Band Members Album Singles Artwork Promo Videos Lyrics/Leads

March 1999April 1999January 2000 March 2000April 2000July 2000August 2000July 2001September 2001



GEMM is your best source for impossible-to-find !



     "We have been playing heavy metal for a very long time, and even on our early releases we never used the same sounds. Just remember TURBO with its distinctive synthesised guitar sound. That was new at the time, not only for us but for the whole scene. We also like to keep experimenting with new equipment, which I consider an essential evolution. You have to try out new things as a musician. Our current album is once again full to the brim with surprising riffs, lead breaks, melodies, and it’s certain to impress people."
- K.K. Downing

     "We survived because we never became a fad. We had been going for 15 years by the mid '80s. We had a decent fan base. When metal became fad-oriented, we were definitely part of that, but we never relied on that... We've always liked to take a step forward with the band and never let the music fall into formula. I think the closest we came to it becoming formulated was when we followed SCREAMING FOR VENGEANCE with DEFENDERS OF THE FAITH..."
- Ian Hill,  Worcester Telegram & Gazette, July 11, 2002


Judas Priest L-R:
Ian Hill: Bass Guitar
Glenn Tipton: Guitars
Tim "Ripper" Owens: Vocals
K.K. Downing: Guitars
Scott Travis: Drums

Just as on PAINKILLER, Don Airey provides keyboards, but is not credited on the album

Management: Bill Curbishley (Trinifold Management Limited)
Personal Assistant/Management Co-ordination: Jayne Andrews (Trinifold Management Limited)


Machine Man One On One Hell Is Home Jekyll And Hyde
Close To You Devil Digger
In Between Feed On Me Subterfuge Lost And Found Cyberface Metal Messiah

Japan Bonus Track:
What's My Name

Priest Music Ltd. BMG Distribution
  • Released July 14, 2001 by JVC/Victor Records (JPN Cat. # VICP-61349)

  • Released July 23, 2001 by Steamhammer/SPV (EUR Cat. # SPV 085-72421)

  • Released July 31, 2001 by Atlantic Recording Corporation (US Cat. # 83480)

  • Edited version released 2001 by Atlantic Recording Corporation (US Cat. # 83508)

  • Limited Edition released 2001 by Steamhammer/SPV (EUR Cat. # SPV 088-72420)

  • Australian Only Tour Edition released 2001 by Atlantic Recording Corporation (AUS Cat. # 7567930922)

Produced and arranged by Glenn Tipton
Co-Produced by Sean Lynch
Recorded and mixed at Silvermere Sound, Surrey, England and Riverside Studios, England
Mastered by Jon Astley at Close To The Edge, Twickenham, England

Chart position: Billboard 200 (USA) #165; Austria #50; France #72; Germany #16; Sweden #55; Switzerland #89
Nielsen SoundScan: 51,576 units sold as of 2/12/05

     "I wanted the album to be called HELLUSION. We decided that DEMOLITION was a good in-your-face type of title that would be good also for touring and that kind of stuff. We wouldn’t have the old ladies outside the concert area saying, 'HELLUSION?! What the hell is that?!'."
- Ripper Owens, Metal Eagle, 2001


  • Machine Man/Subterfuge/Burn In Hell (Video) CD released in 2001 by Steamhammer/SPV (EUR Cat. # SPV 056-72453)
    Entered the German single charts at #90

  • Bloodsuckers (Radio Edit)/One On One/In Between/Bloodsuckers CD released 2001 by Atlantic Recording Corporation
    (US Cat. # PRCD 300592)

  • Lost And Found (Radio Edit)/Lost And Found CD released 2001 by Atlantic Recording Corporation (US Cat. # PRCD 300713 promo only)

  • Feed On Me (radio edit)/Feed On Me released in 2001 by Atlantic Recordings (US Cat. # PRCD 800612 promo only)


Front Cover and Booklet Design: L-Space Design
Back Cover Image: Benjamin Davies
Photography: Mick Hutson

In early 2000, Priest solicited suggestions from the fans on their website for an album title and design, but ultimately, it would be Priest's wild shows that would lead them to the title of DEMOLITION:

     "We'd really like to involve everyone now, so how about sending us your suggestions for album titles and cover designs - keep watching our site for competitions we'll be organizing in the near future..."
- Glenn, K.K., Ian, Ripper and Scott,  Judas Priest site,
April 20, 2000

     "We were going through the titles trying to think of a title for the record and we just felt that DEMOLITION was a good word to sum up the band. When Priest hit a town they usually leave it partly demolished, so we just liked the idea and thought, why not?"
- Glenn Tipton, UK RockNet, 2002


Mark Wilkinson and David Axtell's L-Space Design company once again did the artwork for DEMOLITION, which was simply a dripping blood stain splattered across a black background and a beveled liquid metal title with a clever "O" formed between the M and L. The logo and cross were also streamlined a bit as well for a sharper and cleaner look.


  • Lost And Found

Director: Aubrey Powell

This black and white promo was filmed during rehearsal at London's Brixton Academy on December 19, 2001. The final promo uses audio from the studio album. This song was chosen because the label felt that a ballad would have more impact as a promo tool in America at the time.

     "The only piece on the DVD that isn’t live is 'Lost And Found', because we did a lip-sync video of that song it in the afternoon."
- Glenn Tipton, KNAC.com, September 10, 2002

     "We just shot a really good video for the new single 'Lost And Found'. We haven’t seen it, but we’re told it’s good. Just like a handheld, BLAIR WITCH thing.
- Glenn Tipton, KNAC.com, January 18, 2002

     " 'Lost And Found' is good. It’s a perfect song. People wanted to hear more melody after the JUGULATOR album, and we’ve given to them and shoved it down their throats. There’s plenty of melody there."
- Ripper Owens, KNAC.com, January 18, 2002

This promo video can also be found on the LIVE IN LONDON DVD, 2001 SPV/Steamhammer (Cat. # SPV 554-74267) in the bonus rehearsal. The broadcast version replaces the audio with the studio album soundtrack and was only released to industry insiders as a broadcast promo in 2002 by SPV (EUR Cat. # LCNR 09002)

MARCH 1999: Priest leave CMC Records

Having proven Ripper's capabilities to the world on both the new and the old songs with LIVE MELTDOWN, Judas Priest were riding high and making preparations for a new studio album. Things remained strong for them with their European label, SPV, but their main label, CMC International, did not have the muscle needed to properly promote the band and get them noticed in the bigger American and Japanese markets. At the start of 1999, Judas Priest remained silent on the matter of their label, but were quietly negotiating a major-label deal; then in March, a publicist for CMC International announced that Judas Priest were no longer signed to their label:

     "Judas Priest are no longer on CMC. I have no idea what their immediate plans are."
- Laura Kaufman, CMC International, March 17, 1999

APRIL 1999: Ozzfest...

Immediate plans for Judas Priest were to secure a major deal and be headliners for the second stage at Ozzfest '99. Work on the new album also continued.

Then suddenly, Priest announced they had to back out of Ozzfest due to label deadlines:

TO: Sharon Osbourne
FROM: Bill Curbishley
DATE: 6 April 1999
RE: Judas Priest

Unfortunately, due to record company commitments, Judas Priest are going to have to pull out of the Ozzfest '99. We have just recently signed a deal with a major record company and have to deliver a new studio album to them by late September/early October which now means that the band will have to be in the studio throughout the summer.

We apologize for the inconvenience caused - the band are very disappointed as they were really looking forward to doing these shows with you...

Once again, our apologies,

Best regards,
Bill Curbishley
Trinifold Management Ltd.

Fans were disappointed, yet intrigued about who this major label might be and what kind of exposure they could give the mighty Priest! Hopes were high for a fall release, but when the end of summer came around, the album was still nowhere near completion, leaving fans confused over why Priest really pulled out of Ozzfest in the first place...

     "We took a bit of a break over the summer, but now we're back working hard on the new songs for the album. The tracks are
really coming together well. Please be patient - as soon as we can, we'll put some details on the site; ie. titles, sound bites, etc. More later!"
- Glenn, KK, Ian, Ripper & Scott, Judas Priest site, September 1999

     "We'd like to apologise to all our fans out there - we know you're having to wait a long time for our next album and we
realise some of you must be almost as frustrated as we are waiting for it to be finished! We've listened to and let everyone
have their say on our noticeboard, but it has been even more frustrating for us because we haven't been able to progress until
we'd sorted out our US record company situation. Everything has now been resolved at long last and we will be announcing very
soon which label we have signed to. We are now flat out in the studio working on the new album.
     "Soon we will have some sound bites for you and more information regarding titles and we look forward to your comments - the
down side is you've had to wait a long time for this album, but the up side is we've had plenty of time to write and you won't
have to wait so long for the next one! So put your trust in us. Rest assured the delay has been out of our control and unavoidable - it's not because we don't care. Please be patient - we promise you won't be disappointed - the best things are worth waiting for!!
- Ripper, Glenn, K.K., Ian and Scott,
Judas Priest site, November 1999

     "HELLO METAL FANS ALL OVER THE WORLD - Well I've finally done it...dragged myself away from the axe to communicate with loyal Priest fans everywhere just to let you have a quick update on what's happening with the PRIEST MACHINE.
     "Glenn, Ripper, Scott, Ian and myself have been having the most awesome time banging our metalheads in every direction
possible, putting together the next edition to the Priest catalogue. The power in the new material is the most devastating
yet, and we are confident that it will bring the smile of satisfaction to everyone's face on first listen.
     "The millennium is upon us and I can't help feeling truly excited about kick starting it with this new
Priest album and
following it up with a world tour. As you all know
Priest get the greatest enjoyment when delivering the goods so we want to
see each and every one of you there in 2000 with banners held high and fists in the air!
     "So until then...Don't forget...ROCK HARD AND RIDE FREE
Your loyal Metallurgist"
K.K. Downing,
Judas Priest site, November 23, 1999

JANUARY 2000: A new label; Glenn's dad
     "Well I've finally done it...dragged myself away from the axe to communicate with loyal Priest fans everywhere just to let you have a quick update on what's happening with the PRIEST MACHINE.
     "Glenn, Ripper, Scott, Ian and myself have been having the most awesome time banging our metalheads in every direction possible, putting together the next edition to the Priest catalogue. The power in the new material is the most devastating yet, and we are confident that it will bring the smile of satisfaction to everyone's face on first listen.
     "The millennium is upon us and I can't help feeling truly excited about kick starting it with this new Priest album and following it up with a world tour. As you all know, Priest get the greatest enjoyment when delivering the goods, so we want to see each and every one of you there in 2000 with banners held high and fists in the air !!!!
     "So until then... Don't forget... ROCK HARD AND RIDE FREE! Your loyal Metallurgist, K.K."
- K.K. Downing, November 2, 1999

     "So, as we have all made it into the year 2000, I would like to say a gigantic, 'Thanks' to all the Priest fans out there who have supported us all these years and got us through to the next century together! We are just about to go into the studio for the
final stint of the new album. I know a lot of you are frustrated because we seem to have been very quiet last year, so let me fill
you in as to the reasons why and bring you up to date with everything that's happening..."

- Glenn Tipton, Judas Priest site, January 6, 2000

The process was long and hard. An important opportunity and exposure on Ozzfest had to be cancelled; important studio time was delayed; fans grew restless. But hope once again rekindled when Priest emerged in the new decade signed to the majors once again:

     "Although we couldn't be happier with SPV, our European record company, and are continuing with them, we needed to change the American and Japanese side of things - we felt we had to get back with major labels in these territories. Believe me things like this take a long time to sort out. We couldn't really move on until we had resolved it all but now we are at last finally ready to go!
     "Atlantic Records have signed the band in the States and JVC in Japan. I think Atlantic will be great for Priest in America - I already know many of the people there because they worked with me on my solo album BAPTIZM OF FIRE. This was released on Atlantic Records worldwide. The people that I worked with in the U.S. not only understand metal but are also big Priest fans.
     "JVC should also be perfect for Japan - they have wanted to sign the band for a long time now and they believe in the band and our music. Incidentally, we were voted best live band in Japan last year and Ripper was voted the best singer, which was a great start."

