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May 1985 June 1985 Twin Turbos August 1985
FUEL FOR LIFE: November 1985 March 1986

1985 1986
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TURBO

     "Turbo is Ford perfect! I was thinking of the car as a way of representing how well the current album's done in England!"
- Rob Halford, Kerrang!, 1986

     "Many bands that emerged around the same time as Priest - such as AC/DC and Status Quo - have been very successful by staying the same. But Priest always takes risks, and we like to break new ground. In 1986, for example, we used guitar synths on the Turbo album - which, at the time, was embracing state-of-the-art technology."
- K.K. Downing, Guitar Player, January 2002

     "Judas Priest doesn't let the term 'heavy metal' limit our artistic scope."
- Glenn Tipton, 1986

     "I think TURBO just showed the versatility of the band, that we were capable of doing different material. We always tried to avoid the area of repetition."
- Rob Halford, Metal Exiles, July 25, 2004

BAND MEMBERS:


Judas Priest L-R:
K.K. Downing: Lead Guitars, Synthesized Guitars
Rob Halford: Vocals
Ian Hill: Bass Guitar
Dave Holland: Drums
Glenn Tipton: Lead Guitars, Synthesized Guitars

Management: Bill Curbishley, Trinifold Management

ALBUM:

Turbo LoverLocked InPrivate PropertyParental Guidance
Rock You All Around The WorldOut In The Cold
 Wild Nights, Hot & Crazy Days Hot For LoveReckless

RE-MASTERS Series Bonus tracks:
All Fired Up • Locked In (Live)

Unreleased track:
Heart Of A Lion

  • Released April 1986 by CBS Records Inc. (UK Cat. # 26641), Columbia Records (US Cat. # 40158) and
    Epic/Sony Music Group (JPN Cat. # 28.3P-705)

  • THE RE-MASTERS UK/European CD released February 21, 2002 by Sony Music/Columbia Records (UK Cat. # 502135)
  • THE RE-MASTERS North American CD released March 19, 2002 by Sony Music/Legacy Records (US Cat. # CK 85437)

Writing sessions with Glenn Tipton, Rob Halford and K.K. Downing begin October 1984 in Marbella, Spain
Recorded June - November 1985 at Compass Point Studios, Nassau, The Bahamas
Produced by Tom Allom
Engineered by Bill "Dog" Dooley
Assistant Engineers: Paul Wertheimer, Sean Burrows
Equipment Surveillance: Tom Calcaterra
Mixed by Glenn Tipton, K.K. Downing, Tom Allom and Bill Dooley January - February 1986 at the old and new Record Plant, Los Angeles, California USA
Mastered by Bernie Grundman, Los Angeles, California USA
Recorded and mixed exclusively on Sony Digital tape machines

Certification: RIAA Gold June 10, 1986 ; Platinum July 24, 1989
Chart position:
UK #33; Billboard 200 #17, remaining on Billboard charts for 36 weeks
Locked In: Billboard Top Mainstream Rock Single #25

SINGLES:

  • Turbo Lover/Hot For Love released in April 1986 by CBS Records Inc. (UK Cat. # A 7048)

  • Locked In/Reckless released in May 1986 by CBS Records Inc. (UK Cat. #
  • A 7144)
  • Parental Guidance released in 1986 by Columbia Records (US Cat. #
  • CAS 2461 Promo only)
  • Parental Guidance/Turbo Lover (Hi-Octane Mix)/
  • Private Property (Live) released in 1986 by CBS Records Inc. (HOL Cat. # 6501066)

"Turbo Lover (Hi-Octane Mix)" produced by Freddie "The Hellion Kid" Bastone
"Private Property"
is from a live King Biscuit broadcast at Kiel Auditorium, St. Louis, Missouri on May 23, 1986

ARTWORK:

Artwork by Doug Johnson
Photography: Neil Zlozower

 

Once again, album cover artist Doug Johnson was called upon to produce the Turbo cover art, which was a detour from the "creatures" he had made for the previous two releases. For this album, Doug presents quite a sexual image of racy cars and racy women. Turbo lover indeed!

PROMO VIDEOS:

  • Turbo Lover

  • Locked In

Director: Wayne Isham
Animations by Mark Sawicki

     

 
On the set of the Turbo Lover" and "Locked In" video shoots

     "...I think we proved to ourselves and everybody else that the only real way to get across to more people and, obviously, sell more albums, is still to somehow put together a song or songs that have single potential. Plus, there wasn't really anything that we were able to take from Defenders Of The Faith and bang on MTV or any of the other major video networks. So, I also think that another thing that was proven was that you've got to maintain a pretty high visible profile in the form of video to get any major success these days. Admittedly, the songs have to be good, but if you can couple them with strong visual presentation, then you've got more power to your elbow."
- Rob Halford, Turbo Fax, 1986

Even though Judas Priest were famous for their use of a Harley-Davidson motorcycle on stage throughout most of their career, the motorcycles used in these videos were actually Honda Rebels!

 These videos are currently available on the ELECTRIC EYE DVD 2003 Sony Music Entertainment/Columbia Music Video (UK Cat. # 2021939, US Cat. # CVD 51411)

PUBLICATIONS:

  • Vintage Hits: Published by Hal Leonard Publishing Corporation HL00693185
    Contains tabs to selected songs from 1974 - 1986

     

  • Turbo, Off The Record Arrangement: 1986. Published by Columbia Pictures Publications Inc. ISBN 0-89898-474-2

  • "Diamonds And Rust" by Judas Priest appears on a various artists compilation LP called LET THEM EAT ROCK released 1986 by RCA (US Cat. #CPL1-7191)

MAY 1985: Halford, Dio and Iommi

1985 would be a quiet year for Priest on the tour circuit, as they spent time over in Phoenix, Arizona where Rob Halford made his home, recording demos at Chaton Studios and writing ideas for their next album. But it would prove to be quite a busy year for Rob Halford. An admirer and good friend of Tony Iommi and of Ronnie James Dio, Rob would find himself involved with projects for both artists:

On May 20 and 21, 1985, Rob lent his vocals to Dio's famous charity recording of "Stars" on the Hear 'N' Aid album.

     "I've known Rob for years and years. He always turned up backstage to see us and I'm proud to count him as a true friend. I care a lot for the guy and he will always have a true ally here. When we did the Hear 'N' Aid record, Rob moved his entire schedule to do that for us. I can remember asking him and thinking to myself that it might not happen because Judas Priest was busy, but Rob basically said, 'Anytime, anywhere - just call me'. The Children Of The Night fund was very important to him and he made it a priority, That's exactly what he did too."
- Ronnie James Dio, Black Sabbath : Never Say Die!, 2003

     "This is the only sector of music that hasn't really done anything in the form of relief for what's going on over in Africa, and it's just a joy to be involved, you know..."
- Rob Halford, Making of HEAR 'N' AID, 1985

Also in May of '85, Tony Iommi found himself without his former Sabbath mates, as well as stranded on a solo project without a singer. In the end, label pressures caused Seventh Star to be a Black Sabbath release instead of an Iommi solo album, and Glenn Hughes got the vocal slot for the entire album, but at the early planning stages, ideas were kicked around about bringing a few high-level singers in, among them the names of fellow Brummies Robert Plant and Rob Halford, whom Tony would talk to later on about it:

     "One day Tony Iommi told me he was thinking of putting together a solo record. This was very early stages, as he had no band at all at this point... As things went on, we learnt Tony had in mind to use Jeff Glixman as a producer and he wanted different singers involved. I remember the names Plant, Coverdale, Halford and Hughes mentioned. That was the initial plan.
- Eric Singer, Black Sabbath : Never Say Die!, 2003

     "I think we were working on the Judas Priest tour for Turbo, which for us was another hugely successful album, our third platinum record in a row. I think Tony had got it in his mind but had been unable to follow it through. Actually, it is all kind of lost in the memory banks. I think we spoke, but how far it got, I can't remember."
- Rob Halford, Black Sabbath : Never Say Die!, 2003

JUNE 1985: TURBO sessions start

After the huge success of the Defenders Of The Faith world tour, plans got under way to release a double-live album. But Judas Priest were also approaching their 10th anniversary with CBS Records and realized this would be the 10th studio album of their career as well, so to commemorate the event, they decided to hold off the live album and pursue a new studio release instead:

     "It was basically for a number of reasons. The main one was that we were really into the idea of coming up with something new for our 10th studio album. Also, the timing has to be just right when you bring out a live album and the general consensus was that it wasn't quite right, simply because we had so many new ideas that we really wanted to present to the fans. But, it's more or less been verified with Bill Curbishley and everybody else concerned that we're definitely going to put out a new live LP after this world tour."
- Rob Halford, Turbo Fax, 1986

     "We really didn't set out to do anything other than make a new Judas Priest record. The fact that it emerged as something extraordinary was quite by accident. We were the victims of a most pleasant circumstance - we had a great deal of time to prepare for this album. That's something we never really had the pleasure of having before."
- K.K. Downing, 1986

     "The fact that we are celebrating our 10th year as a recording band with our 10th LP made us want to give the fans something very special. That's all we tried to do."
- Glenn Tipton, 1986

British pop music success had always been a driving factor for Priest from the very beginning. The production team known as 'Typically Tropical' had produced SAD WINGS OF DESTINY in '76; BRITISH STEEL produced two highly successful hits in 1980, helping push music videos and MTV into the forefront of pop culture; and 1982's SCREAMING FOR VENGEANCE saw the band's first platinum success, landing them on such world-wide arenas as US Festival and Live Aid. Throughout their career, Judas Priest have demonstrated that a major key to their success has always been to take a melodic approach to heavy metal, while at the same time, remaining the heaviest and fastest of them all. This time around, the guys were going to lighten up a bit and be in a celebratory mood - in one interview they joked that they were even beginning to depress themselves with their dark songs! But they were determined now to celebrate their first decade with an effort that would be fun, experimental and a crowd-pleaser:

