with the fame and fortune they so richly deserved, but it wasn't long before their fans began to question their motives. {^Metalogy} earns points for including two discs of material from these later records, and there is a great deal of bounty to be had; however, the downward spiral that saw {$Halford} and longtime drummer {$Dave Holland} leaving the group at the dawn of the '90s hurt both their fans and their music. While {&"Freewheel Burning,"} {&"Parental Guidance"} -- still a surprisingly sweet teenage anthem -- and {&"Ram It Down"} rank among their finest works, tired filler like {&"Come and Get It"} and {&"Jugulator"} -- the latter features {$Halford}'s replacement, former {$Priest} cover-band frontman {$Owens} -- have no place on this collection despite their fulfillment of a linear time line. Also, the inclusion of "rare" live tracks of monumental recordings like {&"The Hellion/Electric Eye"} and {&"Breaking the Law"} should have found themselves on an all-live disc five, leaving room for the original recordings. These gripes aside, {^Metalogy} is a fully realized body of work, and the remastering alone is worth the occasional indulgence. {$Priest} were always more science fiction than hellbound, and this remarkable retrospective does a lot to dispel the P.M.R.C. accusations of "deviltry" and suicide-enabling that they suffered in the '80s. The accompanying booklet tells a different story, one that concerns five young men from an industrial town in England, who, like {$Black Sabbath} before them, wrote and played in a style that reflected what they saw when they looked out their windows: smoke, rain, and an endless sea of metal. ~ James Christopher Monger, All Music Guide
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