- Glenn Tipton, Judas Priest site, January 6, 2000

     "We are really pleased to tell you that we have now officially signed with Atlantic Records in the states and with JVC in Japan. We are continuing with SPV in Europe. Now we have everything sorted out, it is all systems go to finish the record!"
- Glenn, K.K., Ian, Ripper and Scott, Judas Priest site, January 10, 2000

But Glenn also revealed personal matters that needed immediate attention:

     "You can perhaps imagine how time consuming it has been contractually to achieve the record company re-shuffles, but there have been other factors that have slowed us down as well. It is sometimes easy to forget that band members have a life and that
sometimes they need to take time out. On a personal level, last year was good and bad for me. I moved home and built a studio in my barn which was great, but it did take a big chunk out of the year. On the bad side, my father has been ill, and still is, and he needs a lot of attention. This has meant that for once in my life, Priest hasn't exactly been a priority. This has slowed us down a lot and I am afraid that some of the delay has been down to me and for that I apologise - but it was unfortunately, unavoidable.
     "The rest of the band have been very understanding about this because we are all itching to go and are excited about the new album and the forthcoming 2000 tour. We haven't been dormant though, and on the up side, we have had plenty of time to write. I can't deny that I personally puzzled over the direction for a while, but eventually I decided to just put ideas together that came naturally and let instinct take control. I think the new album will surprise a lot of people and I think Priest fans are going to love

- Glenn Tipton, Judas Priest site, January 6, 2000

     "I’ll tell you what happened actually. We changed record labels in the States. In between the albums, it became an eternity because we had to sign this contract and it took forever and then Glenn’s dad was ill. So obviously this process delayed everything. We didn’t want to stop, because after releasing an album, this period of a big break in between really sucks! You don’t want that to happen. And Glenn’s dad getting ill expanded this, and it was about four years, but it seemed like an eternity. We couldn’t do anything about it. And since Glenn’s dad passed away, it’s been a horrid time for Glenn. He’s the workaholic. So it’s been too long for us.    
     "I didn’t write any music or lyrics on DEMOLITION because of the timing factor of the record deal and Glenn’s dad. It was all screwed up...
- Ripper Owens, Metal Eagle, 2001

As a final word of encouragement to begin the new year, Glenn reassured that things were back on track and that the rough demos they cut were encouraging:

     "Although we have maintained elements of JUGULATOR, we have also moved towards a more melodic and classic Priest frame of mind. I think everyone's going to love it, even the rough demos we did are full of character! When it finally comes out, I think you will agree it has been worth waiting for and I promise you won't have to wait so long for the next one!!
     "We can't wait for the album to be released and to get back out on tour again this year - thanks for being patient. KEEP THE FAITH!"

- Glenn Tipton, Judas Priest site, January 6, 2000

MARCH 2000: Summer tour plans...

Shortly after the news of signing to Atlantic records, reports leaked that Priest were planning to be part of a major summer tour in the U.S., but the tour was stalled at the drawing board, with Jayne Andrews denying any such thing was in the works:
  • THE SCORPIONS, JUDAS PRIEST and NAZARETH will team up for a U.S. summer tour that will kick off the first week of July and run through Labor Day, playing mostly outdoor venues...
    - Metal Edge, March 9, 2000

     "We haven't confirmed any tour dates yet with anyone - when we do we'll announce them on our page."
- Jayne Andrews, Management Co-ordinator for Judas Priest, Judas Priest Shrine, March 29, 2000

APRIL 2000: Sessions continue

The band members release an update in early 2000 explaining the album delay and the cancellation of summer shows such as Ozzfest as necessary in order to concentrate on the new record. The band even offered fans the opportunity to help name the new album and submit artwork:
     "We have been working day and night on the new album - we've got Scott over here at the moment and he's being laying down some very mean drum tracks! Ripper is coming over in a couple of weeks to finish off his vocals - meanwhile Ian 's currently administering the relentless Judas Priest bass sound - we've got about 15 tracks already but intend to kick around 2 or 3 more of
our stronger ideas which we'd like to include on the album - so it's all coming together really well.
     "As to the direction of the album, whilst still pursuing the 'between the eyes JUGULATOR' direction, many will be pleased to know that the new album also contains tracks returning to the more melodic classic Priest trademark and of course, they'll be plenty of dual guitars from Glenn and K.K.! It's an album that we're confident will please everybody!
     "We've had to turn down some summer dates because our priority is to finish the new album - once it's finished and we have a release date we will announce it and we will then schedule our worldwide tour dates to tie in with it. We have just approved designs for some 'Classic Priest' T-shirts which will be available through the webpage - as soon as they are ready, we'll let you all know.
- Glenn, K.K., Ian, Ripper and Scott,  Judas Priest site, April 20, 2000

     "I thought I'd tap out a few lines to update you all on our movements. It might seem that there's not much happening at the moment but nothing could be further from the truth. All our time at present is being taken up with the recording of the new album. A tremendous amount of work has already been put in and, as always, we're striving to make this the best Priest album to date.
     "As I say, much has already been done, but there is still a few months graft left in order for us to complete this metal masterpiece, so it won't be on the shelves just yet. We are proud to continue into the millennium with Ripper at the mic, but we'll ALL have to be patient a little longer, 'cause at heart, we're all fans of this band and we're eager to hear the finished product too!
     "As far as touring goes, it's needless to say that as soon as we have a more definite completion date for the album, a world tour will be organised so you can all hear the new material in the raw. During the organsiation, we'll do our best to work in the countries we haven't visited yet, so as many of you as possible will get the opportunity to experience Priest live!
     "Well that's about it for now, we'll keep you all updated as things unfold. All the best and KEEP THE FAITH!"
- Ian Hill, April 27, 2000

With the idea to return to more familiar ground while still evolving, PAINKILLER producer Chris Tsangarides was called upon to co-produce the new album, but existing commitments kept Chris from being available, though he did contribute to the writing of two of the album's tracks. As other options were tried, it became apparent to Glenn Tipton that he could do a better job of capturing the sound and vision of Priest, so he took over the task single-handedly, working from his home studio:

     "We looked into using an outside producer. We recorded the album in Glenn’s house. We did most of the writing and he really wanted to have his hands on the songs. It’s like he was saying to us, 'I want to do this thing myself. I want to finish this up'. He had a lot of pressure on his shoulders. But he’s the workaholic and he worked A LOT. He worked countless days and weeks sitting in the studio. I think he just felt he had brought people in that didn’t do the job the way he liked and he thought, 'Fuck them! I’ll just do it all!' And I said, 'Yeah Glenn, you do that!' "
- Ripper Owens,
Metal Eagle, 2001

     "Chris was involved and we actually wrote some songs together and we've actually got a great rapport when it comes to song writing. Chris was going to get involved in the production but his wife was pregnant ,and so for one or two reasons it just didn't work out. Chris is a good friend and he co-wrote two of the songs on the album with me ('Metal Messiah' and 'Subterfuge') and we've also worked together on PAINKILLER and we wrote 'Touch of Evil' from that album. Chris is a good friend who I'm sure I'll do more writing with because we think in the same way."
- Glenn Tipton,
UKRockNet, 2001

     "Well, Chris was initially going to come in and co-produce the album but his wife was pregnant and he had quite a few things going on, so in the end, we only co-wrote a couple of the songs. Chris is really one of the few people outside of the band that there is true compatibility with on a songwriting level. He thinks in the same way as Priest and we wrote 'Touch Of Evil' together on PAINKILLER and he played me a couple of ideas, and I said, 'Do you mind if I work on these a bit?' and we came out with the two songs which are, 'Subterfuge' and 'Metal Messiah'. Chris is an old friend and is a good lad and is very metal-minded and
guitar-oriented and just very good to have around really."
- Glenn Tipton, Undertow, 2001

     "We recorded DEMOLITION at my own studio. I produced it and a guy called Sean Lynch, who I've worked with on three or four albums now, engineered and co-produced it with me."
- Glenn Tipton, UK RockNet, 2002

     "As the producer, I attempted to recapture classic Priest moments, but forged ahead with modern guitar sounds. One thing we did was to tune down a whole step to get a deeper, more brutal tone... I'm a mad professor in the studio. Anything goes - just as long as we can reproduce the sound onstage."
- Glenn Tipton, Guitar Player, January 2002

     "I wanted a very earthy, gritty guitar sound and everything is naturally recorded in terms of the backbone of the track, the meat of the track, you know, the drums and everything, and then we layered effects on that. When we do that, I am a bit like a mad professor with it. I can work all day on one sound and one effect, but basically I just wanted the album to sound earthy and gritty and live and really get some punch behind it. You know, in the past, we have been guilty of having guitars that are a little bit too compressed or a little bit too digital or whatever, but it was just experimentation which is something that we have always done - and I am not going to knock anything we have done - but this time around, I just wanted the album to sound as it would be played and I think it has come across like that. I hope so anyway."
- Glenn Tipton, KNAC.com, March 12, 2002

     "Throughout the production, I put great emphasis on bringing Ripper’s voice really to the fore. You can probably imagine what kind of responsibility it is to produce a Priest album. It’s always fairly easy to work with a young act - if they turn out to be a success, the producer is considered the star; if they flop, it’s the band’s fault. But when it comes to Priest, everybody is watching. That’s why there’s always extreme pressure on us."
- Glenn Tipton, DEMOLITION press release, 2001

     "People heard my softer vocals in the beginning of 'Cathedral Spires' and they heard it in some other songs too like 'Bloodstained' had it in the middle, a little section, but it was always a little section to tease people a little like, 'Look at him! can’t sing!' and then I come back with some kind of a scream from hell or something like that. After I did 'Diamonds And Rust' on the LIVE MELTDOWN album - I did that acoustically - Glenn was like, 'I think we need to show off your voice even more into that angle', because Glenn likes to make me sing anyway a human can possible sing. That’s why when we go in the studios he goes like, 'OK, I have this thing in my mind and it’s kind of like a dog being hit by a car. Can you make that noise?' So we decided to put a couple of ballads on this album, but that didn’t shorten the album. I mean we’ve got 13 songs on it. They’re probably my favorite songs on this album. 'Cause I could like play it for my family too. You know, my dad’s got a big 'Burn In Hell' tattoo on his arm and he probably likes the heavier stuff, while I don’t like the heavier stuff that much."
- Ripper Owens, Metal Temple, May 19, 2001

     "The good thing about Ripper is when he first came in, people obviously wanted to hear Judas Priest’s singer! But I knew straight away that there were so many areas of his voice that I could get out of it. The most amazing thing is, even though we do that now and on this album even more, I managed to find them and get them out and it’s still Judas Priest and this is what freaks me out! It’s still us, and there's still many areas of his voice left in there. I’m a bit like the exorcist, I get them out! Sometimes he frustrates in the studio 'cause I keep making him sing this and that - 'I know you can do different' - 'I can’t man', but I keep on him and he comes out. And it’s there you know, he’s got the most amazing vocals. As a songwriter and as a producer on this album, I’m excited about the areas of his voice that are still left, because that always gives us a chance to evolve more, which is why we’ve been around for 30 years. We keep looking ahead. We try to create more room for the band to maneuver and also more room for other bands to maneuver! But we do get criticized sometimes, but we shall always do it.
- Glenn Tipton, Metal-Temple, July 3, 2001

     "One of the most satisfying things about DEMOLITION was seeing the growth Ripper has undergone. He revitalized the band when he first joined us with his energy and enthusiasm. But this time it was more about his unbelievable talent. I still don’t know if we’ve taken full advantage of that voice.
- Glenn Tipton, Hip Online, 2001

     "We have great songs. In the end, I wrote a couple of songs and then we got down one more time and we started to write now. We couldn’t wait to get together, but it was the unfortunate timing of this. You know, I live 4000 miles away. It was kind of hard to do it. I did get to use a lot of my input on the vocal style because obviously, Glenn can’t sing like that. If he could, he would be the singer!"
- Ripper Owens, Metal Eagle, 2001

Another name making a return since the PAINKILLER album was rock and studio veteran keyboardist Don Airey:

     "It’s got, obviously, some keyboards in the background but they’re used in a modern way. Keyboards will always be used in the background to thicken songs up. The way they’re used on this album isn’t that amazing, but they are used in the background. I think this album’s got the JUGULATOR edge at times but it goes beyond once again. It actually goes back towards the classic Priest sounds at times. I think it’s got more melody than the last album. We did that on purpose you know. I think the best thing about the JUGULATOR album was that it’s a Heavy Metal album like nobody’s ever faced and it said like, 'Here it is. Take this album and if you don’t like, it well stick it up your ass!', you know. That was basically what we wanted to do. No singles, no nothing on it. Just, 'here it is!' With this album we wanted to do the same thing, but I thought maybe we’d get some younger kids to like it and get some radio play too maybe. I absolutely love this album. It’s got some great songs on it. I just love the album."
- Ripper Owens,
Metal Temple, May 19, 2001

Pix from Glenn's studio:

JULY 2000: Rumors in the air...

In April, the report from Judas Priest said things were going well and they just needed to complete two more tracks and add Ripper's vocals. Then at the end of July, supposedly Ripper claimed the album was still in the demo stages...

Contrary to published reports, Tim 'Ripper' Owens, who hung out with the guys from Pantera on the Cleveland stop for Ozzfest and a rowdy, 1,800 person in-store appearance, claims the 'new' Judas Priest album has not gone beyond the demo stages, fuelling rumors of the inevitable Judas Priest reunion with the rejuvenated metallion, Rob Halford.
- Hard Radio, July 31, 2000

It would be a long year, filled with such rumors and speculation, as the album remained uncompleted well beyond the expected due date... In fact, it would be another full year before DEMOLITION would even hit store shelves!