     "We could have filled Turbo up with half a dozen hard-hitting, seven-minute long metal tracks, but then you start looking back on the other albums you've done to see what the most successful ones were. And, when it boiled down to it, our most successful songs were the most commercial ones, like 'Breaking The Law', 'Living After Midnight' and 'You've Got Another Thing Comin'...So, when we were doing Turbo, we just picked out the tracks that we thought the majority of people would end up liking.
     "You've only got to look around to see that there are many metal bands with strong commercial sounds. The Scorpions and Dokken are just a couple of examples, and don't forget that Twisted Sister had a few hit singles. The list goes on...
If Twisted Sister and Quiet Riot could sell out multi-platinum, why not Priest?"
- K.K. Downing, Turbo Fax, 1986

But Turbo finds Priest as innovators and leaders of a technical revolution in an all new environment - a digital world ready for a commercial breakthrough. As new innovations in digital recording were becoming available at the time, producer Tom Allom and the band were intent on using the technology (including synth guitars - a first for heavy metal) to its fullest to enhance the overall sound capabilities of the new album. With writing sessions completed in Spain, the band flew to the beautiful Bahaman island of Nassau in the summer of 1985 and entered Compass Point Studios, one of the world's first studios to use Sony Digital recording equipment and decks... In fact, TURBO is noted as being the first all-digitally recorded heavy metal album!

 
The current Compass Point Studios - Rooms A & B 

  
The writers get some sun   and fun

     "The songs, the performance, the production - everything just came together the way we wanted. In a way, I believe it's a more sophisticated album and, of course, we definitely worked in a different recording style with Sony Digital. That allowed us to explore certain technical dimensions that we'd never worked in before. That enhanced the overall quality and production. The actual sounds coming out of the speakers just blew us away. And, when you've worked in studios for as long as we have, you can really tell the difference between working digitally and the normal way. More than anything, you get a better separation in the sounds, where nothing overlaps. And, since we were aware that we were going to be making CDs, the best way to record them is digitally.
     "There are no keyboards - it was just guitar synths. When K.K. and Glenn began working with them, one of the things that really excited them was that they knew they were going to be able to reproduce all of the sounds onstage. If you listen closely, you can actually tell it is a guitar-oriented sound. You can get the pull of a string on a synthesized guitar, which you can't get on a flat keyboard. The physical aspects are all there.
     "Glenn and K.K. really had a handle on what they could do with them and were able to explore a lot of new areas, which ultimately helped to expand the Priest sound. Using new technology is always interesting, but you have to know exactly what you're doing. I think what Glenn and K.K. proved is that guitar synths can have an incredible effect if they're used properly. And there's no reason why you shouldn't incorporate synthesized sounds into metal music. You can still make it sound strong, powerful and heavy."

- Rob Halford, Turbo Fax, 1986

     "The disadvantages of shifting from analogue to digital recording are few. It depends on how good your ears are. People who have much better ears than me say that analogue sounds better. Personally, I can’t tell the difference. There is a sort of earthiness and warmth to analogue, which digital, perhaps, doesn’t have; but digital is just so much more easy to manipulate, and it’s obviously the way forward. It’s just that for years we’ve been using a technology which is already twenty-five years old, and it’s only the new generation of digital recorders that are doing justice to digital recording.
     "
When I walked into Decca studios in 1964, there were these great big valves - the size of milk bottles - in the back of the desk, and The Bachelors were recording Ramona. About every ten minutes, the session came to a grinding halt and all these fellows in lab coats and hushpuppies came in with soldering irons. The console looked like it came out of a Lancaster bomber - and it probably did! They finally got rid of it. I think somebody threw it off the roof!"
-Tom Allom, Music Journal, February, 2002

Tom Allom had been instrumental in putting great sound effects on Judas Priest records since 1980's British Steel, but in those days, there were no digital samples or other convenient ways of producing those effects. Now the band once again teamed with Allom, giving him the opportunity to venture along with Priest into uncharted waters and new frontiers...

     "Well, the reason we've continued to work with Tom Allom is basically down to the fact that, as the years go by, he gets better and better all the time. And, without a doubt, I don't care what anybody says, he really is one of the finest record producers in the world. And I'm not just saying that because it's Tom - there are times when I don't like him! We have the occasional confrontation, but a lot of producers just don't have the amazing musical ear that Tom's got. He's an excellent musician, and he's great on the control desk because he used to be an engineer. Aside from that, he comes up with a lot of great ideas."
- K.K. Downing, Turbo Fax, 1986

Well-known veteran recording engineer Bill Dooley was also called upon to dial the knobs for the Turbo album. Bill was a graduate of Boston, Massachusetts' Berklee College of Music in 1976 and has been involved with Atlantic, A&M and Village Recording Studios (among others). Dooley has also racked up credits on hundreds of major record releases as a session and mixing/mastering engineer.

So with a top-notch recording team and a world-class all-digital studio, it was time to put together a monumental album to celebrate the 10th studio recording of Judas Priest!

TWIN TURBOS:

Initially, Judas Priest were set to do something really special for this release - a concept of sorts:

The band wanted to release an album of material that would chronicle the different styles of metal Priest had explored in their career, leading up to the new approaches they were currently experimenting with, and put it all together with a digital precision they felt would be technically superior to anything that had previously been done in metal. The songwriting sessions had gone extremely well - so well in fact, that the band had enough material for a double album and a working title: 'TWIN TURBOS'. 18 songs were recorded and set to go, when CBS Records put a halt to the project. Double albums were quite uncommon (costs and prices were higher, which meant sales and profits were lower), usually reserved for live recordings and "best of" collections. K.K. claims the band wanted to offer the double LP at a single album price, but according to a 1986 report in Sweden's OKEJ magazine, "the powers that be" wanted a standard album full of potential singles and the Priest members were forced to cooperate...
 

     "CBS refused to release a double album described as a 'journey through the history of metal' and the new Judas Priest release will be a more regular single album."
- Rocket magazine, 1985

     "The concept originally was we were going to try and do like a 'history of Priest', and we wrote 19 tracks and we were going to do a double album. It's Priest's 10th album and we wanted to, as a gesture, give the kids something, but unfortunately, when we came to put it together, we couldn't logistically put it out for the price of more than one album and we didn't feel that was achieving what we started out to do, which was to donate something to the kids and our fans who'd stuck with us through 10 years.
     "So what we did, we extracted the songs that we thought were all appropriate to each other and got a very good 'up' feel and we put them on the one album. And so lying dormant in the archives is about 9 or 10 Judas Priest tracks and they're not even dusty yet, but they'll be out soon enough.
     "Hopefully, we want to try and amalgamate them with a live album. We've always felt that live albums are a little bit of a con because people have already bought the tracks and we don't want that. They've got more of an 'up' feel obviously. We're going to try and add something that the kids have never heard before, and actually give them something for everything that they've given us."
- Glenn Tipton, Rockline, April 21, 1986

     "For the first time in our career we'd actually written enough songs for a double album. I wanted to call it 'Twin Turbos', but that didn't work out so we put all the most commercial stuff on one album. We were probably aware that it would be hard for some Priest fans to accept but we wanted to have an album with a consistency of style throughout. Previously, they had all been very varied."
- K.K. Downing, Metal Works liner note, 1993

     "Actually, we talked quite extensively about it, and then we recorded 19 tracks for a double album, which we wanted Turbo to be at the time. Then we picked nine tracks that we thought were a bit different, sat down and rearranged them and really tried to capture a slightly different feel. We wanted a change, but not too much of a change either, we just wanted to do something different. But, of course, when you do that you have to expect a bit of apprehension from people, which we got. But I guess Turbo is eventually turning out to be our most successful album to date, so we can ignore them anyway. Also, in retrospect, everybody has come back to us and said that they had been a bit skeptical at first, but now they realize it's really the way to go. We are proud of the fact that some people look at Judas Priest as frontrunners, really!"
- Glenn Tipton, Atlantis Online, May 7, 1986

     "I think during the writing process, we always thought that we had been so prolific with the ideas, and it's always great for a band to do a double album. We liked the idea, but just putting the strongest ideas together that had some sort of flow, like Turbo did, seemed to be a stronger idea at the end of the day."
- K.K. Downing, Goldmine magazine, June 5, 1998

     "At the time of Turbo, we had all these songs and it didn't come about for what ever reason. The record company said, 'No, it's got to be a single album', so we said, 'OK, what do we do? We got 20 songs, 10 of which were Turbo and 10 of which were other songs. 'Ram It Down' for example from the Ram It Down album was one of those songs - there was 'Monsters Of Rock' and a couple of other things on there you know? Probably bits and pieces. The rest of it we sort of discarded because as time moves on...we just said, 'Let's start fresh.'"
- K.K. Downing, Metal Shop, 1990

     "We heard all sorts of things about Turbo, which can only be expected when you do something which is a step forward, an advancement in a certain musical direction using synth guitars. Some people liked it, some didn't. Some people, when they like something, say strawberries on cream, don't want it to change. They don't want you to try anything different  We can appreciate that... We thought Turbo would take us flying into the charts and be very well received by the radio stations and general media more so than Defenders of the Faith was. It didn't really work out like that for some reason. I suppose Priest are just unacceptable even though Scorpions have become accepted and Quiet Riot and Twisted Sister were, but Priest have never really broke through in the big style like that. If anything, our fans prefer us that way. We are something of a cult band, if that's the right word."
- K.K. Downing, Guitar magazine, 1987

