| Track by Track Review
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| Disc 1 |
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Hellion
The classic Priest opener, this short instrumental always conveys its dramatic tension well to prepare the audience for the onslaught to follow. |
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Electric Eye
Fast and frantic, this tale of a world of surveillance kicks in strong. Ripper Owens handles the vocals on this cut in fine style. |
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Metal Gods
A slower moving JP standard, this one is delivered with a lot of crowd chanting. The vocals here, although technically solid, seem to lack a bit of Halford's style. |
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Grinder
From the British Steel era, this is another Priest classic. The song here is done quite faithfully with Owens doing a very competent job. The crowd does some strong vocal work here, too. |
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Rapid Fire
Another in the fast and furious vein, this bit of metal mayhem is delivered in fine fashion. At times Owen gets a bit too modern death metallish on this one. However, the mid high-end section is delivered flawlessly. This cut has always been a favorite of this reviewer, mainly due to this mid segment and its vocal line/guitar riff double-edged attack. |
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Bloodstained
One of the cuts originally recorded by Ripper on Jugulator, this one starts dark and heavy in a classic Priest sound. The cut quickly shifts gear to a faster segment that really moves. This is a great Priest foot stomper. |
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The Sentinel
"The Sentinel" is a standard Priest cut delivered fairly faithfully. |
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Touch of Evil
Another in the slow groove sort of mode, this is a strong song and one that Ripper really shines on. The crowd does some singing on this one also. It is really a great rendition. |
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Born in Hell
Starting slow, dark and mysterious, this is another Jugulator cut and it screams metal fury. It seems to be just a bit Rob Zombieish at times. |
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The Ripper
This off kilter and scary cut is delivered in fine style, but Halford's flavor is missed in a couple of places. |
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Bullet Train
Another Jugulator number, this is a fast track with a modern metal texture to it. |
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Beyond the Realms of Death
A mellow Priest gem, this one takes on some interesting new tones in this rendition. It is nice that this one made the disc, as it is a great song, and a bit obscure. |
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Death Row
This is another fast and hard new Priest composition. |
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| Disc 2 |
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Metal Meltdown
Fast and furious metal, this one scorches. |
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Night Crawler
Another hard and fast Priest cut, this one is delivered with integrity. |
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Abductors
This one is from the slower, heavier Priest mode. A tale of UFO abductions, this is quite a strong cut. |
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Victim of Changes
Introduced as a song that "needs no introduction", this JP classic comes off very strong here, although Halford is missed just in his stylings. |
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Diamonds and Rust
The old Joan Baez song, here Priest does a considerable different take on the track from the Unleashed in the East version. It is slowed down and done more folky. It makes for a nice twist and is closer to both the Baez version and the studio version from Sin After Sin. |
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Breaking the Law
This is a perennial favorite and one of Priest's best known numbers. The version presented here is a straightforward take on a potent metal tune. The guitar solo here has quite a different flavor from the studio rendition. |
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The Green Manalishi (with the two-pronged crown)
Feeling just a little slicker than earlier versions, the audience adds its style to this one. This JP take on an early Fleetwood Mac number is a trademark of the band. |
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Pain Killer
Beginning with a drum solo, this frantic cut captures a much newer Priest sound quite well. Again, the audience helps out here. |
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You've Got Another Thing Coming
Another Priest radio fave, this one rocks out quite well here, but again Halford's presence is missed just a bit. This one includes an audience sing along section. |
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Hell Bent For Leather
This anthem is delivered in fine fashion here. However, this is another cut where Owens is a very good, but not perfect, fit. |
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Living After Midnight
Probably THE Priest radio number, this one starts here with just drums and the audience's chanting. Once the guitars enter, the chanting continues for a time. Impressively, the audience's vocals actually carry large chunks of this one. It is a great way to and the album on a high note. |
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