Yet Ripper took the wait in stride, using the spare time to make new friends with idols of his past. One of those happened to be none other than Ronnie James Dio:

Dio is the nicest guy. I was in awe when I spoke with him, and Dio said, '''You're just like me now, stop it'.''
- Ripper Owens, DaBelly, March 2002

But the timing of the media spotting Ripper hanging out with members of Pantera happened to coincide with singer Phil Anselmo starting a side project called Down. Rumors abounded that Ripper was going to leave Priest to replace Phil in either Pantera or a new project Dimebag and Vinnie Paul were planning together (which later became Damage Plan, who's chosen vocalist, strange enough, happens to be former Halford guitarist Patrick Lachman)... And Ripper's sense of humor didn't do much to help squelch the buzz:

     "I'd be flattered if he called. If Judas Priest ends, that's when I'd like to hear from Dimebag,"
- Ripper Owens

Ripper with
Dimebag Darrell

     "When you are gone awhile, there are all the rumors. Once you come back, the media is just repeating the rumors they heard in the past... I tell you, they come up with some dandies, man., such as, 'Ripper is in drug rehab'. Or that we recorded the album, but it wasn’t any good, Atlantic didn’t want it, so we had to go back and re-record it.
     "The funniest one was that I was going to be the singer for Pantera. I’ve seen ‘em a few times - our show, then they played my hometown, and I went to the concert and drank with them backstage. That was Ozzfest. That’s the last time I saw ‘em, but in the meantime, I became their singer. I was thinking, 'I wonder what Phil’s thinking right now?' Great guys, big Priest fans, but to read that..."
- Ripper Owens, KNAC, January 18, 2002

Denials by Jayne Andrews were quickly issued, but the rumors persisted anyway. If the album was indeed still only in the demo stages and Ripper was running with a new circle of musicians (as if that had to mean something more than just mere camaraderie), then maybe things were not all well in the Priest camp... Perhaps Owens was merely a hired-gun who was frustrated over his limited input. But Ripper rebutted such notions:

     "They don't take my ideas too quickly. It's not like I'll say, 'Hey, here's this' and they'll say, 'Yeah, thanks, we'll have that.' But it's also that I have such a respect for their writing that I stand back more than I probably should. Maybe I'm scared to give them my ideas."
- Ripper Owens, The Guardian, November 9, 2001

     "You gotta figure, you got a big machine that has a lot of expenses, so, we all got equal pay, but unfortunately, you get paid from a record label to make an album and every single penny is spent making it. Nobody gets anything. And then you have your attorneys and your accountants and your management...and everything in this machine that you have to pay out. I mean, I got paid decent in Priest, I got paid good in Priest, and there's no doubt about it."
- Tim Owens, FoundryMusic, January 16, 2004

AUGUST 2000: Ripper meets Rob Halford

On August 23, 2000, Rob was being interviewed by WNCX in Cleveland, Ohio about his new Halford band and their release 'Resurrection'. At the end of the interview, Rob commented on the air that he knew Ripper was a local boy and he would love it if he came down to the show so they could meet. Dave Jockers (WNCX APD/MD) knew Ripper's phone number, so he gave him a call. Turns out Ripper's neighbor heard about Rob saying this and told him already, and that he did want to come down. The meeting went well and both seemed to share mutual respect for each other.

Leslie Lopresto, Tim "Ripper" Owens, Chris D,
Dave Jockers, Rob Halford, Dave Rossow

Deena Weinstein, a noted professor of sociology at DePaul University in Chicago and the author of Heavy Metal: A Cultural Sociology, said of the meeting that it was not until the two met that Ripper became comfortable with being the frontman for Judas Priest. Ripper basically concurs with this analysis:

     "I felt comfortable right away. I think meeting Rob made it better for both of us. He is doing his thing and he knows that I am doing this with Priest. I guess now, more than ever, I feel like I can be myself with this band. Meeting Rob relieved some pressure from both of our shoulders. I was with Priest from 1996 through 1998, then we took some time off. It was at the end of that time that I met Rob. I had lived with being the singer for Judas Priest all of that time. I am a different person now, but that is just because time has progressed".
- Ripper Owens, Metal Maniacs, September 2002

And Rob has shared his approval of Ripper leading Priest:

     "Any lead singer is difficult to replace. It fit perfectly to take a guy from a tribute group."
- Rob Halford,
New York Daily News, July 13, 2004

     "I've listened to JUGULATOR and DEMOLITION, and Priest with Ripper seem to be doing good. They do what people expect them to do and they're still damn great. I have some opinions about Judas Priest that I won't even tell you, because then it would be all over the headlines. The truth is always mutilated in newspapers... But I will go as far as to say that I think they are on the right track and I have my own career. What's the reason for a reunion? Tim "Ripper" Owens is doing good in Judas Priest. What's the reason to change that?"
- Rob Halford, Close-Up Magazine, 2002

But it seemed too good of a thing to let Ripper and Rob be friends. The fans and the media were hungry for a reunion. In response to the rumors, Ripper began affirming his position in Priest:

     "I wouldn’t give up my position to Rob Halford. I would be fucking nuts! You know, Rob is always going to say he wants to come back in the band, wouldn’t you? He has left, what, about 10 years now. And it hasn’t worked out great for him. Not that it has worked horribly for him. He felt something that he felt was over and he didn’t like it. Then, he realized: 'It was a pretty damn good thing I had there for 20 years'. I would want to go back too, if I was he. I’ll always hear it. It doesn’t make me mad. I like to
hear it. Because he knows there is something good going on. That’s the thing. It’s not a dead piece of wood floating in the
water. It’s going good. I’ll always hear this kind of thing. I think we have nothing but respect for each other. From me, he
will always get respect. He’s a great thing. It would be dumb not to tell that he wants to come back. And it’s dumb to think
that I would ever LET him come back. I am having the time of my life. I get along these guys better than any other band I’ve
ever been. I love it! So, fuck everybody else, I’m the singer!"
- Ripper Owens, Metal Eagle, 2001

Though it was never intended by Ripper, fans saw his remarks about Rob as arrogant. Then in an interview with Ripper in Greece, passing remarks were made to appear as an attack on Rob's sexuality:

     "I don’t have much of a relationship with Rob Halford. I definitely don’t have THAT kind of a relationship with him! I mean, we’re not that close...
     "I’ve met him. I was always a Rob fan, a Priest fan, growing up and got to meet him the past year in my hometown and it was nice. It was nice 'cause I got to say hello to him, you know. Obviously, he keeps telling everybody he wants back in the band, well no shit he wants back. People tell me, 'Rob wants back in the band'. Use common sense! Hell yeah, he wants back in the band. He hasn’t broken any records on his own out there and all the fans have to realize that he’s not coming back, because he left Judas Priest. He totally left - he even left heavy metal one time. I know the fans want him back, but he left the band you know, and he burned his bridges when he left the band. He said, 'Heavy metal is done'.
     "Rob and the Glenn and K.K. have talked. If they were to reach an agreement and bring Rob back,
it wouldn’t upset me. It’s business you know, and I wouldn’t burn any bridges. I would move on, be friends with the band and hopefully still work with the band. I don’t know if they could ever work with Rob. Maybe a tour, maybe a show, but I don’t think they can work with him anymore.
     "In our meeting with Rob, I said, 'I’m a Priest fan, always have been and I always will be, and I’m going to sing the songs like they’re supposed to be sung, and I’m not coming in there to change the band'.  There’s always going to be a few fans that don’t accept me, but hey, I’m there just to have fun and sing the songs like they’re supposed to be sung. I think Rob will take that and he’s going to say he wants back in the band, but that’s it. That’s how it’s going to be, but he also wants to do his own thing and make Halford work.
     "I mean, they tried to make up and you know what? There’s no turmoil. It’s been nothing but us. We just signed the contract with Atlantic in the States. The day I signed this contract, two weeks later it was like, 'Halford’s coming back', and people don’t understand that I had to sign a contract. It’s always going to be that way. It doesn’t bother me. I think it bothers mostly the rest of the guys when they talk about Rob rather than it bothers me. We’re fucking sick of these questions and he’s not in the band! Of course, he's sang with the band for some twenty years, so he's going to always be connected to it, so it doesn't bother me at all. Hell no. I love to get up there and sing the songs and it doesn’t bother me at all. I’ll tell you though, it could bother me if there were something wrong with it because you know he sang all those hits, sang those songs and influenced thousands of heavy metal fans. It doesn’t bother me at all. Just those rumors that we were sleeping together..."
 - Ripper Owens,
Metal Temple, May 19, 2001

Ripper's words caused such a backlash that an explanation and an apology was quickly issued by Jayne Andrews:

     "There is an interview on the internet that we are really not happy about - it was done with Ripper in Greece and
unfortunately things were taken very much out of context to make it look like Ripper was saying bad things about Rob. I can assure you this was not the case - I was with Ripper in Greece and there is no way at all that he bad-mouthed Rob. Ripper is a big fan of Rob's and would not do this. Maybe it was the language barrier, maybe 'journalistic license', but Ripper's words were taken out of context and made to sound bad. The rest of the guys would not condone this in any way and I have only ever heard Ripper say good things about Rob. Rob and I have discussed the situation and he is aware that no malice was intended. He knows how difficult it is with some journalists who are just looking for a bit of sensationalism - however, we totally agree that it reads pretty badly and we apologise, but unfortunately cannot control what a journalist writes."
- Jayne Andrews, May 30, 2001

And once again, Ripper remained clear that Rob has returned to metal, but not to Judas Priest:

     "I've heard RESURRECTION, and I'm glad he's doing it. I'm glad he's back. But the point is, we have five guys in the band that all get along and that are onstage having fun and getting into it. I know when some people come to the concerts, they come to watch me fail - some of them. But everything fits for me with this band.
     "You have to look at what a reunion with Rob would bring in two ways. Could they do it, make some quick money, and then be done? I don't care. I'm the singer now, and that's how I look at it."
- Ripper Owens, Metal Update, January 23, 2002

Yet, after DEMOLITION had been released and touring was well under way, a similar scenario would play out once again when an alleged quote in Rock Hard magazine caused Rob Halford to respond harshly to Ripper:

Former Judas Priest frontman Rob Halford has fired back at his replacement, Tim "Ripper" Owens, over the latter's remarks to the French magazine Rock Hard in which he accused Halford of returning to his metal roots in order to cash in on metal's popularity and attempt to save face following the commercial failure of his FIGHT and TWO projects.
Blabbermouth.net, June 17, 2002

     "I don't consider it that I turned my back to metal with Fight and Two. It is a very negative way to see things. I look at it as a necessary moment in my career that helped me find my way back. It's like, if you go to the same place for a vacation each time, when you get there you know you're gonna feel comfortable. Then you say one year, 'I'm gonna go to a different place.' You go to a different place and it's exciting, and it's unusual but you don't feel comfortable. So you end up going to the same place you used to go. That's basically how I felt with my departure from Priest. You are not me, you can't possibly understand what was going through my mind, my spirit and my soul at that time. What you got was the music, but I still don't feel that conveyed what was really going on in my head and my heart. So, I think I had a lot of fucking balls to do what I did! But it was not about saying, 'Fuck you, I'm gonna do this.' It was just a necessary process as a creative musician. So, if Tim says I turned his back on metal because Fight was a failure and Two was a failure, two commercial disasters, that I just went back to metal because that's where I make my money and my living... 'Fuck you, Tim! Because that's not what happened, and without me you would not be in Judas Priest'."
- Rob Halford, Rock Hard magazine, Issue #12, June 2002

     "Just a note about a certain article that is doing the rounds: Please remember that things can be taken out of context or things can be said, but when read, come across very differently. Ripper is very respectful of Rob and has always been a great fan of his, so nothing was meant by any comments he may have been quoted as making. Rob is aware of this as much as we are!"
- Jayne Andrews, Management Co-ordinator for Judas Priest, June 18, 2002

     "Man. See, that's just silly. Not what he said. I would have said that, too, if I was him. But, this is just silly, unbelievable stuff… I did say that he left heavy metal; that's all I said, but not with Fight ‘cause Fight is heavy metal, and I'm a huge fan of Fight. I said that, when he left and did Two, he left heavy metal, and that's true and that's the end of that, and what I always say is, 'Thank God he's back to heavy metal'.
     "I say that everybody experiments with different stuff, and there's nothing wrong with that. When Rob left Judas Priest, he didn't leave heavy metal then. I'm a fan of Rob's and this is just silly stuff. It's unbelievable that I would say any of that. It has to be taken out of context, because I always say the same exact thing. I say that Rob left heavy metal, that's what I say - and he did, that's not a lie. There's nothing with that. Fine, he left heavy metal and I never will say anything bad about that, but I do say, 'Thank God he's back to heavy metal', because that's what people want.
- Ripper Owens,
KNAC.com, June 27, 2002

     "You know, we have had things going back and forth, and I have had things taken out of context, and I've probably put my foot in my mouth a few times also, but, this is just silly. I mean, I met Rob and he's a great guy, you know, and why would I say anything bad about him? I might have said some things in the past, but he has to realize that I read a lot of bad things that he supposedly said about me, so I used to come back and react to these things after I read them. I used to; I don't anymore. You know what? It doesn't bother me, and if I was him, I would have said the same exact thing. He didn't really say anything that bad either. He said, 'If Tim said', and I didn't, so… He's got my phone number…"
- Ripper Owens, Metal Hammer, 2002

     "There is no problem between Ripper and Rob. They have met each other, they are friends and there are no problems any more between Judas Priest and Rob, we are friends. All in the band, including Ripper, have met and talked with Rob. Everything is OK and I am glad we are friends again. The world is big enough and there is enough space for Judas Priest and Rob Halford."
- Glenn Tipton, Metal Hammer, 2002

JULY 2001: DEMOLITION released

Mastering was completed by RE-MASTERS producer Jon Astley. Jon has a unique mastering set-up which allows him to transport his equipment to one's mixing studio or to work at his 'Close To The Edge' studio facility in his Georgian town house at Twickenham overlooking the Thames.