     "We are fortunate because as a band we've always been on the up, always getting more successful. Sadly, I've seen a lot of bands hit that sort of peak and then eventually start supporting again, you know, which we will never do. We always put a lot of thought into the way that we are going to go, and we always change. Each album has got a new sound or direction, and as individuals we change as well, and I think that is what gives us the longevity as a band. We do think about it a lot, because if you don't, people will get fed up with you. Like if every Judas Priest album sounded the same. Then the people would say, 'Well, we bought the last one'..."
- Glenn Tipton, Atlantis Online, May 7, 1986

     "With Turbo, although people were a little apprehensive about it to start with, they did finally accept it. I think people thought we were prepared to go another direction.  Subconsciously we wanted to make the point that Priest will never change and that if anything we will get heavier as the years go on.
     "I suppose people will say
Turbo was a commercial attempt but it wasn't. To me Turbo wasn't commercial, just something different.  We've never made commercial tracks, not intentionally. Some have come out that way. There's always the danger that something can suddenly have a commercial stamp on it. That's something we try to avoid. We are Judas Priest, a heavy metal band, not a commercial band. We avoid that area, the sickly harmonies in the background-pop hooks. We go in and write songs that are Judas Priest, very heavy metal songs."
- Glenn Tipton, Guitar magazine, 1987

     "I think that if we had been ashamed of Turbo, we would never had released it. The fact is, Turbo was a successful album. Particularly in America: It's gone platinum which is over a million copies. You know, bands go through different periods musically and image wise, and I'm happy that we've been able to do that. Again, coming back to this feeling of not wanting to be repeating yourself over and over again with the clothes, with the music that you play - just trying to have something new to say all the time... We're just trying, like we've always done, to show people that heavy metal isn't just one dimension. It's not just like heavy riffs in A or heavy riffs in the chord of E; you can take it lots of different ways. So, Judas Priest is 'Turbo Lover'; Judas Priest is 'Freewheel Burning'; Judas Priest is 'Living After Midnight'; Judas Priest is 'Victim Of Changes'.
     "We're all of these different bands, you know. I'm proud of everything that Judas Priest has done, and I'm happy to be associated with everything that Judas Priest has recorded.
     "I think commercial success isn't really important. I think the solid hardcore following that you have from your fans is the most important thing.
     "Commercial success to me is Guns n' Roses. Commercial success to me is Iron Maiden.
That's not Judas Priest! We're an album-orientated band, and with British Steel, we had a few singles. That helped us to some extent, but our basic hardcore following is with the records, the LP's. Nothing else. And I'd much rather be in that situation than be in a fashionable commercial heavy metal band that's famous for ten minutes and then disappears."

- Rob Halford, Radio MCB, February 2, 1991

     "We felt with TURBO, if this is our time to do it, let's go out and purposely do a really commercial album. I've never told anyone that, but it's true. It just fit the time, ya know? It just seemed right to make it lighter and happier, than dark and sinister; do you know what I mean? It just flowed. Bands go through phases with how the world feels at the time."
- K.K. Downing, Circus Magazine, December 2003

     "We’ve never been afraid to try any bell or any whistle. We’ll give it a go. If it sounds great, then great. If it doesn’t, we can let it go. It’s a simple as that. With TURBO, we used these guitar synthesizers that went from a guitar and through a processor, and you could make them sound like anything. We thought, this is a great idea. We probably went a bit over the top with it. It had a lot of mixed reviews when it came out, and it may have lost us some fans, but we probably gained a few as well. I think now it is starting to be recognized as a bit of a landmark. We always get people yelling for 'Turbo Lover' - it is one of the fans’ favorites, which surprised me."
- Ian Hill, KNAC.com, August 14, 2004

     "To tell the truth, it's just one of those things that happened because we found ourselves in an incredibly creative period. Glenn, K.K. and I started writing in Marbella, Spain, and it reached a point where we had in excess of two albums worth of material. So what we did in the end was stockpile all the extra material that didn't go on Turbo, which we will ultimately release in one form or another."
- Rob Halford, Turbo Fax, 1986


Eventually, most of the TWIN TURBOS demos did surface as Rob promised, showing up on RAM IT DOWN and as many of the bonus tracks on The Re-Masters series. The following is a listing of the 18 tracks that were recorded during the TURBO session:

Released on TURBO:
1. Turbo Lover
2. Locked In
3. Private Property
4. Parental Guidance
5. Rock You All Around The World
6. Out In The Cold
7. Wild Nights, Hot & Crazy Days
8. Hot For Love
9. Reckless

Released on RAM IT DOWN:
10. Ram It Down
11. Hard As Iron
12. Love You To Death
13. Monsters Of Rock

Released on the Re-Masters series:
14. Red, White & Blue
15. Prisoner Of Your Eyes
16. All Fired Up

Still unreleased:
17. Under The Gun
18. Fighting For Your Love

One other song recorded during the TURBO sessions, but not intended for the album, was called "Turn On Your Light":

     "This track was recorded by Glenn and Rob one night, in one take, and captures the sentiments and emotions of the song beautifully. Glenn added the middle and end lead at a later date."
- Defenders Of The Faith Re-Master liner note, 2001

AUGUST 1985: A little help from a friend

Though it is not often credited in the liner notes (mostly due to legal reasons), many bands, including Priest, have used outside musicians (such as keyboard players and backing vocalists) on previous albums, and in the case of Turbo, one particular musician got to play an un-credited part in the recording of the album:


Jeff Martin circa 1985

At the time, vocalist Jeff "Motorman" Martin was still in the Phoenix, Arizona heavy metal outfit Surgical Steel, who had just finished filming a part in the cult film THUNDER ALLEY and for whom Rob Halford had lended his coaching and voice to their demo the previous year. Soon after, martin would team up with guitar genius Paul Gilbert to form Racer X (who would also play host to future Judas Priest drummer Scott Travis), but in late August 1985, Rob Halford invited his friend Jeff to the Bahamas to attend the TURBO sessions:

     "Rob had flown me and my wife out to the Bahamas where they were recording Turbo at Compass Point. I even sang on one of the tunes: 'Wild Nights, Hot & Crazy Days' - I sang on the chorus. I wrote lyrics to 'Private Property' and Rob used the second verse. Katrina and I stayed at an English stone cottage right on the beach just a few blocks from the studio with Rob's brother Nigel, his sister Sue, and his mom and dad. I have yet to meet anyone as cool and loving as them - testimony to why Rob is such a cut above! I also played pool with Julio Iglesias, who was doing an album at Compass Point at the same time. My true claim to fame: I won!
     "14 days FREE of charge in the Bahamas. I'll take that over a credit on an album any time. Rob flew us out for his Birthday. I can not remember what I got for him, but I'm sure it's not as cool as that! Plus he gave me the will and the reason and taught me how to sing off his albums - I'd have to give him the Bahamas to pay that one back!"
- Jeff Martin, February 3, 2003

     "Jeff showed me the pictures from the Bahamas - some really cool pictures of him and Halford launching a toy rocket... and Jeff made the comment, 'How's this? Motorman and the Metal God playing with rockets!' "
- Ken Hower, Racer X Web Administrator, February 4, 2003
"

As Jeff mentioned, Julio Iglesias was also recording an album at Compass Point Studios, which sparked a long-running rumor when music publications began reporting that Iglesias was recording a song with Judas Priest . There was even a quote by Julio himself saying the song was an "electric bolero". The reports didn't sit well with the fans at the time, and the press began saying Judas Priest had sold-out. But when the song failed to appear on the Turbo album, the story was passed off as mere rumor. And when The Re-Masters finally gave us the unreleased recording of "Prisoner Of Your Eyes", it was clear that Julio's voice was not on the song. That seemed to be the end of the story until Judas Priest paid their first-time visit to Argentina in 2001 and a journalist from a local magazine caught up with the band and asked about the Julio Iglesias rumor:

     "The true story from this stuff is that we were recording in the Bahamas and Julio Iglesias was recording in an adjacent studio. I remember that we were doing a song that wasn't included on the Turbo record - that song was 'Prisoner Of Your Eyes'. Recently we remastered the old Priest catalog. We went into the studio and we found a lot of songs that we recorded but never released on the LPs, and 'Prisoner Of Your Eyes' was one of them. As far as I can remember, Rob was singing that song in the studio and Julio listened to him and said to one of our technical experts, 'I want to sing on this song!' But in the end, it never happened."
- Ian Hill, Madhouse magazine, 2001

FUEL FOR LIFE:

With TURBO ready for release, Judas Priest fired up the promotion machine for their 10th album. Dubbed Fuel For Life, it was their most elaborate and ambitious outing ever. Along with the usual magazine ads and radio spots, TV commercials were also aired to promote the TURBO album.

One featured Rob as a school crossing guard giving a "public service announcement" warning against getting into "a stranger's car" and admonishing to "always make sure you're burning on Turbo power." But the school girl still ends up in K.K.'s car, and off they go in a peel-out of burning rubber...
 


Another commercial is a spoof of the famous old American Express ad, with Rob as the "star" who's name is printed across the Turbo card, and K.K. as the curious onlooker. At the end, Rob sticks out his foot and trips a busboy who drops a handful of dishes, while the announcer says, "TURBO: Don't wreck home without it."

 
A collection of all the band's conceptual promo videos from 1980  - 1986 was released for the first time on home video to go along with the usual stickers, posters, photos, pins, T-shirts and other merchandise...