Finally, by mid July 2001, DEMOLITION appeared on store shelves to mixed reviews. Atlantic Records failed to provide much in the way of promotion and the album proved to be more experimental and modern than fans had expected, though Priest did deliver the goods in returning to a more melodic sound and including not one, but two ballads:

     "The main difference compared to JUGULATOR is the inclusion of the lighter sides of Judas Priest. The more subtle and quieter passages that we became known for in the past were missing to a large extent on JUGULATOR. JUGULATOR was a progression from PAINKILLER, and with every album ,we try to take a step forward. And obviously, between PAINKILLER and JUGULATOR, there's seven years there, so there were two albums missing, really. So instead of taking a step forward we had to take a giant leap to imagine where we would have been if those two steps had been there. So two logical steps from PAINKILLER lead straight to JUGULATOR, which was a very aggressive, brutal album. I think we needed to do that to let everybody know we were back with a bang. But one thing that was missing was the subtler side of things, which we rectified on DEMOLITION."
- Ian Hill, ChartAttack, November 23, 2001

     "It's just part of the natural evolution, I think that every Priest album is slightly different, they're not all the same album with different lyrics or the same lyrics with different music. I've often said that every album we do is like a different chapter, but in the same book. DEMOLITION is just a natural evolvement from JUGULATOR. JUGULATOR was one of my favourite albums. I love it, but it's a very angry album; it's a very between the eyes album. It's an honest representation of how we felt at the time, but we've moved on and there's more subtlety in the new album, there's more melody, which was, if there was any criticism aimed at JUGULATOR, it was that people often say they would like a bit more melody. We listen to people, but with a band like Judas Priest, you can't win anyway; through the years we've learnt that. If we don't evolve quickly enough and we do like an '80s album, then we'll please a certain section of the fans, but then there will be a lot of other people who turn 'round and say that the band is dated, they're dinosaurs, the sands of time should cover them over. If we evolve too quickly and try and jump on the nu-metal bandwagon, we will please a certain percentage of the fans, but there are also a lot of people that won't like that. Whichever way you do it, you're not going to get to please everybody. The last thing that you should do is compromise, so what we have to do is just keep our ear to the ground, all listen to different things, and when it comes to it, write and record the album that's natural to us at that time, and that's what DEMOLITION is."
- Glenn Tipton, UK RockNet, 2002

     "This album explores some new directions, but it’s also a true Judas Priest album. The length of the album gave me a lot of room to express myself fully. Recording it - especially with Glenn serving as producer - was a very exhilarating experience.
     "I think I felt more pressure on this album than the last one. I may have proved that I belonged last time, but this time I was determined to take things a big step further. There’s more melody on this album, so I had more chance to step forward and show what I could do."
- Ripper Owens, Hip Online, 2001

     "It is a very exciting time for all of us. We’ve proven what we can do with Ripper, and on this album we’ve made a definitive statement for 2001. There is definitely something special going on. I believe our fans will be very pleased with the results.
     "We’re very proud of this album on any number of levels. We believe it has all the traditional Priest elements - it is powerful, yet there’s also a sense of humor. DEMOLITION compares favorably to any past album we’ve done, yet it’s taken us in a somewhat more modern direction. We’re always faced with the dilemma of walking the line between holding on to our roots, and trying some bold experimentation. On this one I believe we’ve hit the ideal balance."

- Glenn Tipton, Hip Online, 2001

It was also clear that the guys were now having the most fun time of their lives:

     "We had fun making this album. That's the most important thing to me. That and we can be proud of the fact we made a Judas Priest album.
     "Ripper brings young blood into the band, and it shows on stage. He loves being up there performing for people."

- Glenn Tipton, WholeNote, September 20, 2001

     "Obviously, I bring looks to the band. Seriously though, I bring an aggressive stage presence. Also, I bring humor."
- Ripper Owens, WholeNote, September 20, 2001

But as convinced as the band members were about DEMOLITION, many fans still found the modern edge a bit too out-of-step with their expectations of "the Judas Priest sound". As much as Glenn pronounced DEMOLITION as an "evolution" of Judas Priest, fans could not help notice a strong "nu-metal" influence they felt went against the grain of all that Priest meant to them. Glenn has often stated that their primary fanbase is teenage adrenaline and testosterone-driven males. Glenn's own son was now in this age group and Glenn bounced ideas off him to see how they would be received by the current generation, but maintains that Judas Priest would be the ones making an impact on the metal scene - not the other way around...

     "Today's metal doesn't carry the heaviness it used to, but it's very visual. The evolution, the changes in metal, have helped keep us around. I like System of a Down, Staind, Slipknot and Korn. My son is 15 and he keeps me informed. I always have paid attention."
- Glenn Tipton, Las Vegas Weekly, January 10, 2002

     "I found myself influenced by other bands
only in the sense that I listen to a lot of stuff and I gain a general inspiration. I'll think that something is good and that we could do something like that, or there is a great feel to that song, but at the same time, being very careful never to step on anyone's shoes or copy people, because with a band like Priest, the most valuable asset we've got is our character as a band. If you listen to one band too often you will subconsciously, without realizing it, start to write in their style. I try to generalize, I try to listen across the board to everything so when I come to write, it's in my own style or Judas Priest style. I think that's a very important thing to protect and cherish - the uniqueness of a sound you have as opposed to sounding like someone else.
     "I listen to a varied range, but I'm currently listening to the nu-metal bands - Cypress Hill, Papa Roach, or Limp Bizkit. Everyone's listening to them, you can't help it - they're all over the place. I like to get a grip on what's going on because these bands are successful and that means there is a CD-buying population out there that think they are good and there is a demand for this music. It's only a fool that doesn't pay attention to that. Particularly listening to stuff that my son plays, I've become to really like it and enjoy it; you can't just listen to something because you are supposed to, you have to learn to enjoy it just like the kids do and then you're on the same wavelength. If you can do that, then it's a good thing.
I like the nu-metal bands. I find them exciting, interesting and any band that has it's own character and is easily recognizable, I'm a big fan of. I do respect that. I think it's all good for metal. If we stayed in the same vein all the time, it would be a very stagnant affair. Putting all these new bands, even if they're extreme, in the melting pot, it changes the face of metal a little bit and it's that change that I find keeps the interest there and is exciting.
     "I personally don't see a resurgence of traditional metal as such - I don't think that will ever occur. What I do think is that music has already turned full circle and people have to accept that metal is here to stay. The class acts will never really be equaled; they are still around and the demand is coming back for them and there is a new interest. My son is a good indication. Recently I've heard him playing Black Sabbath riffs on his guitar, which I wouldn't have heard last year, and Judas Priest riffs as well, but it's just an indication that the younger audiences are becoming more aware of what was happening five or ten years ago and they are starting to appreciate it again. It's not something that will just happen again over night - it's a long term thing. It takes time."
- Glenn Tipton, UK RockNet, 2002

     "I keep hearing people about resurgence and that. I don’t think it’s actually been away or such! I think the focus of attention’s gone off it. You’ve got a lot of newer bands that have come around, which is a good thing. It’s a good thing because Metal needs an injection of new character. It needs new vocal approaches, it needs new identity and its goes through this every now and then. We went through the New Wave era, the Punk era, Death and Thrash Metal era, New Age Metal, etc., but we’ve always come out to be stronger because we’ve always gone with it. I mean it’s a foolish person, who doesn’t pay attention to what’s going on you know. I listen to all the new bands, my son’s turns me onto a lot, he’s fifteen and I turn him onto some as well, but I listen to them and I get to understand them. I get to enjoy them and that’s the key. You have to understand it enough so that you like it and it’s just a great injection of newness to the whole scene. And if it wasn’t for that, Metal would die. Metal needs a new age; it needs new things to happen to it. But the intelligent bands, the ones who’d accept…they don’t know it all, they look around and see what’s successful because if a band’s successful, there’s a demand for it! And those kids are making that demand. And you’ve got to accept and acknowledge talents you know and characters. It’s character I love in a band!"
- Glenn Tipton, Metal-Temple, July 23, 2001

     "I have a 17-year old son who keeps me up-to-date on what's happening in metal. He has CDs by all the new bands, and I do listen to them - especially in the car. But I don't believe any of that has had any sort of an impact upon us. We're all very aware of what's going on out there - both the good and the bad - but as far as any of it having an impact on Judas Priest... I'd have to say no."
- Glenn Tipton, Hit Parader, October 2004

Even Ripper himself was staying fresh with the new sounds, though he only found a select handful of bands he liked:

     "Currently, I'm listening to Godsmack. I like them a lot because they remind me a little more of the old school at times you know? Also the new Sabotage CD, although I don't listen to a lot of music really. Mainly sports talk radio at home because there's so much crap on the radio now, so I don't listen to that much music."
- Ripper Owens, UK RockNet, 2002

As the cycles of life and heavy metal come full circle once again, and the music continues to evolve, Glenn offers that the backlash from fans is normally the case every time Priest release a new record:

     "I think that if you look at all our albums, they’re all different characters. You know, BRITISH STEEL is different to SCREAMING FOR VENGEANCE and SCREAMING FOR VENGEANCE is different to PAINKILLER, certainly different to TURBO or POINT OF ENTRY. And then you’ve got JUGULATOR, which is a very angry album, I think, cause that’s how we felt. And the new album, it’s a really honest representation of how we feel now. We never sit down and say, 'This is how the new album’s going to sound', we just write it and then record it. If people have preserved in their minds a standard Judas Priest, kind of Heavy Metal sound, I don’t know what it is 'cause there’s not two of our albums that have ever been the same. I think the good thing about Judas Priest is you never know what to expect! I think everybody is a little bit surprised and maybe disappointed of our new albums - not the new album but new albums - 'cause when they come out, they expect them to be one thing and it’s something else, but then they get used to it and they like it. Same with JUGULATOR: It was a bit shocking, it was a bit brutal, but then they come back and they go, 'I really like it now'. They’re just gonna live with it. They’re gonna live with it for a bit and try and see what we’re trying to do, you know, because we’ve never remained the same, we’ve always forged ahead. Some people don’t like that, but it’s so difficult with Judas Priest. You can’t win really, because if we move in too quickly, we disappoint the older fans and then if we try and do an old fashioned album, we disappoint the new fans. So you can’t really win and the last thing we ever need to do is to compromise. Nobody wants to compromise. We just forge ahead and we do an honest album of how we feel at that point in time and we hope that the people, who
don’t quite get it, will get it if they listen to it more times. It’s brave, you know. The things we do are quite brave because it would be easy to keep doing the same Judas Priest albums and we know we could sell ‘em, but we’ve always experimented and that’s what we like to do."
- Glenn Tipton,
Metal-Temple, July 3, 2001

     "I can't criticize people's opinions about the record. I mean, everyone has them and is entitled to their own. The only thing we do when we write a record is look forward and try to write songs on what we like, and try to create music that sounds good and the fans will like. We don't try to sound like a certain era of Judas Priest; we just write what we feel. People are going to criticize what we do no matter what. If we put out a record that sounded like it was from 1983, a lot of people would be annoyed and say it sounds dated, while another set of fans would be so excited that we are playing a record that sounds right out of 1983. It is a catch 22, really. You can't please everybody with a new album. The band really doesn't give any thought to that. We just write songs to correspond to the mood or vibe we are in and just hope that the fans like it. For a band like Priest, who has been around for thirty years, it is hard to please fans who fall into many different eras of the band.
     "I like the new sound of DEMOLITION. I think it sounds very refreshing. I am glad it doesn't sound like something from the 1980s, to be honest. I think this album has lot of energy and modern sounds to it.

     "The early '80s is a great era for the band. I wasn't in the band back then; I was playing in bar bands back then in Virginia, where I'm from, and was so into what Judas Priest was doing. Back in the '80s was a cool time for this music. I think back then people appreciated rock music more. I would have loved to have been in the band back then. I hear some great stories from the band about that period. Oh well, I'm in the band now and couldn't be happier.
     "This record took a long time to do, almost three years, and it was a lot of work but a great experience. Both Ripper and I live in the United States and we had to fly over every couple of months to England to work on material and do our parts. Glenn wrote most of the album. He did a lot of work in his home studio, and worked at his own pace, so that might have been a factor in why it took so long. But we are happy with the results for sure.