Fuel For Life
VHS, LaserDisc
1986 CBS/FOX Video Music (Cat. # 7104-50)

Living After Midnight
Breaking The law
Don't Go
Heading Out To The Highway
Hot Rockin'
You've Got Another Thing Comin'
Freewheel Burning
Love Bites
Locked In
Turbo Lover

RIAA certified Gold April 3, 1987


Video cassette promotion poster
uses a hi-octane gas pump theme:
Premium Priest; Get the lead out

 


Turbo promo sticker

 


Fuel For Life promo posters

NOVEMBER 1985: Rob enters rehab

With a breakthrough album in British Steel and the platinum status of Screaming For Vengeance, the members of Judas Priest were riding a tidal wave of success - while facing the pressure of trying to maintain the momentum:

     "Running on cocaine and Jack Daniels - I mean excess in the biggest possible word. We pigged out on sex and drugs and rock 'n' roll".
- Rob Halford, VH1 Behind The Music, 2001

     "Sipping martinis at all hours of the day - marvelous how we got through it really!"
- Tom Allom, VH1 Behind The Music, 2001

Yet for all the success and excess, Rob felt alone and isolated. He struggled with the fact that he was gay and having to keep it a secret because of his heavy metal image:

     "You come off stage and there would be all these girls and so on in the dressing room. That wasn't my world; I didn't fit in. There was no place for me to go, because that's not where I felt I belonged - I wasn't with my own people."
- Rob Halford, VH1 Behind The Music, 2001

     "It's horrible. The show ends, everybody goes to the titty bar or the nudie bar, and they all pick up a bunch of chicks and go up to their rooms. That's not me. I'm a gay man. So it was a very isolated, lonely kind of experience. You do this great show in front of thousands and thousands of adoring fans, [many of them men]...
     "Isn't it crazy? All those guys, and I'd go back to my room alone. It's 11:30; you close the door and watch The Tonight Show and fall asleep while everybody else is banging away down the hallway, doing orgiastic rock-and-roll things."
- Rob Halford, The Advocate, 1998

     "Rob wasn't encourage to reveal his secret to the public. It's fair to say we were happy with Rob and with his image. We didn't want anything to happen that was gonna change that".
- K.K. Downing, VH1 Behind The Music, 2001

     "I can't pretend to imagine the pressure that placed on him, because the band were perceived as being so macho."
- Bill Curbishley, VH1 Behind The Music, 2001

Between the pressures of fame and the confusion of his feelings, Rob was sinking into depression:

     "There was a tremendous feeling of a lack of esteem and emptiness and complete helplessness - and that sounds bizarre when you walk out onstage in front of 20,000 people and scream your lungs out - but most of those shows, I was smashed out of my mind. I was a full-on, roaring, drug-taking, whacked-out-of-my-mind metal maniac.
     "My daily routine was, I would get up around six in the evening and slug down some big bottles of whatever just to get out of bed. I was ripping phones off the walls; trying to drive drunk; just a really obnoxious, hateful son-of-a-bitch.
     "I just hit those moments of such complete despair and confusion. I remember one night of just picking up a bottle of Percodan and just going for it... I hit the wall severely. You fall to your knees and you literally do ask God to help you."
- Rob Halford, VH1 Behind The Music, 2001

After a November '85 late night rehearsal in Phoenix, Arizona for the Turbo tour (possibly when the band recorded "Heart Of A Lion" at Chaton Recordes), Rob overdosed on the powerful painkiller, but he managed to call for help and was hospitalized. But after Rob was released from the hospital, his troubles were far from over...

Not long after returning from the hospital, a cataclysmic event took place that caused Rob to seek rehab for drug and alcohol abuse:

     "Most of the men I'm attracted to are straight men. The boy I was dating back then had a cocaine problem. We had one of those bombastic physical attractions, and there was a tremendous amount of violence. We used to beat the crap out of each other in the drunken and cocaine rages that we had. And one day we were fighting, and I left for my own safety and called a cab. As I was getting in the cab, he came up to me and said, 'Look, I just want to let you know I love you very much.' And when he turned away, I saw that he had a gun. Moments later he put the gun to his head and killed himself."
- Rob Halford, The Advocate, 1998

The event was too tragic and was a wake up call to Rob, who on January 6, 1986, checked himself into a rehab center in Phoenix for 33 days to deal with his alcohol abuse. But when the rest of his band mates came to visit him, Rob didn't feel they took him seriously:

     "They came to see me lying in my bed and my glucose drip and must have thought, 'What is he doing here?' or you know, 'What's this about?' They wished me well and a speedy recovery and you know, 'Let's get back on the road...' "
- Rob Halford, VH1 Behind The Music, 2001

     "I always kinda have a problem with people that have like psychological problems and don't really know how much these people are looking for a little bit of sympathy, or whatever the deal is, you know? It's always kinda hard to take that kind of thing totally serious, but we just went 'round and said, 'Oh, com' on Rob, you know, you look fine, you sound fine, you must be fine.'"
- K.K. Downing, VH1 Behind The Music, 2001

     "I had to go through those moments and bloody knuckles and so on to get to the point of recovery."
- Rob Halford, VH1 Behind The Music, 2001

     "I'm a recovering alcoholic. I've been through twelve years now. I know what makes me tick, whereas before I was clueless..."
- Rob Halford, The Advocate, 1998

Completing rehab in February, Rob emerged revitalized, with a world tour waiting in the wings to showcase his full and sober talent. As the 1987 Priest...Live! video and album would reveal, Rob was at the top of his game, jumping around on stage and belting out ear-piercing banshee screams like never before:

     "Rob had this unreal voice that every metal singer would die for, and it just got better when he gave up drinking."
- Tom Allom, VH1 Behind The Music, 2001

With a sober outlook and a new lease on life, during Priest's Canadian leg of the tour in July, Rob participated in a campaign that was right up his alley:

     "Rob started the ball rolling for Bikers Against Drunk Drivers by signing a large white poster of North America that B.A.D.D. hopes will be filled by several artists that have a motorcycle theme and who are well respected by B.A.D.D`s target group Pre-Driving Adolescents... Halford who often rides on stage with his Harley has gone through some hard times with drinking and is proud to say he is clean and sober."
- B.A.D.D. news report, July 23, 1986


Rob Halford - B.A.D.D. to the bone!

     "We used to record in a little studio in Ibiza, Spain and we would be fucking pissed [drunk] out of our minds, falling all over the place. But that's changed. Some of the guys still drink, but I haven't drank or drugged since January 6, 1986. I just knew that I was completely powerless over life, and when you admit that, it's your first step to becoming sane again. There's still a lot of temptation out there, and it's very easy to slip, but I've been given all the tools that I need to get me through each day, and it's working.
     "I have a really strong foundation in spirituality that's important to me. When I was younger, I didn't expect to feel this way, but I do and it has given me a lot of inner peace and comfort and strength. I'm not staying sober all by myself. I know it's coming from somewhere else, because I know what my weaknesses are and what my foibles are. So something else is going on here."
- Rob Halford, Revolver, April 2005

MARCH 1986: Jayne Andrews comes aboard


Jayne Andrews

Jayne Andrews' history in the music industry includes working for Atlantic Records as well as being the personal assistant to Emerson, Lake and Palmer before joining Trinifold Management in March of '86, where she started out as the band's personal assistant and is credited as Production Assistant for the European leg of the Turbo tour. She then progressed to Management Co-Ordinator soon after and has held that title ever since.

     "I started work here at Trinifold in March 1986 - I was originally the band's Personal Assistant and then progressed to Management Co-ordinator - basically you name it and I do it for the band! I now work directly for the band (but still out of the Trinifold offices) and we work very closely together as a team - they are my best friends as well!"
- Jayne Andrews, September 3, 2003

LYRICS AND LEAD BREAKS:

Turbo Lover Locked In Private Property Parental Guidance Rock You All Around The World Out In The Cold
 
Wild Nights, Hot & Crazy Days Hot For Love Reckless All Fired Up Heart Of A Lion

 

     "...take an album like Turbo, which is my all-time favorite Priest album, which is very up, is very optimistic. [It] makes you feel great when you listen to it. It's very full of experimentation and very modernism ways of taking heavy metal..."
- Rob Halford, BBC Radio 1, April 5, 1991

     "Some solos come together really fast, others take a long time. But a lot of it depends on what song you're putting it in. If I'm playing a solo in a song that could be a single, then there's no doubt that it has to be quite commercial as well. Let's face it - you don't want to put a boring, self-indulgent solo in the middle of something that might be a hit. So, obviously, you have to allow yourself time to come up with something that really works. On Turbo, both Glenn and I tried to make all the solos like small musical structures that were melodic and flowed within the actual context of the songs. And, because of that, the solos don't destroy or detract from what the songs are all about.
     "We spent a lot of time working out what should be done from a guitar point of view. I really think that everything Glenn did was perfect for the album and I hope he thinks the same about me. We've heard a lot of people say how much they like the guitar because it's pretty refreshing. And how many bands playing guitar solos can you listen to? We've concentrated more on getting different sounds That are more interesting to listen to and actually have something to do with the song.
     "The twin-guitar situation works really well because we're so much more versatile with two instruments, particularly now that we're using the guitar synthesizers. The combinations are incredible."
- K.K. Downing, Turbo Fax, 1986

1. Turbo Lover
G.Tipton/R.Halford/K.K. Downing
Lead: Glenn
Performed live in: 1986,1988, 1991, 2001-2002, 2004-2005
Available live versions:
Priest...Live! (Video and audio 1987, Re-Master 2001, DVD 2003), Veterans Memorial Coliseum, New Haven, Connecticut (broadcast bootleg, 1988), Live In London (Video 2002, audio 2003)
Promo video filmed

     "'Turbo Lover'...  is a great driving song. It was written in regard to the twin turbos in Porsches."
- Rob Halford, Mobile Entertainment, June 2002

     "...'auto'-eroticism"
- Adrien Begrand, rock critic, June 21, 2002

     "Turbos were all the rage, the in-thing. Ken and Glenn had bought Porsche Turbos. I'd even bought a vacuum cleaner because it had the word 'turbo' on it!" "
- Ian Hill, Metal Works liner note, 1993

It should come as no surprise then to find that K.K. has a Boss "Turbo" pedal in his guitar effects arsenal and the song was used in the Sony Playstation racing game GRAN TURISMO 3.