     "Nothing was really different this time around. With JUGULATOR, the band had material already written when Ripper finally joined, and this time around it was a very collaborative album. It feels great to have him in the band. It all worked out well for him joining the band as the singer. I know it sounds cliché, but he really is a natural, fantastic vocalist. He has always fit in personally and musically from day one. Onstage he totally kicks ass."
- Scott Travis, Chronicles Of Chaos, April 12, 2002


In August of '97, the full story of Tim Owens' dream-come-true rise from tribute singer to the actual thing, ran in the New York Times. It caught the attention of movie producer Robert Lawrence, who immediately contacted the stories author:

     "The day after that August 1997 NY Times story, CLUELESS producer Robert Lawrence called me at the Times and said, 'This has got to be a movie'."
- Andrew C. Revkin, VH1.com, June 28, 2001

Revkin would hire on as a creative consultant for the film and even Judas Priest were asked to participate, but only as far as contributing music to the soundtrack. Things turned sour when the band demanded more involvement after discovering the considerable liberties Warner Bros. were going to take with Ripper's story:

     "They wanted to see screenplays and stuff. If you were Warner Bros. and you were gonna throw $30 million into making a movie, would you want a bunch of middle-aged former heavy metal stars to have creative control? No."
- Andrew C. Revkin, VH1.com, June 28, 2001

     "I saw the movie and laughed all the way through it. They actually asked us to write music for it, but we saw some of the roughs and decided to avoid it like the plague. It's a terrible case of Hollywood taking a good idea - someone going from a cover band to the real thing - and just coming up with a load of nonsense."
- Glenn Tipton, Classic Rock, June 25, 2004

Parts of it are quite accurate. I mean, the part about the local kid making it with his favorite band is the truthful part. The rest is fabrication. The first we heard of this came through the internet, and people were saying that it was the story of Judas Priest. It’s not that. It might be the story of Judas Priest and Ripper Owens or Ripper Owens and Judas Priest."
- Ian Hill, KNAC.com, August 14, 2004

     "They didn't ask us to do nothing. They felt safer by taking that story and running with it and making their own movie and have nothing to do with us whatsoever."
- Ripper Owens, UK Rock Net, 2001

     "They asked me to appear in it. There's a scene where Mark Wahlberg comes off the stage, and they wanted me to greet him and say something like: 'Nice job, pal.' Needless to say, I didn't do it."
- Rob Halford, Classic Rock, June 25, 2004

     "Well, they bought the rights to that story and then there were a few rumors in the business that they were going to do this and suddenly we were seeing on the internet that there was going to be this movie, the story of Ripper Owens. And we thought, 'Wait a minute, if that's the case, we better get in touch with these people and ask them if they want any help'. I mean, hearing things straight through the horse's mouth might be worth listening to. And after that, of course, things changed and they didn't want us involved in it, and obviously, it's their story, their movie. But from what I've heard, people are saying it's not really the same story. It's a generic band now with generic members and the characters don't really equate to what we are. So it's something we're bracing for. Because obviously, people are going to think it's the story of Judas Priest."
- Ian Hill, ChartAttack, November 2, 2001

     "I think it would be more interesting if someone would buy it and make a real movie, because it's a very interesting story about a normal person - not the rock & roll clichés of sex, drugs and rock & roll. It's unfortunate they have to make it Hollywood though, because what's better than having a guy who lives in the same town he grew up in and has the same friends and actually gets married?"
- Ripper Owens, Wholenote, September 20, 2001

Not only is Ripper upset with the liberties taken over his true-life story, but co-star Jennifer Aniston's real-life husband Brad Pitt rejected the lead role for similar reasons:

     "Brad's so in love with Jennifer, and I think he feels like he’s truly hit the mother lode. But part of the character’s journey is that at the beginning of the film he doesn’t realize how good he’s got it, or how amazing she is. In fact, I think Brad could never imagine cheating on Jennifer. I think he just felt like, there’s no way - once you got her, you’re not looking at anyone else. It is sweet. I mean, it will give you diabetes.”
- John Stockwell, ROCK STAR screenwriter, Starchives, September 2001

Then there was controversy over the title:

According to sources, Rob Halford's lawyers took legal rights to the title to protect his status with the fans and then warned the movie's producers of impending legal action if they carried through with their title:

     "The title of this movie had to be changed several times. It was at first to be called METAL GOD, but former Judas Priest singer Rob Halford owns the rights to that name, and made Warner Brothers change it. They initially changed it to SO YOU WANT TO BE A ROCK AND ROLL STAR, but members of '60's rock band the Byrds, who recorded one of their biggest hits with this title, would not allow Warner to use it for the title of this film either, so it had to be changed, once again, to ROCK STAR."
- Jonathan Mariante, BallBuster, 2001

     "As for the title METAL GOD, we had to put a stop on that. Rob would have gone through the roof if that would have happened. We called up the production company and said, 'Look, if you’re going to do a movie about this, then we’re here. Anytime you want to call or know something, we’ll give insight into the situation. If you’re gonna have people portraying people, it might be worth you coming and meeting us'. It turned out though that it wasn’t the story of Judas Priest - it was just some generic guy with a generic band based on the Ripper Owens story. It was a great story. There was a big piece in the New York Times about it, and it was big news. Then this big production company bought the rights to that story. When people started shouting, 'Judas Priest' from the rooftops though, we thought we’d better get involved. If they were going to portray us as a bunch of axe murdering psychopaths or something like that, we felt that the truth should be out there. It was just like, 'If you want to meet us, come along and we’ll explain'. They didn’t want that though. I think they wanted artistic license to do whatever they want, which is fine, but if they did, they weren’t going to get the name of the band."
- Ian Hill, KNAC.com, August 14, 2004

Instead, the movie was retitled and released as ROCK STAR. But according to the film's producers, the title wasn't changed due to any threats from Rob Halford, but because they wanted it to have a wider appeal to the public. They felt "Rock Star" would be a bigger draw than a title with "Metal" in it...

Zakk Wylde, guitarist for Ozzy and Black Label Society who played as the guitarist in the movie's fictional band Steel Dragon, also felt the title should be more broad-reaching, suggesting the title ROCK GOD:

     "That carries a lot of ground…loud guitars and rebellion. If its METAL GOD, its like more screaming guitars and more rebellion."
- Zakk Wylde, tprs.com, July 2000

     "The title of this movie had to be changed several times. It was at first to be called METAL GOD, but former Judas Priest singer Rob Halford owns the rights to that name, and made Warner Brothers change it. They initially changed it to SO YOU WANT TO BE A ROCK AND ROLL STAR, but members of '60's rock band the Byrds, who recorded one of their biggest hits with this title, would not allow Warner to use it for the title of this film either, so it had to be changed, once again, to ROCK STAR."
- Jonathan Mariante, BallBuster, 2001

     "I don't know how many people know how scientific it can become. There is a lot of research, a lot more research than I think people really realize in regards to testing certain things. So, the Warner Brothers people had done a test on the title METAL GOD and it didn't test very high. Just, 'Based on the title, would you go see this movie?' Then they started coming up with certain titles and so forth. Some titles you wouldn't even want to hear, were tested as well. ROCK STAR is a shortened version of SO, YOU WANNA BE A ROCK STAR. This has been going on for the last year-and-a-half and it wasn't until eight or nine months ago when we finally decided to go with just the straight title ROCK STAR. It tested quite high just based on the title. Their reasoning behind it is that the word metal is very associated with a very specific type of music, even though it is the music that's being played in the movie. And the word God also is sort of one of these words that is somewhat verboten in movie titles, or doesn't test high. Whatever it is, the psychology of it didn't seem to make it test very high.
     "Quite honestly, I'm still partial to METAL GOD, because that's what we started with, that was the inception. It's taken me a long time to accept the title ROCK STAR, but it's not my money. It's the Warner Bros. people's money and they basically can do what they want to do. On the other hand, I do want  as many people to go see the movie as possible."
- Stephen Herek, ROCK STAR director, Metal Rules, 2001

Whether or not the title was actually changed over lawsuit threats, Judas Priest were clear that they would sue if their name or likeness was used.

     "They fabricated things and decided to pull away from my story and make their own because I guess mine was too normal. There's no telling what they put in there. If I could sue, I would."
- Ripper Owens, VH1.com, June 28, 2001

     "This is the thing that's sort of not very good for us," sighed Priest guitarist Glenn
Tipton, during a phone interview while the band was on tour in Europe. "Everybody still thinks it's the story of Ripper, but it isn't.

     "When the final thing comes out," concluded Tipton, "if people have misconstrued it with our story, then we will have to take some legal action."

- Glenn Tipton, VH1.com, June 28, 2001

And though the film is careful to leave Judas Priest out of it, the similarities still remained, such as Ripper's story of a "wanna be who got to be" and a departing singer who is gay...

     "How hideous was that? I did feel a bit insulted by the portrayal of me ripping a wig off and calling myself a fag."
- Rob Halford,
New York Daily News, July 13, 2004  

     "Yeah, but Rob Halford quit Judas Priest nearly a year before he was replaced. Here, the singer gets thrown out in the middle of a tour, and two weeks later his replacement is playing in front of huge stadiums. And obviously, Ripper didn't run off and become Pearl Jam. Ninety percent of the movie is based on pure rock star mythology."
- Bob Chiappardi, president of Concrete Marketing (whose company was hired to help plug the movie),VH1.com, June 28, 2001

Production on the movie started on March 6th, 2000 in Los Angeles, and the film was finally released on September 07, 2001. Members of the band expressed that they might see the film just to see how the Hollywood spin turned out, but wanted to make it clear that it was not based on reality, and definitely has nothing to do with the lives of Judas Priest!

     "I probably will see it just to see what kind of mockery they've made of the heavy metal scene again, because that's what happens you know? It would be a lot more interesting if it were the story like it really happened, because those crazy behind-the-scenes antics aren't always going on; well, there might be some. Anyway, I heard the film's not very good, but we'll see.
- Ripper Owens, UK Rock Net, 2001

     "It's a real laugh. The journalists that have asked me about this in America are all bent out of shape; they were expecting something real and substantial; and like a lot of things out of Hollywood, it's just fantasy. I think the reaction to the movie is quite affectionate because it shows just how much they think about the whole incident - me leaving this incredible metal band, then somebody replacing me. People were expecting more of a reality-based movie..."
- Rob Halford, Powerplay, July 2002

     "We got away from the movie. There’s a story on me in The New York Times and they bought that and we pulled away from the story. 'Cause you know what, they’re changing it, making shit up, and it was almost like a Spinal Tap thing and we said, 'We can’t deal with this.' We had to get away and I didn’t want to have anything to do with it. It’s a good idea and everything - I’m pretty flattered - but we’re not like making money off of it. I’ve got people coming out of the woodwork saying, 'I knew you then. You should pay me money'.
     "Mark Wahlberg is a good actor. He’s been in good movies even though he was Marky Mark you know. And Jennifer Anniston’s my girlfriend you know..."
- Ripper Owens, Metal-Temple, May 19, 2001

     "There appears to be a lot of confusion surrounding the movie ROCK STAR and Judas Priest. The film is NOT about Judas Priest or their story. We all know that the production company got the original idea from an interview we did with The New York Times when Ripper first joined the band - however what they have done is taken various ideas from many bands and put it all together into a purely fictional film. We have communicated with Warner Bros. on a few occasions regarding the Judas Priest name being used incorrectly and they have categorically informed us that this film is fiction and not based on any particular band's story. The story line is so far removed from Judas Priest (other than the initial background to the new vocalist) that we have had to disassociate ourselves from it - when we hear there are scenes where the band fire their old singer because he is gay...!! Well needless to say, this is not the kind of thing we want any contact with. So once and for all - this film is NOT the story of Judas Priest!
- Judas Priest, September 11, 2001

If ROCK STAR didn't tell the Priest story, then perhaps VH1 could in one of their celebrated series of BEHIND THE MUSIC specials. Capitalizing on the release of ROCK STAR and the Ripper Owens story that inspired it, VH1 aired the premiere of episode #164 on September 23, 2001.

This episode chronicles the colorful history of the quintessential hard-rock band of the '80s. Four guys from working-class England rose from the smoke of their heavy-industry town in the mid '70s to become pioneers of "The New Wave Of British Heavy Metal". Judas Priest washed ashore in the United States in 1977 and catapulted to popularity to become one of the biggest bands in the world. The history of Judas Priest spans 30 years and includes a well-publicized 1990 court case centered around subliminal messages; the '92 departure of the lead singer Rob Halford after twenty years with the band and his surprising 'coming out' in '98 as a homosexual man; the rebirth of Judas Priest with a new singer Ripper Owens; and the return to metal by Rob Halford with his current band, 'Halford'. In spite of everything, the band continues to rock on with the 2001 release of their latest album "Demolition." Includes interviews with: Rob Halford, Glenn Tipton, KK Downing, Ian Hill, Scott Travis, the new singer Ripper Owens, management, family and friends flesh out this hour-long documentary on Judas Priest.
- VH1.com, 2001

Though the episode seemed to focus more on Rob Halford and his revelation that he is gay, it was an entertaining, accurate and quite informative episode that became an instant classic among fans, as well as a rarity, since VH1 only showed it few times and never since!

     "I think VH1 tired to get into personal issues during the interviews, but for me personally, there are areas I won’t go into. I’ll never go into my private life, my family. I won’t discuss those in-depth. That’s just the way I am. I don’t really want to do that. I’ll never go into any confrontations that we’ve had with Rob or his management. I don’t think it’s important, so I avoid those things. But I’ll talk about anything else, you know."
- Glenn Tipton, KNAC.com, January 18, 2002

     "They wanted to come into my hometown and do stuff. I figured that would have taken away from the three minutes I was on it. I wanted all three minutes I could be on there."

- Ripper Owens, KNAC.com, January 18, 2002


Machine Man One On One Hell Is Home Jekyll And Hyde
Close To You Devil Digger
 Bloodsuckers In Between Feed On Me
Subterfuge Lost And Found Cyberface Metal Messiah
What's My Name

     "Basically, we do all the music first. Either I get together with K.K. or I write my own stuff and do all the musical arrangements and get the songs roughly into shape. That doesn't mean they stay like that, but it's a rough plan. Then I usually scat some nonsense lyrics over it to get a general feel, without any lyrical restrictions, of how I think the vocal pattern or melodies work with the songs. Funnily enough, nearly every time, I've come up with a line that sort of sets the direction of the lyrics, just by a fluke, really. Then I sit down and write the lyrics around that theme or plot. So, with me it's always the music that comes first and the lyrics are a secondary thing. I wouldn't say they are any the less important, but they come later and that's the way my mind works when I'm writing."
 - Glenn Tipton, UKRockNet, 2001

1. Machine Man
Lead: split - KK/Glenn
Performed live in: 2001-2002
Available live versions: LIVE IN LONDON (Video rehearsal 2002), various bootlegs

Licensed to kill
On my 650 Bonneville
"Hellfire" we yell
Fuelled and indestructible

Get it down
to take the crown
Neon daze

No fear just hate
Drives us to the ultimate
Cut loose extremes
On our maniac machines

Take me down
Or hit the ground
Neon nights
At the speed of light

So you motherfuckers want to race
You've all got loser tattooed on your face

Machine Man's running - you wanna try
Machine Man's coming - you're gonna die

Ignite the engines
You can hear it scream
You're gonna eat your words
That challenged this machine

The beast is revved up
The flag is down
The tires screech
And lay a smoke screen all around

Through the limits
As they rocket past
It's a blood bath
There's no second place

Ice nerves of steel
As I notch another kill
You lose - I win
I get to ride again

Get it down
Hit the ground
Neon nights
Speed of light

Feel no mercy as I cross the line
Watch the suckers self destruct behind

Machine Man - Machine Man's coming
Machine Man - Machine Man's coming

2. One On One
Lead: split - KK/Glenn

Performed live in: 2001-2002
Available live versions: LIVE IN LONDON (Video 2002
, audio 2003)

     " 'One On One' is somebody like a big time wrestler coming into the ring. It’s not made up stuff, it doesn’t seem made up like a fantasy-world stuff..."
- Ripper Owens, Metal-Temple, May 19, 2001

I am your darkest hour
I am your fall from power
I am the voice you dread and I'm
Screaming out inside your head

I am the final count
I am your demons out
I am the worst demise
I'm gonna cut your words down to size

What is this?
I hear you shout
Face to face
I'm gonna take you out

One on One
Bring it on
One on One
Take me on

I am the awful truth
I am the fearless youth
I am the cross to bear
And the one who dares to return your stare

I am the fist of God
I am the underdog
I'll always stand my ground
While the others scatter all around

Against all odds
Despite it all
I'm at my best when I'm against the wall

I am the bloodstained past at last
That's finally caught up with you like
The glint of steel from out of the dark the last
Thing you will feel - I'm outgunned, I'm out
Run, I'm undead and then I found the skin
You shed - I am the questions asked
That send shivers down your back

So I am holding out
And I'm much stronger now
So take me on

I am the darkest night
I am the vipers strike
I'll see you all consumed
As you start to lick
Your mortal wounds

Like the condemned man
Who just won't die
I'll show no remorse
I'll never walk away

3. Hell is Home
Lead: middle lead: Glenn; end lead: KK
Performed live in: 2001-2002
Available live versions: LIVE IN LONDON (Video 2002
, audio 2003)

You're looking at me why
Sort of like a leper vibe
Okay for your kind
But it's too good for me

And a hey I know I'm
Never gonna qualify
For all the bullshit
Of your social degrees

Oh look down your noses at me
Hating my identity
Oh but that don't mean a damn thing you see
'Cause down here in hell everybody loves me

Hey I know I'm anti-social
'Cause you act like I'm infected
With some atrocity

And though I know I'm
Every bit the same inside
My face don't fit
It's like I've got some disease

Oh you keep your face turned away
To strip me of identity
Oh still got my fortune and fame
'Cause down here in Hell everyone knows my name

Hell is home to me
Might as well be
I like it here and no-one else invited me
Hell is home to me
It has to be ('cause Jesus Christ)
Nobody else invited me

Now I belong
I found my home
'Cause even though I know things won't
Get any better, they can certainly never get much worse

Say my whole life I've always been disliked
Ignored unless you're spitting insults at me
And I don't know why you felt so justified
In all the degradation that you dished on me

Oh! Now my status has changed
And you've got yourself to blame
Oh! I'll grab all the attention I crave
Now I'm running Hell and Heaven won't be the same

4. Jekyll and Hyde
ead: Glenn

Your innocence all but fades
When we peel the veneer away
It's all an act which you stage
With your two faced barricades

Rage consumes
You every night
Caged inside you
Trying to get out

Schizophrenic basic needs
Fools me into complacency
But now I see through your facade
Behind the mask a monster snarls

Hatred burning
In your chest
Dazed but learning
In your quest

Oh it's killing me your unpredictability
Oh all the time
You hide behind
Your Jekyll and Hyde

Now I realise
There's a dark side

Always changing
Then love hating
Baiting me

Your innocence all but fades
When we peel the veneer away
It's all an act which you stage
With your two faced barricades

5. Close To You
Lead: Glenn

     " 'Close To You' is about losing a loved one and trying to deal with it."
- Ripper Owens, Metal-Temple, May 19, 2001

So many years that we were one
So many things we've done
The memories alive
But most of me has died

As I struggle with events
I'm offered words of strength
They do not comprehend
The passion we possessed

People tell me what to do
Tell me how I should get through
But they haven't got a clue
No-one else comes close to you

I see your eyes before they closed
They looked right inside my soul
And they asked me not to grieve
I tried but still I bleed

I wake up, I break up
I try hard to shake off
The desolation as it grows
As nothing else comes close

And as I stand here by the grave
And the wind calls out your name
I know that time could never heal
The emptiness I feel

People try to give me hope
Tell me how I should let go
But they'll never really know
'Cause there's nothing else comes close

6. Devil Digger

Lead: KK

I was crosswired underground
Nothing seemed to fit
I was fried and memory bound
Then it came to me

Devil Digger


I was on a different plane
He said come to meLaid his hands upon my brow
That's the last of me

Devil Digger

Don't be sorry
It's no disgrace
But never worry (unless)
You have no faith

See him coming
He has no face
You must stop running
You must have faith

Death's not final so we're told
Words are so profound
Who the hell wants to get old
But ask in the final hours

See him coming
He has no face
You must stop running
You must have faith

I don't want to fade away

7. Bloodsuckers

Performed live in: 2002
Available live versions: Milwaukee Summerfest (broadcast bootleg, 2002)

     " 'Bloodsuckers' is about the court case. It’s about the kids who committed suicide and blamed Judas Priest for it in the States. That song’s about the attorneys, honestly entitled 'Bloodsuckers'. I think the album’s lyrics are more true to life. Even if they’re not about something in particular, the lyrics on this album are more true to life."
- Ripper Owens, Metal-Temple, May 19, 2001

Don't speak to me of morality
Justice wrong or right
You dig the dirt ignore the hurt
And spit out all your lies

Conscience free as we bleed
Hypocrisy born from greed
Don't preach to me of integrity
Or your legal highs

The judge's thrilled
He's dressed to kill
On TV every night

Subliminal - so absurd
It's criminal - yet can't be heard

Bloodsuckers - how can they sleep at nights
Bloodsuckers - nothing but parasites

You will be on the stand today
They cannot harm you - it's okay
But they will destroy your family
And drag you through Hell and tragedy

A circus heading into town
Complete with cameras and the clowns
The first amendment shot to bits
The world is watching just for kicks

As the day drew close to hand
For all to view the faceless man
He put out the lights - it's sad
Now who's to blame for that ?!

Intimidate twist what you say
With their fine points of law
They lose the case but proficate
And then appeal some more

Subliminal - it's so absurd
It's criminal - but can't be heard

I swear to tell the truth
The whole truth
And nothing but the truth
So help me God!

You will be on the stand today
They cannot harm you - it's okay
They will destroy your family
And drag you through Hell and tragedy

Bloodsuckers parasites

8. In Between

     "I love this one. It's a modern song, but it's a typical light and shade, heavy Priest song."
 - Glenn Tipton, UKRockNet, 2002

I am love, I am hate
I'm an atheist with faith
Went my anger with a smile
I'm polite or obscene
Either whisper or I scream
I'm not quite what I seem
I'm somewhere in between

I am young in my old age
I am calm or in a rage
I'm your friend or enemy
A pacifist or at war
I am rich but I am poor
I'm all extremes
I'm nowhere in between

Wide awake
Or in a dream
Nowhere in between
Like the pulse of a machine
I'm driven to extremes

I feel the turmoil boil in me
I'm neither healthy nor diseased

I am all extremes
But I'm still in between

Say right or say wrong
Outcast yet I belong
I'm high or I'm dry
Say I am weak yet I am strong

In Between
In Between

I am my alter ego
I am subconsciously
In depth but also shallow
Or somewhere in between

Oh I know I am
Always first in line or last
I swim with sharks or drown with rats
I'll defend as I attack
My world and yours are not the same
I am in a different lane
I am not where I seem
But I'm somewhere in between

I seek revenge
As I forgive
I die to live - ah
Not afraid but scared to death
I don't fit in

In Between - all extremes

9. Feed on Me

Lead: KK

Performed live in: 2001-2002
 Available live versions: LIVE IN LONDON (Video 2002
, audio 2003)

They are dying on the dance floor
They are lying in debris
They are fading with exhaustion
From the mortal injuries

They are hungry and need feeding
They've resigned themselves to fate
They are desperate men
Death's written on their face

When your will to live
Is all but gone
And you're left alone
But you need someone - feed on me
Feed on me

They're outgunned and they're outnumbered
But they'll never turn to run
And the 'in name of freedom's'
Written with their blood

Some would call them mercenary
But they always knew the pain
Inevitably far outweighs the gain

Feed on me
Feed on me if you need to breath
Feed on me

When your hunger strikes you down again
And you feel your inner strength has drained - Feed on me
Feed on me

Feed on me - I got what you need
Feed on me
Feed on me - don't accept defeat

They are dying on the dance floor
They are lying in debris
They are fading with exhaustion
From the mortal injuries

Some would call them mercenary
But they always knew the pain
Enevitably far outweighs the gain

When your will to live has almost gone
And you're left alone and you need someone

10. Subterfuge


Holy Father drink the firewater
Preaching peace as you go to war
Politicians making brave decisions
Always got self interest at heart

We are to you just a drop in the ocean
Maybe that's true but it's only a notion
You integrate with friendly intrusion
We won't get fooled we have come to conclusion

Subterfuge deludes the views of you and me
We're confused but still we choose to disagree
Subterfuge consumes us but defiantly
We refuse to bow down to conformity

Evil mothers hiding under covers
Always near but just out of sight

Hey big brother - watch as we recover
'Cause we'll never give up the fight
And we say no!