You won't hear me, but you'll feel me
Without warning, something's dawning, listen
Then within your senses,
You'll know you're defenseless
How your heart beats, when you run for cover
Your cant retreat I spy like no other

Then we race together
We can ride forever
Wrapped in horsepower, driving into fury
Changing gear I pull you tighter to me

I'm your turbo lover
Tell me there's no other
I'm your turbo lover
Better run for cover

We hold each other closer, as we shift to overdrive
And everything goes rushing by, with every nerve alive
We move so fast it seems as though we've taken to the sky
Love machines in harmony, we hear the engines cry

On and on we're charging to the place so many seek
In perfect synchronicity of which so many speak
We feel so close to heaven in this roaring heavy load
And then in sheer abandonment, we shatter and explode

2. Locked In
G.Tipton/R.Halford/K.K. Downing

Lead: Split into 5 parts - KK/Glenn/KK/Glenn (underlying melody KK, arpeggios and run Glenn)
Performed live in: 1986
Available live versions:
Priest...Live! (Video and audio 1987, Re-Master 2001, DVD 2003)
Promo video filmed


I can't stand the way you move it
You drive me crazy with that walk
You get me so excited
I tremble and I shake
When you make the moves you make

You've got the key
The key to my heart
Go ahead and use it
Drag me in, slam the door
Then I'll be yours, for evermore

You've got me locked in
Locked inside your love
You've got me locked in
Locked inside your love

I can't take it when you touch me
Feels so good I could explode
You've got me in a frenzy
I tremble and I quake
When you shake the things you shake

3. Private Property
G.Tipton/R.Halford/K.K. Downing

Lead: Glenn
Performed live in: 1986
Available live versions:
Priest...Live! (Video and audio 1987, Re-Master 2001, DVD 2003)

You think you're cool and got it all
You think you run the scene
I don't believe how you'd conceive
That your good enough for me
You think you've got it all sewn up
But I'll cut you right down to size
The way I figure you don't exist
So you'd better realize

Don't you touch
Don't get near
Don't take me for a fool
Make no mistake
No give and take
I'm too good for you

So keep your hands off
Private property
Hands off
Oh Oh
Keep your hands off
Private property
Hands off me
Hands off
Keep your hands off me

I'm number one when I turn it on
Do you think you can relate
You'd be amazed, left in a daze
To see me operate

You live in a fantasy
I don't even care
If you're lookin' for sympathy
It ain't there

4. Parental Guidance
G.Tipton/R.Halford/K.K. Downing

Lead: 1st half lead: Glenn, 2nd half lead: KK
Performed live in: 1986
Available live versions:
Priest...Live! (Video and audio 1987, Re-Master 2001, DVD 2003)
 
A bit of a controversy was stirred up in the media that led to the writing of this particular Priest tune: During the creation of Turbo, Priest were feeling heat from an organization formed to censor popular music. In 1985, led by Tipper Gore and Susan Baker, the Parents Music Resource Center (PMRC) compiled a list of offensive rock songs - known as the “Filthy Fifteen". The PMRC then sent the list to music industry executives, demanding both a rating system for lyrics and the application of warning labels on albums (deemed “Tipper Stickers” by those opposed) containing offensive content. The Filthy Fifteen listed everything from Venom’s Satanic subterranean metal to Top 40 hits by Cyndi Lauper (!) and other pop artists. These and other wives of powerful Senators (the "Hollywood Wives" as Frank Zappa characterized them) apparently did not approve of anything their own children were listening to, so all forms of rock music, no matter how innocent, were suspect targets! The PMRC provided its own key rating system for each song’s offensive content. A full document on the case can be found here


Tipper Gore, wife of former U.S.
Senator and Vice-President Al
Gore; co-founder of the PMRC

The Judas Priest song "Eat Me Alive" from the previous year's Defenders Of The Faith album, made number 3 on the list, because as Tipper Gore put it, the song was about "oral sex at gunpoint". The song was given an X rating for sexually explicit or profane lyrics.

     "I could remember mixing the album, and every night on the television they were printing Judas Priest lyrics out like 'Eat Me Alive'. Then they would go back to the PMRC hearings. We were seriously battling with the PMRC, hence the song 'Parental Guidance'. With the Turbo album, I hope each and every one of them crammed it up their ass when it came out, because I'm sure that they were expecting something that they could really get their teeth into and utilize. Being the true defenders of the faith, I think that we did metal music a real good turn with the Turbo album, because I think that they were out to get Judas Priest. And if they could get Judas Priest, they would get metal in general. Obviously, they had another go at us with the court case later on in 1990."
- K.K. Downing

     "So we were recording in this famous studio in Miami. George Michael was right next door to us in the same studio. And then the PMRC comes along. And there we are on CNN! We're shown on stage and they're printing out the lyrics to 'Eat Me Alive'. It says, 'I'm gonna force you at gunpoint to eat me alive' and I'm thinking, 'Oh no!' So I don't know how much that damaged us, but it might have. But the album did really well, and the tour was just fantastic. And we had more girls at the concerts than ever before!"
- K.K. Downing, Circus Magazine, December 2003

     "We've written over 100 songs, and she has to pick on 'Eat Me Alive'. Of course, it was a good one to pick on."
- K.K. Downing, Sports Illustrated, October 27, 1986

     "As a favorite track, I kinda like 'Parental Guidance'. It tells the parents of the world to leave their kids alone. It's not
disrespectful, but we've had enough of groups of mothers telling their kids what they should and should not listen to."
- Glenn Tipton, 1986

You say I waste my life away
But I live it to the full
How would you know anyway
You're just mister dull
Why don't you get into the things we do today
You could lose twenty years right away
So we say

We don't need no
No, no, no
Parental guidance here
We don't need no
No, no, no
Parental guidance here

Every day you scream at me
To turn the music low
Well if you keep on screaming
You'll make me deaf you know
You always chew me out, because I stay out late
Until your three-piece suit comes back in date
Get one thing straight

There's no communication
I'm tired of explanation
Is this message getting through
You went through the same thing too

Don't you remember what it's like to lose control
Put on my jacket for you get too old
Let's rock and roll

One life
And I'm gonna live it up
 
Notice the cleaver end tag that had appeared as the opening line in a previous platinum hit: "You've Got Another Thing Comin' "!

5. Rock You All Around The World
G.Tipton/R.Halford/K.K. Downing

Lead: Glenn
Performed live in: 1986
Available live versions:
Priest...Live! (Video and audio 1987, Re-Master 2001, DVD 2003)

In the cities of the world
You know every boy and girl
Goes crazy to the beat of rock n' roll
And as the volume's soaring
All the crowd is roaring
Let it roll

Well, we don't care in the least
Cause our metal is a feast
But there's always someone trying to put it down
So we crank the music louder
And our voices turn to power
With a wall of sound we'll blow 'em all away

Rock you all around the world

We're gonna rock
We're gonna roll
We're gonna shake you down
We're gonna lose control

No one can hold us down
Just look around and see
This generation's getting up and breakin' free

We're gonna rock
We're gonna rock you

6. Out In The Cold
G.Tipton/R.Halford/K.K. Downing

Lead: Intro: Glenn - lead: split - KK/Glenn
Performed live in: 1986
Available live versions:
Priest...Live! (Video and audio 1987, Re-Master 2001, DVD 2003)

I'm layin' awake at night
I can't get you out of my mind
All I can hear is my heart beat
And a voice in the dark of some kind

Where are you now?
The fears are comin' back to me once again
Oh, I wish you were here
Takin' good care of me
I want you
I feel as though I'm out in the cold

Out in the cold
Hear me calling
Cold
Out in the cold
Please rescue me

I know it was you I hurt
I didn't mean to hurt you
So much to forgive and forget
Can't take anymore of this hurt
There's so many things I regret

(Shut me out)
Out in the cold
(Where are you now)
Hear me calling
(I need you)
I'm so cold
(Can't you hear my heart beat)
Out in the cold
Please rescue me

Give me a chance baby
There's nothing I wouldn't do to make it alright
Just for one more chance baby
I need all your lovin' tonight

7. Wild Nights, Hot & Crazy Days
G.Tipton/R.Halford/K.K. Downing

Lead: Intro: Glenn - lead: split - KK/Glenn

I'm gonna break out
I'm gonna drive my car
I'm gonna get up and go
I want some action
I've been working so hard
I'm gonna over load

Can you feel the beat
Everybody's rockin' in the summer heat
As the sun goes down
Well deep down inside
You feel your temperature rise

For those wild nights
Hot and crazy days
Wild nights
Hot and crazy days

I'm feeling good tonight
I'm gonna cruise around
Makin' every head turn
Wind up the radio
I'm in the mood for some lovin'
Cause the night time's comin'

Come on
Gettin' hot tonight
Come on
That's right
Come on
There's no end in sight
Come on
Alright

8. Hot For Love
G.Tipton/R.Halford/K.K. Downing

Lead: Split - KK/Glenn & KK harmonizing together
Performed live in: 1986
Available live versions:
Various bootlegs

Twenty-four hours of the day
You're on my trail
And I can't get away
I can't shake you off
You're a wolf on the prowl
You got my scent and I can hear you howl

No where to run
No where to hide
No where to go
No where to run to
No where to hide this hurt inside

Hot for love
Hot for love
Hot for love
Hot for love

When the sun goes down
I can feel your heat
Till the sun comes up
When you've got me worn deadbeat
I said I'm all burned out
I'm a physical wreck
But there you go again with your
Hot breath on my neck

9. Reckless
G.Tipton/R.Halford/K.K. Downing

Lead: Intro: Glenn & KK harmonizing together; lead: Glenn; licks: KK
 
While Judas Priest were wrapping up the final stages of getting the Turbo album out, they were approached by Warner Brothers to submit a song for the soundtrack of the upcoming Tom Cruise film 'Top Gun'...
 
     "I went around to, I think it was Warner Brothers who did the film, and played them 'Reckless'. They liked the track and wanted to use it but we were too late to take it off the album as all the pressings and artwork had been done. And they wanted an exclusive track for the film, so it didn't work out."
- Glenn Tipton, UKRockNet, 2002

     "They expressed more than an interest to use the song 'Reckless', but they wanted to take it off the album if they used it. They would have probably purchased the song outright from us. We wouldn't have seen the benefit of that other than seeing it in the movie and getting the exposure. In hindsight, it was probably a big mistake in the band's career, because the soundtrack sold in excess of 5 million. To be honest, when they said, 'This movie's got Tom Cruise in it', we didn't know who the fuck he was."
- K.K. Downing, Goldmine magazine, June 5, 1998

     "We were down in the studio mixing the album and everything was just working out. The producers of the movie TOP GUN wanted to use the song 'Reckless' for the movie, but we decided not to take it off the album. We thought the album flowed really well, but that was a big mistake on our part. Obviously, it would have been cool to have that in the movie, but we didn't. We offered them three other songs, but the producers didn't want them."
- K.K. Downing, Circus Magazine, December 2003

No one can stop me now
I'm like a human dynamo
Live wired and chargin' out with power
This time I won't hold back
I'm rarin' to get up and go
Fuelled up and growin' by the hour

Look out
I'm blastin' through the lines
Alive and kickin'
Watch out
I'm young and lethal
I'm goin' from here until eternity

I'm feelin' reckless
Way out of hand, a real survivor
Reckless
Comin' at gale force ten

Around me I feel the shock waves,
Building for the energy
A force field that no one can break through
Solid as rock, no wonder
I am indestructible
First placed in everything I do

Radioactive
I'm shootin' through the atmosphere
Takin' off
I'm headin' like a rocket through the stratosphere

10. All Fired Up
RE-MASTERS Bonus Track

G.Tipton/R.Halford/K.K. Downing

Lead: Intro: Glenn then KK harmony, licks: KK, 1st lead: Glenn & KK harmonizing together, 2nd lead: split - KK/Glenn & KK harmonizing together

A burst of speed is all I need
To set me free
A flagging start that stirs the heart
To ecstasy

Raging away I'll go far
Time waits for no man
So reach for the stars
I'm all fired

All fired up
Fired up
All fired up

A bolt of light that sears the night
Of things supreme
To chase the sun, forever on
And live the dream

Forcing a system aside
Too fast for this life
My mind's open wide
I'm all fired

I'm soaring, freefalling
With all emotions roaring
Like lightning, like thunder
I'll rip the world asunder

Let's go
Hold On


Heart Of A Lion
G.Tipton/R.Halford/K.K.Downing
Lead: K.K./Glenn and K.K. harmonizing together
 

This song was written and recorded as a session demo at Chaton Recorders in Paradise Valley, Arizona (near Rob Halford's residence) in late 1985. It is now released for the first time in 2004 as part of the METALOGY boxset.

     "We actually created that song here in the Valley - I think we were working at Chaton Studios when we were doing the TURBO sessions. We kind of kicked it around here, then we went to a bunch of other places, but that song was created here in the Valley, and it's just one of these little diamonds that kind of escapes the pile.
     "In determining what gets on a record and what doesn't, you just look and especially for a moment like this, you think of everything, and somebody goes, 'Whatever' to this song you did, and this 'Heart Of A Lion' track has just been always on the back burner, especially with the Priest fans: 'What is this song? We've heard the title, blah, blah...', so now it's time to include it."
- Rob Halford, KDKB, March 30, 2004

     "We were delighted to include 'Heart Of A Lion' with the METALOGY boxset, but we will not record it for a studio LP. It was a song that was called on the most by the fans so we put it on the set for them. The fans are the most important part of Judas Priest; they keep us alive and vital."
- Rob Halford, Metal Exiles, July 25, 2004

In December 1986, Jeff Martin, vocalist for Racer X and good friend of Rob Halford, received permission from Rob to record the song (which would appear publicly for the first time on the Racer X sophomore release Second Heat in 1987 and again on Extreme Volume II Live in 1992). At that time, then future Priest drummer Scott Travis was a member of Racer X and therefore got to record an unreleased Priest tune three years before joining the legendary band in '89!

     "This is a Judas Priest song that Racer X covered. Jeff Martin had a demo of it and we learned it."
- Paul Gilbert (Racer X guitarist), Metal Sludge, 2004

     "Rob had played me all the tunes for the next album, one being 'Heart Of A Lion', my favorite. When I found out that 'Heart Of A Lion' was not on the TURBO album I couldn't believe it! I told Rob right then and there that he's got to let me do this tune one day. Well the end of the year rolls around and Racer X are in the studio still short of an album, and it hits me - so I call Rob to see if it's all cool. He checked and said, 'Go on with it'.
     "Our version turned out much more glitzy than the hard-edged first Priest version (that to me is still the best). Later on, a year or so after our release of it, we got wind that Glenn Tipton just found out it was recorded by us and was pissed as hell! Sorry Glenn... THANKS ROB!!!!!!!"
- Jeff Martin, Racer X message board, June 2001

Crashing through the city streets
Caught in the glare of the midnight sun
I've got wings upon my feet
But locked as I run

Now you're just a breath away
From knocking me senseless to the ground
No escape I hear you say
You're never safe - from a

Heart of a lion
My heart of a lion

I close my eyes, I see your face
It seems like I'm gripped within your spell
Will I ever win this race?
You're moving in

Hear my name cried from the sky
There is a stillness that cuts the air
In your hold I know that I
Will never find the love - of a


All around I hear the sound
Of your mighty roar
As I give I find that
You are calling out for more

All around I hear the sound
Of your mighty roar
As I give I find that
You are crying

Cold heart of a lion


All songs published by EMI Songs Ltd.
Lyrics and lead break credits are from the TURBO Re-Masters liner notes.

TOUR DATES 1985: LIVE AID

Bob Geldolf's Live Aid was a concert event broadcast worldwide in an effort to help change the world perception and attitude about Africa. Live Aid was the only performance Judas Priest gave in 1985, as the rest of the year was spent working on the massive TURBO album and Fuel For Life campaign...

Rob Halford - v, Glenn Tipton - g, K.K. Downing - g, Ian Hill - b, Dave Holland - d

SETLIST:
Living After Midnight
The Green Manalishi (With The 2-Pronged Crown)
You've Got Another Thing Comin'

DATE VENUE CITY, STATE COUNTRY NOTES

July 13

JFK Stadium  Live Aid

Philadelphia, PA

USA

Bootleg video exists



Rob rallies the Live Aid crowd


Rob Halford got to meet the author of "Diamonds And Rust" for the first time at Live Aid:

     "If you recall that JFK Stadium show, around the Live Aid thing Geldof put together, Priest played there with a lot of performers, including Baez. I was walking around backstage, and there she was. I went up to her, I started to introduce myself, and she interrupted, saying, 'I know who you are! I just want to thank you for that really cool version of 'Diamonds and Rust'. It's my son's favorite song now.' I thought that was so cool. This living legend, wonderful performer, and big part of American culture and folk music, to say something so sweet and kind."
- Rob Halford

     "The lead singer from Judas Priest, wearing dog collar, leathers, chains, and a tiny silver cross dangling from his left ear, tries to shake my hand respectfully and say all the proper things one says to a legend, so I hug him and he asks if I am aware that Judas Priest recorded 'Diamonds and Rust'. I laugh and say in his ear, 'Yes, I heard it long ago, before my son even knew', and his manager is standing two feet away, saying, 'I don't believe this. I don't fucking believe this'."
- Joan Baez, AND A VOICE TO SING WITH, 1987

     "She thought it was great. She's a really nice lady and we promised to send her the royalties."
- Glenn Tipton

Tour Dates 1986: Fuel For Life Tour


1986 Tour Program

Rob Halford - v, Glenn Tipton - g, K.K. Downing - g, Ian Hill - b, Dave Holland - d

Tour Manager: Jim Silvia
Production Manager: Mick Double
US Production Assistant: Patricia La Magna
Europe Production Assistant: Jayne Andrews
Stage Design: Tom McPhillips


Photo by Ross Halfin

     "When we did Turbo, Judas Priest had reached a point where we were such a successful live band, but it didn't necessarily show in album sales compared to other bands, be it AC/DC or Def Leppard or Quiet Riot. I could probably name 20 or 30 other bands that sold in excess of 5 million just in the States alone. With Judas Priest, if people came to our concerts and saw us live, they would think, 'This band must sell millions and millions of records!' But we had such die-hard fans that would travel far and wide to each concert, and they would come to more than one concert."
- K.K. Downing, Goldmine magazine, June 5, 1998

Though the tour was a sellout success wherever the band played, a bit of a controversy was started among the fans when a Kerrang! correspondent discovered another drummer playing beneath the stage. The drummer was Jonathan Valen, formerly of Legs Diamond, and although Dave Holland actually played on the tour, Valen took the opportunity to do an interview and claim he was ex-Judas Priest (!), which the guys had to simply laugh off...