Give us a name and you give us the power
Watch as we gather our strength by the hour
You think we're blind and weak in decision
But we see it all from peripheral vision

Somebody wins, somebody lose
Some call it subterfuge
Somebody wins, somebody lose
They fall to subterfuge

11. Lost and Found
split into 3 parts - Glenn/KK/Glenn & KK harmonizing together
Performed live in: 2002
 Available live versions: LIVE IN LONDON (Video rehearsal 2002

I always used to be afraid
That I was going to lose my way
I never used to walk in line but stray

I never thought I'd see it through
That I could deal with losing you
But suddenly I see the light of day

Leading me in
From out of the night
Staying on course - I'm still alive
I had to confess I never thought I would ever survive

I was lost and found
I had run aground
I was lost but now I'm found

Focused on my altered state
I would just disorientate
Suffering alone amongst the crowd

Drifting on a sea of doubt
And no-one ever heard me shout
That I was lost and couldn't find my way

No-one at hand
Having no plan
I stumbled through a barren land

After so long
Of going wrong
I found the road

I was lost and found
I had hit the ground
I was lost but now I found

That I don't need no-one
To survive
You've got to believe alone
You'll rise

Starting to run
Shedding the load
Now I can see I'm close to home

12. Cyberface


He lies in wait
For one mistake
Morphing on your screen

Those who dare
Or the unaware
Download him for a scream

Don't access the site
Or beware his megabyte

No virus scan
Detects the man
Or the deadly tasks he plans

Drooling lips
His circuits lit
He crouches for attack

Spider like on the web
Alive and well
But you are dead
Iniquitous in every way
Now he's come out to play

Iron will
Programmed to corrupt and kill
No escape
He is interfaced to Hell

Once he's summoned and installed cyberface
He'll infest your motherboard cyberface

Now he's got a grip
He will strip away your flesh

Alive yet dead
A fiend obsessed
He'll crash your system down

Once in place
Hell simulate
Your life - it's worthless now

God forsaken
Grotesque mind
An entity
That's come alive
Boot your screen
And suddenly
Approaching fast and mean

13. Metal Messiah

split - KK/Glenn

Unholy Satan begs
He don't make no sense
Striving down there to
Recruit all of you
Do not live in sin
Or taste the fear again
Someone's coming back
Fuck the almanacs

Premonition say
Better step away
Skeptics preach a lot
Watch in aftershock
Heed the prophecies
In your offices
Someone out the blue
Explodes into view

The time is near
The day has dawned
Be prepared
For what's to come

He's the man
Walking through fire
Metal Messiah
He's the one
The Father, the Son
Creator destroyer
Metal Messiah

Heaven's in a state
Someone's at the gate
Crashing isn't cool
He don't know the rules
Stepping in he says
Time to rock the place
Like they've got a choice
Then all Hell breaks loose

Hell ain't ready for
What he's got in store
Time you fuckers had
Change of management
Better fornicate
Before it's too late
Cranks the power up
As he detonates

Never too late
To extricate
In the event
Die or repent

You can pray to him
Buy the merchandise
Cheap at twice the price
Rising up above
With his decibels
He' some down to earth
Next the universe

Metal Messiah
Thy kingdom come
They will be done

14. What's My Name?


     "There might be something in the way of a bonus track to come out eventually. You always like to throw something in nowadays; you have to put one out there that’s a little different somewhere. Japan always has to have something different or whatever. So we’ll see what happens. We’ll see what we can dig up in the archives and see what we have. Hey I don’t even know! They’ll probably make me sing another song on tour or in sound-check and record it - who knows!"
 - Ripper Owens, Metal Temple, May 19, 2001

You always were too cool
Pushing us around school
Everyone knew who you were
You always walked the line
We had to step aside
We always had to eat your dirt

But the tables turned
And things have changed
Time for a lesson
So let's spell it out again
Remind me just in case
You might have forgotten
What's my name?
Say it again

You always brought us down
Kicked the weak around
Making out that we didn't exist
When we'd speak our views
You'd say 'who are you'
And make your point with a fist

But the tables turned
And things have changed
Time for a lesson
So let's spell it out again
Remind me just in case
You might have forgotten
What's my name?
Say it again

All songs published by EMI Songs Ltd. (Except tracks 10 and 13 - EMI Songs Ltd./Copyright Control; track 12 - EMI Songs Ltd./Scott Travis Music @ BMI)

    "Sorry we’ve been away for four years, but we’re back now and we’ll be heading to your town to demolish you shortly, so be patient and we’ll be back!"
- Glenn Tipton, Metal-Temple, July 3, 2001

Ripper Owens - v, Glenn Tipton - g, K.K. Downing - g, Ian Hill - b, Scott Travis - d

Tour Manager: Alan Morris
Production Managers: Ian Day, Mick Thornton, Chris Taplin

     "It's difficult to make a set list. We've got a whole bunch of songs, some you can't not do, and you also try to fit in some new ones. It gets progressively more difficult, but we make sure people coming to the show feel like they got their money's worth seeing Judas Priest."
- Ian Hill,  Worcester Telegram & Gazette, July 11, 2002

     "Rehearsals with Priest don't go very well because nobody in the band likes to rehearse, so we spend a lot of time procrastinating and drinking beer in the pubs nearby. Bands like Priest need an audience to feed off, so we never really like to rehearse, but we've got a good show and a good stage set and we'll be doing a lot of old and new numbers."
 - Glenn Tipton, UKRockNet, 2002

     "We do 'Hell is Home' in concert, and it is in 'C'. I have to tune it up. I first told them I didn't think I could sing it, but you can get away with it."
- Ripper Owens,
Metal Update, January 23, 2002

SETLIST (Orange titles are from the current album)

From the June 17 Birmingham Academy show
Metal Gods
Heading Out To The Highway
A Touch of Evil
Blood Stained
Victim Of Changes
One On One
The Ripper
Diamonds And Rust
Machine Man
The Green Manalishi (With The Two-Pronged Crown)
Burn In Hell
Breaking The Law
You've Got Another Thing Comin'
The Hellion/Electric Eye
Living After Midnight
Hell Bent for Leather

From the December 19 Brixton Academy show:
Metal Gods
Heading Out To The Highway
A Touch of Evil
Blood Stained
Victim Of Changes
The Sentinel
One On One
Running Wild
The Ripper
Diamonds And Rust
Feed On Me
The Green Manalishi (With The Two-Pronged Crown)
Beyond The Realms Of Death
Burn In Hell
Hell Is Home
Breaking The Law
Desert Plains
You've Got Another Thing Comin'
Turbo Lover
The Hellion/Electric Eye
Living After Midnight
Hell Bent for Leather


European summer warm-up tour  with support from Savatage
     "We have spent the last three weeks traveling all over Europe - Greece, Spain, France, Belgium, Germany and Italy - doing press, TV and radio interviews. Great reaction from everyone about the album!
     "The band are so busy not only doing the promotion, but getting everything else ready for the tour - we have rehearsals starting this week and then we leave for Europe next week - at this time it really is all go!
     "We cannot allow photos to be taken at shows as we have to control what is done with them - if we allowed anyone and everyone to take photos, they would end up in all sorts of places were maybe we didn't want them to. There are some unscrupulous people out there who would use them for their own gains and not to benefit the band..."
- Jayne Andrews, Management Co-ordinator for Judas Priest, May 27, 2001

Ripper surprised fans when he walked out on stage at the start of shows in a mirror chrome jacket, fans have affectionately named the "baked potato jacket"

     "The jacket's made of a new metal that’s only just been invented by NASA. It’s a lightweight titanium alloy. It’s the strongest material ever manufactured. We won’t say that it's bulletproof, because then people will be shooting at us. It’s not bulletproof!"
- Glenn Tipton, KNAC.com, January 18, 2002

     "I didn’t want to say this, but you remember when the spaceship/so-called weather balloon fell at Roswell...?
     "What’s weird is when I wear that jacket next to Glenn, he’s tan by the end of the song, and the plants all around me have grown to enormous proportions."
- Ripper Owens, KNAC.com, January 18, 2002

First it was the PMRC. Then it was the Reno trial. Now it was PETA...

As far back as 1986, the designer of the TURBO costumes said their stage clothes were not real leather simply for wear-and-tear and maintenance reasons. And Ripper's jacket should have been as obvious as it was reflective. Never-the-less, a coordinator at PETA remained upset over the leather image the band started in '78, and felt now was the time to set them straight, while they were back in metal action. Her request that they actually re-record their song "Hell Bent For Leather" with new words and a new title was quite outrageous, but the band did respond that they were animal lovers themselves who wear synthetic outfits, not real leather:


Today, PETA fired off a letter to the members of the band Judas Priest, urging them to shed their skins - leather skins, that is. Not only do the band’s members regularly perform dressed head-to-toe in leather garb, they have also promoted the symbol of cruelty via their 1978 hit album HELL BENT FOR LEATHER, which PETA wants them to change to HELL BENT FOR PLEATHER. To get the band members to reconsider their addiction to animal skins, PETA’s 24-year-old Lisa Franzetta enclosed a picture of herself decked out in a black pleather "dominatrix" outfit at the recent mega biker rally in Sturgis, S.D. PETA also enclosed gut-wrenching footage of cows being slaughtered.

Why does Judas Priest’s use and promotion of leather make PETA’s skin crawl? Leather is not a "byproduct" of the meat industry; animals are specifically raised and killed for it under the most abusive conditions. Leather imported from overseas comes from cows - and many other species of animals - who are beaten and tormented during long, hot marches without water and packed into transport trucks in which many suffocate or suffer broken bones. The video that PETA sent to the band shows cows at a slaughterhouse in this country being jabbed in the face with electric prods and having their feet cut off while they are still alive.

"Did you know that dog skin from countries where dogs are eaten is marked ‛cowhide’ for export to the West?" writes Franzetta, PETA’s "Pleather Yourself" Campaign coordinator. "[P]lease leave the hides behind and encourage your legion of fans to get ‘hell bent for pleather’ from now on."

PETA’s letter to Judas Priest follows:

August 15, 2002

Judas Priest
c/o Chipster P.R.
1976 East High St.
Ste 203
Pottstown, PA 19464

Dear Messrs. Tipton, Downing, Hill, Travis, and Owens,

I’m enclosing a picture of myself at last week’s 62nd Annual Motorcycle Rally in Sturgis, S.D., so you can see what’s going on. Obviously, you have many fans here at People for the Ethical Treatment of Animals (PETA). That’s why, on behalf of our more than 750,000 members and supporters worldwide, we’re asking if you’ll consider using your mettle - and your metal - to riff against animal abuse. We’ve done our market research, and we’re serious when we say that headbangers with a heart would love to hear you update the lyrics of your song "Hell Bent For Leather" to "Hell Bent For Pleather."

With so many rocking alternatives to leather, even the baddest men on two wheels know that animals don’t belong in a "Killing Machine"- kicked in the face, forced down the ramp with an electric prod to the man who slits their throats and turns them into leather jackets, pants, and boots. Much of the leather sold in the U.S. comes from overseas, where we’ve videotaped cows being violently beaten and suffering from wounds and broken bones from extreme overcrowding in transport trucks. Did you know that dog skin from countries where dogs are eaten for food is marked "cowhide" for Western export purposes? And an investigation into one of the good old U.S.A.’s largest slaughterhouses showed cows being trampled, dragged, rammed in the mouth with electric shock prods, and dismembered, all while fully conscious. I’m enclosing that footage.

The wide selection of synthetic leather gear now available - see
PleatherYourself.com - means that today’s "rebels with a cause" won’t have any trouble keeping skins off their shins.

Animals don’t have a voice, so they can’t be "Screaming For Vengeance," which is why we ask that as you finish up your current tour, you leave the hides behind and encourage your legions of fans to get "Hell Bent For Pleather" from now on. Feel free to contact me if you have any questions or would like more information. Thank you for your time and attention. I hope to hear from you soon.

Very truly yours,

Lisa Franzetta, Coordinator
International Grassroots Campaigns

- PETA.org, August 15, 2002

     "The members of Judas Priest are all animal lovers, and none of them condone any kind of cruelty to animals. Their stage clothes are not made from real leather - they are made from synthetic material."
- Jayne Andrews, Management Co-ordinator for Judas Priest, September 17, 2002

June 8 Konzertfabrik Z7 Pratteln Switzerland Bootleg audio exists
June 9 Gods Of Metal Festival Milan Italy Bootleg audio and video exists
June 10 Mind Over Matter Festival Wiesen Australia  
June 13 Barrowlands Glasgow UK  
June 14 Apollo Manchester England Bootleg audio exists
June 15 Astoria London England Bootleg audio exists

June 17 Academy Birmingham England Bootleg audio exists
     "Yet another day off. This city is where it all began. Priest, Sabbath. I felt the vibe. I also did laundry with Jon. We went to this laundry mat and it was so odd. Out of the 15 washers and 8 dryers only 5 worked. A little Indian guy helped us out and we finished quite painlessly. However it was very funny. This was also the day I walked in the rain to the mall and got on-line. Then proceeded to delete all of my e-mail. A very funny thing was that there was a film crew here. I had met them in Scotland at the Braveheart Castle. They were filming for a kids TV station. It was 2 times in 2 countries in one week. They were as shocked as I was. Nice people whoever they were. We all met up later for Indian food. Indian food in England rocks. This place was amazing. We went out to the local rock bar and sat there till about 4 AM listening to all of your favorite and not so favorite metal songs from the last 20 years. I was happy to hear the Sabbath songs! I did write a song in the hotel this day. I had to. Now I just have to find it on my tapes! Taz and I stumbled back to the hotel last. He had stopped and gotten a Daddy Fucker Hamburger. 4 patties of meat. I think he got 2. He eats a lot. Yes, Daddy Fucker was the name. Birmingham was a cool city. Just too many stores. Never bring your wife or girlfriend here to vacation! You will go broke!
     "The show was a good one. Great city for metal. Priest still have family here. They had a party afterwards and we all hung out and had a blast. K.K. gave me three of Rob Halford’s old belts that he had in a road case someone brought there. This little boy was living one of his biggest dreams and loving every second. K.K. was very complimentary to my guitar playing. He would always make jokes about how I could fill in for him and no one would notice! We were very similar onstage!"
- Chris Caffery, guitarist for Savatage, European Tour Diary, 2001
June 18 Guildhall Portsmouth England Bootleg audio exists
June 21 Colosseum Munich Germany  
June 23 Grasspop Festival Dessel Belgium Bootleg audio exists
June 24 Full Force Festival Leipzig Germany  
June 25 E Werk Köln Germany Bootleg audio exists
June 26 The Docks Hamburg Germany Bootleg audio exists
June 28 Amphitheatre Gelsenkirchen Germany  
June 29 Bang Your Head Festival Balingen Germany Bootleg audio exists
July 1 Rockwave Festival, Olympic Stadium Athens Greece Bootleg audio exists