     "It was a funny story. We were using triggers on the drums, with a new kit that nobody in the world could operate. It was one of the original EMUs, so we got this guy to come out on the road for the first three weeks to nursemaid us and show the crew how to use it. And somebody spotted him under the stage. He was a drummer, so they were saying, 'Dave Holland isn't playing drums'. I think he used to get changed every night into his stage clothes - He was a bit of a would-be star, and I think he took it upon himself to do an interview one day..."
- Glenn Tipton,
Goldmine magazine, June 5, 1998

Priest also had to laugh off some equipment problems they experienced on several of the shows due to the new technology:


     "I wish I was Lemmy right now! I'm sure he'd be reeling off some wonderful expletives to describe these guitar synth things... They're good fun if you know how to use them, and I think Glenn and K.K. know how to use them. We've been having so much fun with Glenn's recently: It's been going wrong every night at the beginning of 'Turbo Lover'. At the end of the song we've had to apologize and say we just had to do some tuning!"
- Rob Halford, Kerrang!, 1986

     "...Glenn was doing his infamous one-note guitar solo in the midst of 'Victim Of Changes'. Just as he started to get into it, his wireless transmitter for his guitar started to conk out. He hit it once or twice and it came back on, so he tried to continue. It conked out again, this time for good. He just made this gesture to the crowd like, 'Oh well, what can I do?'
     At that moment, two things happened. First, his guitar tech came running out on stage and started fiddling with the transmitter trying to coax it back to life. Then, from the opposite end of the stage, K.K. Downing ran out and actually did the entire mid-section solo! He finished the solo, and the whole band came back in on the song except for Glenn, who ran back out on stage with a different guitar just a second or two late. They all finished the song, and the Priest guys were all laughing at him!"
- Eyewitness report

     "Sometimes there were problems. A large robot would come out in the back of the stage, behind the drum riser and it would actually pick up Ken and Glenn. And on a couple of occasions, things would happen and they would be left hanging up in the air. There were a few hairy moments."
- Ian Hill, Hardradio, December 2003

Speaking of guitars, both K.K. and Glenn had new custom non-production model guitars made for the Fuel For Life tour by Hamer. K.K.'s is called the KK Mini V and Glenn's is the GT Custom (often mistakenly called a Scarab GT, though it is not a Scarab model at all).

SETLIST (Orange titles are from the current album)

From the May 11 Los Angeles Forum show:
Out In The Cold
Locked In
Heading Out To The Highway
Metal Gods
Breaking The Law
Love Bites
Some Heads Are Gonna Roll
The Sentinel
Hot For Love
Private Property
Desert Plains
Rock You All Around The World
Hellion/Electric Eye
Turbo Lover
Freewheel Burning
Victim Of Changes
The Green Manalishi (With The Two-Pronged Crown)
Living After Midnight
You've Got Another Thing Comin'
Hell Bent For Leather

From the May 23 St. Louis Kiel Auditorium show:
Out In The Cold
Locked In
Heading Out To The Highway
Metal Gods
Breaking The Law
Love Bites
Some Heads Are Gonna Roll
The Sentinel
Private Property
Desert Plains
Rock You All Around The World
Hellion/Electric Eye
Turbo Lover
Freewheel Burning
Victim Of Changes
The Green Manalishi (With The Two-Pronged Crown)
Living After Midnight
You've Got Another Thing Comin'
Hell Bent For Leather

From the June 27 Dallas Reunion Arena and Atlanta Omni shows (Recorded for Priest...Live!):
Out In The Cold
Locked In
Heading Out To The Highway
Metal Gods
Breaking The Law
Love Bites
Some Heads Are Gonna Roll
The Sentinel
Private Property
Desert Plains
Rock You All Around The World
Hellion/Electric Eye
Turbo Lover
Freewheel Burning
The Green Manalishi (With The Two-Pronged Crown)
Parental Guidance
Living After Midnight
You've Got Another Thing Comin'
Hell Bent For Leather

     "People keep asking us why we don't play "Sinner" anymore, and I tell 'em it's 'cos we've repented."
- K.K. Downing, Kerrang!, 1987

But the classic concert favorite with the wild K.K. solo section would return the following year...

American tour support act Dokken
  

     "It wasn't odd to us to open for Priest because we considered ourselves to be a heavier band, or we wanted to be a heavier band anyway. It was actually a good tour for us in that it helped us learn to be heavy from one of the best. Priest was so good back then, and they were very inspiring to watch and learn from..."
- Jeff Pilson (bassist for Dokken), Electric Basement, February 18,
2004

     "Judas Priest were very tough on us. K.K. Downing, guy man, he hated seeing us walk away with any girls that were in the building. If they were blonde, it was like, 'Tell Dokken to leave the blondes alone.'
- "Wild" Mick Brown (drummer for Dokken), Metal Sludge, February 5, 2002

     "This was probably the most successful American tour we've ever done. There were certainly more girls in the audience than ever before..."
- K.K. Downing, Metal Works liner note, 1993

DATE VENUE CITY, STATE COUNTRY NOTES
May 2 Tingley Coliseum,  Albuquerque, NM USA Bootleg audio exists
May 5 San Diego, CA USA Bootleg audio exists
May 8 Compton Terrace at Firebird Lake Chandler, AZ USA
May 9 Irvine Meadows Laguna Hills, CA USA Bootleg audio exists
May 11 Great Western Forum Arena Los Angeles, CA USA Bootleg audio exists of both shows
May 12
     "Nothing like a little hot love on a Sunday night, on Mother's Day. Anybody bring their mothers tonight? Send them backstage afterwards..."
- Rob Halford, Great Western Forum Arena, May 11, 1986
May 14 Selland Arena Fresno, CA USA
May 15 Coliseum Oakland, CA USA Bootleg audio exists
May 16 Cal State Expo Center Sacramento, CA USA Bootleg audio exists
May 18 Tacomadome Tacoma, WA USA
May 22 Municipal Auditorium Kansas City, MO USA Bootleg audio exists
May 23 Kiel Auditorium St. Louis, MO USA Bootleg audio exists

Super Biscuit promo poster advertising a national giveaway where listeners could win customized Honda Rebel motorcycles as featured in the "Locked In" video along with airline tickets to St. Louis and tickets and backstage passes to the show

May 24 Rosemont Horizon Chicago, IL USA Bootleg audio exists
May 25 Civic Center St. Paul, MN USA Bootleg audio exists
May 26 Metrocenter Minneapolis, MN USA Bootleg audio exists
May 27 Wings Stadium Kalamazoo, MI USA Support from Armored Saint
May 28 Joe Louis Arena Detroit, MI USA Postponed to August 9
May 29 Hara Arena Dayton, OH USA
May 30 Richfield Coliseum Cleveland, OH USA Bootleg audio exists
May 31 Capital Centre Landover, MD USA Heavy Metal Parking Lot was filmed here

HEAVY METAL PARKING LOT:

Spring of '86 was a wild time in America, with the party atmosphere in full swing - so a couple of guys in the Washington DC area got an idea for a different kind of film documentary for their local cable network. John Heyn and Jeff Krulik weren't going to be able to bring a camera into a concert, nor would they get to interview the band members on video; no, they simply took a video camera around the parking lot of the Capital Centre in Landover, Maryland on May 31, 1986 to capture the fans in their natural habitat awaiting a Judas Priest concert!

     "Videotaped in a concert arena parking lot before a Judas Priest show in '86, Heavy Metal Parking Lot is truly the most magnificent portrait of dirt-rockin', headbanging, booze guzzling, dope smokin', trailer trash America has ever seen. It's truly an ingenious masterpiece, made complete with the vast display of bare feet, muscle shirts, bare-chested guys, bleach blonde frizzy perms, Mullets From Hell, BIG hair, bad teeth, scar tissue, and by far, the largest collection of late 70s Cameros ever seen in one location. Kudos to both John Heyn and Jeff Krulik for putting together this quintessential '80s magnum opus."
- Ginger James, a fan

     "Buried in John Heyn's basement for years, it took a flood to finally uncover these long lost master tapes. I find it amazing that 1) we used surplus tape stock and 2) we only shot about an hour of tape."
- Jeff Krulik

     "In 1988 Priest came back to DC and we wanted to show Heavy Metal Parking Lot before they played. We talked to the promoters and they got us [imitating a girl in the video] 'backstage passes!' We set up a meeting with the band, although it was mainly the road manager and the accountant. I remember the caterer. We were backstage so I thought, 'Hey, we get to eat!' I asked if we could have some and he said, 'No.' Anyway, we showed the video to these guys and said, 'Look, this is our tribute to the fans.' They said we could show it before the opening act, which was Cinderella."
-
John Heyn, NY Press, August 2000

     "In 1986, nobody had cameras. We lucked out. We didn't particularly target Judas Priest, but they were at their peak, and they were headlining the Cap Center on a spring day. They're like the Rolling Stones or the Beatles of heavy metal. Their music will stand the test of time."
- Jeff Krulik, SOUND OF THE BEAST, 2003

     "We went out to the show that night and they didn’t screen it. They said they couldn’t risk the owner of the arena seeing it. I mean, here’s this crazy bacchanal in the parking lot... There’s a store in L.A. called Mondo Video A Go Go, and they were the ones who really started helping to promote Heavy Metal Parking Lot. Hollywood types like Belinda Carlisle and Sophia Coppola started renting it. A guy from the store called me and said they’d just gotten in a Judas Priest documentary called Metal Works the band put out, and that there were clips from Heavy Metal Parking Lot in it. That’s great. We stole from them and they stole from us. A friend who was working on a VH1 thing with Rob Halford asked him if he’d heard of Heavy Metal Parking Lot and Halford said he loved it."
-
Jeff Krulik, NY Press, August 2000

     "That's an assemblance of everything that we do - the people out there are what make everything that we do happen. I've been going into parking lots ever since I got into rock 'n' roll and that's a good place to see and meet the real people, meet the real fans...
     Nardwuar: "Well, it's a good thing you didn't go there in '86. That lady wanted to 'jump your bones' and you wouldn't have been able to go up on stage...
     "Well... Didn't you know yet?"
- Rob Halford, Nardwuar, 2000