     "That Athens show, playing to 30,000 people, was unbelievable. I was downwind, getting the smell of people who’d been at that festival all day."
- Ripper Owens, Canton Repository,
August 8, 2003

July 4 Anoeta San Sebastian Spain Cancelled
July 4 Pabellon de Mendizorroza Victoria Spain Bootleg audio exists
July 5 La Cubierta Madrid Spain Bootleg audio exists
July 6 Alcazeres Murcia Spain  
July 7 San Filipe Neri Cadiz Spain  
July 9 Feria De Muestras Valladolid Spain  
July 10 Vall D' Hebron Barcelona Spain Bootleg audio exists
South America/Mexico tour
September 1 Obras Sanitarias Stadium Buenos Aires Argentina Bootleg audio and video exists
September 4 Bar Opiniao Port Alegre Brazil
September 5 ATL Music Hall Rio De Janeiro Brazil
September 6 Credicard Hall Sao Paulo Brazil Bootleg audio exists
September 7
September 10 Teatro Metropolitan Mexico City Mexico Bootleg audio exists
1st leg US tour with Anthrax and Iced Earth as support was cancelled and rescheduled for January 2002, due to the tragic terrorist attack on America.
     "Physically, we couldn’t do the US leg of the Demolition Tour after 9/11. There wasn’t a problem as far as we were concerned on a safety level. We weren’t worried about going out into all this terrorist activity or anything. That didn’t bother us at all. We were in Mexico City, and we were about to fly into America that day when the tour manager called. We ended up being stuck there for four or five days, and the equipment was impounded. We just aren’t a band who can go out and use other people’s equipment. That, and we just thought that it would be disrespectful to go out with an album called DEMOLITION with a support act called Anthrax. We just felt like it was disrespectful, and we really couldn’t have done it anyway. Since we didn’t have any equipment, we just had to push it back. It took a lot of momentum away from the album. We are a band that tours after an album, and when that album is six months old… well… they probably aren’t going to play the album anyway. Either way, I don’t have anything to moan about - not like those people who suffered on that tragic day."
- Glenn Tipton, KNAC.com, September 10, 2002

     "It was something that was totally awful and nothing that we could control. We had just finished playing a show in Mexico City and I was packing the next morning and had the TV on when I saw on CNN what was happening. Needless to say, we didn't get on the plane to Los Angeles that day and had to stay in Mexico another five days. By the time we were able to get out, shows in California were scrapped and we decided to cancel the rest of the tour and just take some time off before going to Europe.
     "There is no positive spin that you can give to what went on or to those who lost lives, but the fact is that Judas Priest is back on the road again in North America and trying to let all their fans have a good time and try to forget what went on."
- Scott Travis, Chronicles Of Chaos, April 12, 2002

2nd leg European tour
October 31 013 Tilburg Holland Bootleg audio exists
November 1 Hof Ter Lo Antwerp Belgium
November 3 Kulturbolaget Malmö Sweden Bootleg audio exists
November 4 Amager Bio Copenhagen Denmark Bootleg audio exists
November 5 Rockefeller Oslo Norway Bootleg audio exists
November 6 Train Aarhus Denmark
November 8 Kåren Gothenberg Sweden Bootleg audio exists
November 9 Värmekyrkan Norrköping Sweden Bootleg audio exists
November 10 Brewery Stockholm Sweden Bootleg audio exists
November 11 Club Ron Ronneby Sweden
November 13 Kulttuuritalo Helsinki Finland
November 15 Gävle Estraden Sweden Bootleg audio exists
November 16 Jönköping Kulturhuset Sweden Bootleg audio exists
November 18 Bochum Zeche Sweden Bootleg audio exists
Australian tour
November 30 Palace Melbourne Australia
December 1 Metro or Enmore Theatre Sydney Australia  
December 2
December 4 Arena Brisbane Australia
Japan tour
December 10 Nakano Sun Plaza Tokyo Japan Bootleg audio exists
December 11
December 12 Kosei Nenkin Hall Osaka Japan Bootleg audio exists
December 14 Diamond Hall Nagoya Japan Bootleg audio exists
December 15 Zepp Fukuoka Japan Bootleg audio exists
Special Christmas DVD extended performance with support from Saxon
December 19 Academy Brixton England DVD and CD LIVE IN LONDON


Ripper Owens - v, Glenn Tipton - g, K.K. Downing - g, Ian Hill - b, Scott Travis - d

Tour Manager: Alan Morris
Production Managers: Ian Day, Mick Thornton, Chris Taplin


SETLIST (Orange titles are from the current album)

From the July 7 Milwaukee Summerfest:
Metal Gods
The Sentinel
Blood Stained
One On One
Victim Of Changes
Devil's Child
Diamonds And Rust
Hell Is Home
Breaking The Law
Turbo Lover
You've Got Another Thing Comin'
The Hellion/Electric Eye
Living After Midnight


Rescheduled 1st leg US tour with Anthrax as support
     "We are doing two songs live: 'One On One' and 'Hell Is Home'. I think both of those songs are great live songs and work well into our already huge set list of material. 'Hell Is Home' is a really heavy Judas Priest song and it sounds great. When you are a band with this sort of history, we have to play so many songs from many eras. We do a lot of songs, but we make sure not to grab material that sounds alike, hence why we play 'Hell Is Home'. It is a song that sounds unlike a lot of Priest's material that we do live. It is a tough situation to be in, choosing set list songs, but it allows us to really comb through some great classic numbers and add them into the set.
"This has been a really good experience for us on the road with this album. I am noticing, especially on this tour more so than the last album's touring, that a lot of younger fans are coming to the shows. We still get the die-hard older fans showing up, but a lot of younger fans are making their way to see us on tour with DEMOLITION, and that is really cool for us to see. It has been refreshing to see so many fans into metal and coming to the shows. I had heard over the last five years that, 'Metal is coming back!', and I didn't believe it for the last three years or so, but since we have been out on the road with Anthrax, and we are playing great shows, I can honestly say that I think there is truth to those comments about metal returning.
     "Playing live is a great thing. Playing in the studio is okay, but you need to do that to get the product out. But once you play live and you get beyond the stage and see the faces of the fans and people singing along and having a good time, that right there is what it is all about. That is why I still do this. It is a party, man!
     "I love touring. It is every musician's dream to go out and tour. When you start playing your instrument and after you get good, you want other people to see you do this. You want to go out on the road. If any musician complains about traveling, that is like wanting to become a doctor and not wanting to see any sick patients. It is idiotic to think like that. It is great to be back on the road again. We haven't been to North America or Canada in like three years. This tour is going great so far."

- Scott Travis, Chronicles Of Chaos, April 12, 2002
January 17 House Of Blues Las Vegas, NV USA
January 18 Universal Amphitheater Los Angeles, CA USA Bootleg audio exists
January 19 Warfield San Francisco, CA USA Bootleg audio exists
January 20 House of Blue Anaheim, CA USA  
January 23 Paramount Theater Denver, CO USA Bootleg audio exists
January 25 Deep Ellum Live Dallas, TX USA
January 26 Villa Real McAllen, TX USA  
January 27 Aeriel Theatre Houston, TX USA  
January 29 House of Blues New Orleans, LA USA  
January 30 Edge 2000 Jacksonville, FL USA
February 1 House of Blues Orlando, FL USA
February 2 Jannus Landing Tampa, FL USA  
February 3 Orbit Boynton Beach, FL USA  
February 4 Dekalb Atlanta Center Atlanta, GA USA Bootleg audio exists
February 6 Pierres Fort Wayne, Indianapolis, IN USA Bootleg audio exists
February 7 Riviera Theatre Chicago, IL USA Bootleg audio exists
February 8 Eagles Auditorium Milwaukee, WI  USA  
February 9 Agora Metropolitan Cleveland, OH USA Bootleg audio and video exists
February 10 Newport Music Hall Columbus, OH USA  
February 12 The Docks Toronto, Ontario Canada Bootleg audio exists
February 14 Orpheum Boston, MA USA  
February 15 Roseland New York, NY USA Bootleg audio and video exists

     "We got to the Roseland a few hours early, and we saw Ripper riding the Painkiller motorcycle all around Times Square with some hot chick on the back. We waited by the stage entrance door for him to return. About 45 minutes later he came back, and he shut the bike off and talked with us and signed some things. Then my cousin asked him if he would do some stunts with the bike. He smiled, kicked the bike over, and then he pinned the front wheel against a wall. He held the bike at redline for a few seconds and he dumped the clutch, and smoke just started pouring off the back wheel with the engine screaming wide open. This went on for almost a full minute, then Glenn Tipton came out of the tour bus in his bathrobe and nailed the killswitch on the bike. He wasn't happy about being woken up by all the racket!"
- Eyewitness report, February 18, 2003

February 16 Electric Factory Philadelphia, PA USA Bootleg audio and video exists
February 17 Nation Washington, DC USA Bootleg audio exists
February 19 Palace of Auburn Hills Auburn Hills, MI USA  
For the final US show in Detroit, Michigan, Anthrax had a surprise in store for the Judas Priest set: Strippers were sent out on stage! Looks like K.K. was enjoying the "show"!

3rd leg European tour with support from Squealer

March 13 Elysee Montmartre Paris France Bootleg audio exists
March 14 Turbinehalle Oberhausen Germany Bootleg audio exists
March 15 Columbihalle Berlin Germany
March 16 Hyde Park Osnabrück Germany Bootleg audio exists
March 17 Spodek Katowice Poland
March 18 Aladin Bremen Germany
March 19 Paegas Arena Prague Czech Republic
March 20 Capitol Hannover Germany
March 22 Schlachthof Dresden Germany
March 23 Filharmonie Stuttgart Germany Bootleg audio exists
March 25 Hugenottenhalle Frankfurt Germany Bootleg audio exists
March 26 Stadthalle Fürth, Nurnberg Germany
March 27 The Volkhaus Zurich Switzerland
March 29 Pepsi Music Club Vienna Austria
March 30 SAP Hall Budapest Hungary
April 1 Orpheum Graz Austria
April 4 Razzmatazz 1 Barcelona Spain
April 5 Republicca Valencia Spain
April 6 Aqualung Madrid Spain Bootleg audio exists
April 7 Polideportivo Anaitasuna Pamplona Spain Bootleg audio exists
2nd leg US Summer Tour
July 5 Hard Hat Concert Hall Toledo, OH USA
July 6 RIB & Music Festival Akron, OH USA Bootleg audio exists
July 7 Summerfest Milwaukee, WI USA Bootleg audio exists
July 9 The Pageant St Louis, MO USA Bootleg audio exists
July 11 The Surf Ballroom Clear Lake, IA USA Bootleg audio exists
July 12 Playmaker's Pavillion Fargo, ND USA
July 13 Kinsmen Rock The Valley Craven,
July 14 Quest Club Minneapolis, MN USA
July 16 Metropol Pittsburgh, PA USA
July 17 The Palladium Worcester, MA USA
July 19 Convention Hall Astbury Park, NJ USA Bootleg audio exists
July 20 Hampton Beach Casino Hampton Beach, NH USA Support from Purge All and Stocklan
July 21 Bald Hill Amphitheatre Farmingville, NY USA Bootleg audio exists
July 22 The Chance Poughkeepsie, NY USA
July 24 Insbrook Pavillion Glen Allen, VA USA
July 25 The Recher Theatre Baltimore, MD USA
July 26 Electric Factory Philadelphia, PA USA Bootleg audio exists
July 27 Northern Lights Clifton Park, NY USA
July 29 Webster Theatre Hartford, CT USA
July 31 The Asylum Slidell, LA USA
August 1 Aerial Theatre Houston, TX USA
August 2 Sunken Gardens Amphitheatre San
Antonio, TX
USA Support from Budgie and Reverend
August 3 Canyon Club Dallas, TX USA
August 4 The Pavillion Lubbock, TX USA
August 6 Far West Entertainment El Paso, TX USA
August 8 House Of Blues Las Vegas, NV USA
August 9 House Of Blues Los Angeles, CA USA
August 10 House Of Blues Anaheim, CA USA
August 11 Cajun House Scottsdale, AZ USA Bootleg audio exists
Support from Ph8
August 13 Camel Rock Casino Santa Fe, NM USA
August 14 Ogden Theatre Denver, CO USA Bootleg audio exists

Pictures ©
Scott D. Smith
August 16 The Shrine Auditorium Billings, MT USA
August 17 Party In The Pasture Beulah, ND USA
August 19 Big Easy Concert House Boise, ID USA
August 20 Roseland Ballroom Portland, OR USA Support from Point Defiance
August 21 Fillmore San Francisco, CA USA Support from Skinlab

Pictures ©
August 24 Royal Oak Music Theatre Detroit, MI USA
August 25 House Of Blues Chicago, IL USA

Thanks go to Christophe Dassy of the French Metallian website for providing many of these tour dates

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