     "Yes, I've seen the film and it's often brought up in interviews. It's great, it's a little moment that is typical in metal shows around the world. It's just wonderful. It's a timepiece but it's never gonna change because, that fanaticism and that determination and dedication is there from when metal began. The fans of metal are fierce. They love it, they're just like pit bulls, they latch on and they won't let go. They love it to death.
     "
[To the girl that wanted to 'jump my bones' in 1986]: Well, move over, honey, because you haven't got the right parts. You know, I still do that kind of thing if the moment's right..."
- Rob Halford, Gigmania, Summer 2000

     "I've seen it and I think it's great. It's a time capsule, and those people, the fans, they're amazing, god bless 'em. Every band should be lucky enough to have their own HEAVY METAL PARKING LOT."
- Glenn Tipton, Guitar World, September 2004

     "It's great, isn't it? It's a microcosm of what metal was during the eighties. It's a love letter to the underdogs, unintentionally so, I would imagine. I mean, half the people...most of them - they're drunk out of their minds! But they're very genuine, and their sense of camaraderie, the reason why they're there, really comes through. That's the thing about heavy metal - it'll never truly be accepted by the mainstream. And it shouldn't be, not if I can have anything to do with it."
- Rob Halford, Guitar World, September 2004


Rob meets fans in the parking lot in 1984


Produced by John Heyn and
Jeff Krulik, 1986 and 2000

The video can still be ordered from John's official Heavy Metal Parking Lot website on VHS & SVCD. It includes both Heavy Metal Parking Lot and Heavy Metal Parking Lot: The Lost Footage. Also visit Jeff's site: Planet Krulik

June 1 The Spectrum Philadelphia, PA USA Bootleg audio exists
Opening act Little Caesar
June 4 Civic Center Providence, RI USA
June 5 Centrum Worchester, MA USA Bootleg audio exists
June 6 Meadowlands Arena East Rutherford, NJ USA Bootleg audio exists
June 7 New Haven Coliseum New Haven, CT USA
June 8 Nassau Coliseum Uniondale, NY USA Bootleg audio exists
June 13 Coliseum Richmond, VA USA
June 14 Charlotte, NC USA
June 17 Civic Center Lakeland, FL USA
June 18 Hollywood Sportatorium Miami, FL USA
June 20 The Omni Atlanta, GA USA Recorded for Priest...Live!
June 21 The Summit Houston, TX USA
June 22 Frank Erwin Center Austin, TX USA
June 23 Convention Center San Antonio, TX USA
June 25 Country Coliseum El Paso, TX USA
June 26 Coliseum Odessa Acton, TX USA
June 27 Reunion Arena Dallas, TX USA Recorded and filmed for Priest...Live!
June 28 Lloyd Noble Arena Norman, OK USA Bootleg audio exists
 


     "...My seat was on the first level above the floor about two-thirds of the way back. I waited until Priest had started their set, waited until the security guard on the floor was looking the other way, and then I jumped over the rail and hit the floor running. I heard a shout or two, and saw that I was being pursued by two different security guards. I quickly got right into the reserved seat crowd, and kept going forward until I was up about the third row from the front. Lo and behold, there were two girls I knew from Wichita. I stayed there the rest of the evening. One of them brought a baggie with a couple of Twinkies inside of it to toss up onstage for Glenn Tipton. She did toss the baggie with them up there, and Glenn looked at them with a confused look on his face for a split second..."

- Eyewitness report

     "In Norman, Oklahoma on the Turbo Tour the night after the Dallas show that was recorded for Priest...Live. Right in the middle of Victim Of Changes (where Glenn is going into his patented "one-note" guitar solo before going into the second half of the song), his wireless transmitter began to conk out on him. He slapped it once, and it sputtered back to life briefly before dying entirely. He just kinda held his hands up as if to say "Hey, what can I say?". Right then, Ken came running out on stage, and led the entire band (minus Glenn who was busy changing guitars) back into the second half of the song."
- Eyewitness report

Canadian tour support act Bon Jovi

July 14 PNE Coliseum Vancouver Canada
July 16 Olympic Saddledome Calgary Canada
July 17 Northlands Coliseum Edmonton Canada
July 19 The Arena Winnipeg Canada Bootleg audio exists
July 22 Maple Leaf Gardens Toronto Canada
July 23 The Forum Montreal Canada Bootleg audio and video exists
July 24 Coliseum Quebec Quebec Canada
July 25 Civic Center Ottawa Canada Bootleg audio exists

American tour support act Krokus

July 29 R P I Fieldhouse Troy, NY USA Bootleg audio exists
July 31 Civic Center Portland, ME USA
August 3 Sports Arena Toledo, OH USA Bootleg audio and video exists
August 5 Civic Arena Pittsburgh, PA USA
August 6 Cincinnati Gardens Cincinnati, OH USA
August 8 Wendler Arena - Saginaw Civic Center Saginaw, MI USA  
August 9 Joe Louis Arena Detroit, MI USA Bootleg audio and video exists
August 10 Hoffman Estates Poplar Creek, IL USA
August 11 Civic Center Peoria, IL USA
August 12 Market Square Arena Indianapolis, IN USA
August 14 Out Gamey Country Green Bay, WI USA
August 15 Alpine Valley East Troy, WI USA
August 16 Five Seasons Center Cedar Rapids, IA USA Bootleg audio exists
August 19 Kansas Coliseum Wichita, KS USA Bootleg audio exists
August 22 Starwood Amphitheatre Nashville, TN USA
August 23 Civic Center Biloxi, MS USA
On the 77th date of the 80-date North American leg of the tour, Sports Illustrated's Franz Lidz caught up with guitarist K.K. Downing and Glenn Tipton, only it wasn't guitars they were swinging for this interview...

In place of the spikes and leather were two men dressed in subdued polo shirts, slacks and white golf shoes with fringed tongues, observing proper etiquette on the greens. The pair say golf is a calm counterpoint to the hectic pace of life on the road, and while on tour, they'll sometimes even set up a putting green backstage!

On this particular afternoon, the weather is quite theatrical, with ominous clouds, sudden shafts of sunlight and gusts of chilly air:
 

     "It's all part of heavy metal golf. Usually before teeing it up, a bolt of lightning comes down and scorches the earth: JUDAS PRIEST KEEP OFF."
- Glenn Tipton, Sports Illustrated, October 27, 1986

"Greens" Manalishi

When asked by an excited 15-year-old caddie who has just discovered the pair on the on the 3rd green at Hickory Hill Country Club near Biloxi, Mississippi, 'You guys really play golf?', the reply came:

     "Yes, but we do worship the devil at night.
     "We're totally into golf - the yardages, what ball to use, who's cheating... We took up the golf about seven years ago when the members of Def Leppard challenged us to a game. They trashed us, but we got the bug.
     "At first, we felt golf could be detrimental to our leather-and-studs image, but then we thought, if word gets out, parents might decide that perhaps we're not bad chaps after all. On the other hand, if they hear Judas Priest is hacking down the fairway, they may assume we attach six-inch nails to our clubs before swinging them."
     "I've played stadiums before a hundred thousand people, and yet when the greenskeepers turn their tractors off and wait for me to take my swing, I get as nervous as hell."
- K.K. Downing, Sports Illustrated, October 27, 1986
August 27 Civic Center Baltimore, MD USA Bootleg audio exists
August 29 Meadowlands Arena East Rutherford, NJ USA Bootleg audio exists
August 31 Mapleleaf Gardens Toronto Canada Bootleg audio exists
Support from Loudness

European tour support act Warlock

Opening act, Warlock, featuring Doro

Rob Halford insists on traveling the entire German leg by train.

September 10 Stadthalle Offenbach Germany Bootleg audio exists
September 28 Ijsselhall Zwolle Holland Bootleg audio exists
September 30 Stadthalle Offenbach West Germany Bootleg audio exists of the September 30 show
October 1
October 2 Boeblingen Sporthalle Stuttgart West Germany Bootleg audio exists
October 3 Carl Diem Halle Würzburg West Germany Bootleg audio exists
October 4 Eulachhalle Winterthur Switzerland Bootleg audio exists
October 5 Olympiahalle Munich West Germany Bootleg audio exists
October 8 Pabellon Real Madrid Madrid Spain Bootleg audio exists of the October 9 show
October 9
October 11 Velodromo Anoeta San Sebastian Spain
October 13 Palacio Municipalde Deportes Barcelona Spain Bootleg audio exists
October 15 Eberthalle Ludwigshafen West Germany Bootleg audio exists
October 16 Saarlandhalle Saarbr’cken West Germany
October 17 Grugahalle Essen West Germany Bootleg audio exists
October 18 Forest National Brussels Belgium Bootleg audio and video exists
October 20 Le Zenith Paris France Bootleg audio exists
October 22 Eilenriedhalle Hannover West Germany Bootleg audio exists
October 23 Falkoner Theatre Copenhagen Denmark
October 24 Isstadion Stockholm Sweden Bootleg audio exists

October 25 Frölundaborg Gothenburg Sweden Bootleg video exists
October 27 Drammenshallen Oslo Norway Bootleg audio exists
October 29 Ishallen Helsinki Finland Bootleg audio exists

Japan tour

December 3 Bunka Gymnasium Yokohama Japan Bootleg audio exists
December 4 Nihon Budokan Hall Tokyo Japan Bootleg audio exists
December 6 Kokaido Hall Nagoya Japan Bootleg audio exists
December 8 Festival Hall Osaka Japan Bootleg audio exists
December 10 Koseinenkin Hall Osaka Japan Bootleg audio exists
December 11 Sun Palace Fukuoka Japan Bootleg audio exists
December 16 Honolulu, HI USA


© 2002-2003
Steel & Leather Productions, U.S.A.