Band Members Album Singles Artwork Lyrics/Leads

October 1977 December 1977 February 1978



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



     "On their newest album, STAINED CLASS, Judas Priest finally captures in the studio all the sound and fury of their live shows. It's as hard and uncompromising a statement of where they stand today as any you'll ever hear. Tired of wimpy music? Judas Priest may be your salvation. Judas Priest's STAINED CLASS will make a convert out of you."
- Columbia Records promo ad, 1978



Judas Priest L-R:
K.K. Downing: Guitar
Les Binks: Drums
Robert Halford: Vocals
Glenn Tipton: Guitars/Vocals
Ian Hill: Bass Guitar

Management/Direction: Dave Hemmings, Arnakata, Ltd., London


Exciter White Heat, Red Hot Better By You, Better Than Me
Stained Class Invader Saints In Hell Savage
Beyond The Realms Of Death Heroes End

RE-MASTERS Series Bonus tracks:

Fire Burns Below Better By You, Better Than Me (Live)

  • Released February 10, 1978 by CBS Inc. (UK Cat. # 82430), Columbia Records (US Cat. # 35296) and
    Epic/Sony Music Group (JPN Cat. # 25AP 893)

  • Reissued in November 1981 by CBS Inc. (UK Cat. # 32075)

  • CD Released May 25, 1988 by Columbia Records (UK Cat. # 462843) and (US Cat. # CK 35296)

  • THE RE-MASTERS UK/European CD released October 22, 2001 by Sony Music/Columbia Records (UK Cat. # 502128)
  • THE RE-MASTERS North American CD released November 6, 2001 by Sony Music/Legacy Records (US Cat. # CK 85434)

Produced by Dennis MacKay and Judas Priest
Recorded at Chipping Norton Studios, Cotswold, London, England October/November 1977
Mixed and Engineered by Neil Ross at Trident Studios

"Better By You, Better Than Me" Produced by James Guthrie and Judas Priest
Recorded at Utopia Studios, London, December 1977/January 1978
Mixed and Engineered by Ken Thomas and Paul Northfield at Advision Studios, London

Certification: RIAA Gold November 10, 1989
Chart position: UK #27; Billboard 200 Pop Albums #173

Stained Class pierced the low range of Billboard’s LP chart for a fast three weeks (reaching #173), but the band converted a quarter-million fans on tour in North America that spring.
- Legacy Recordings

A concept album of sorts, Stained Class capitalized on the sci-fi themes that were so popular at the end of the '70s: For example, "Exciter"  introduces a futuristic fiery being sent to bring salvation to the oppressed (a theme continued with "Painkiller" in 1990), while "White Heat, Red Hot" includes a vivid description of a light saber straight out of STAR WARS. And there was even the hot extra terrestrials topic explored in the song "Invaders".

But set within this "hi-fi/sci-fi" fantasy are the album's more potent central concepts:

     "I believe that the album's forward lyrics tell a metaphoric tale about a fight between good and evil, the confusion that results from this struggle, and a hero's death. Not surprisingly, the reversals tell a similar story."
- David John Oates, Founder and Developer of Reverse Speech Technologies, 2001

Culled from the hardships of real life, Halford and Tipton continued to champion the rights of individual freedom and good over evil, things the "establishment" viewed as rebellion. Previously, Priest had illustrated its cause with lyrics about gothic and morbid figures of tyranny and war ("Dying To Meet You", "Tyrant" and "Sinner" for example); these same epic tales were now dressed in futuristic fantasy images, designed to make their point in a modern world.

Sadly and ironically, their message of freedom and hope would be twisted and used against them, as STAINED CLASS became the target in a post '80s trial concerning backwards and subliminal messages. But who really had a backwards message here?


  • Better By You, Better Than Me/Invader released in January 1978 by CBS Inc. (UK Cat. # 6077)


Design: Roslav Szaybo at CBS Records
Photography: Ronald Kass


     "STAINED CLASS was a very strong album cover and it's got this sort of cybernetics, moving into a more modern approach to metal I think."
- Glenn Tipton, METAL WORKS video, 1993

For his second album cover for Judas Priest, Roslav Szaybo presented yet another visually stunning representation of the masterpiece within - as controversial as the lyrics, as futuristic as the themes, as dominating as the music...

Along with designing a new streamlined and "electrified" logo, Roslav's cybernetic album sleeve was a futuristic image of modern metal glory. The sculpted metallic head portrays the untarnished rule of man before the fall, while a blemish in the face represents the corruption of fallen man and a laser penetrating the skull depicts judgment of his "stained class" tyranny.

This is not how the plaintiffs in a multi-million-dollar wrongful-death and product-liability lawsuit would see it though several years later. In the mid '80s, two Nevada "metalheads" would sadly come to act out the album's cover - one blasting a bullet through his skull, the other losing a large portion of his face attempting to follow suit. The album's artwork would be presented as damning evidence during the trial that followed, with experts even claiming to see "genitals" in the image and the "suggestive" message depicting the kind of suicide that the boys should commit. However, the judge in the case ruled the cover art a protected expression of free speech and the trial would have to proceed on other grounds...

OCTOBER 1977: Sessions begin

For their sophomore effort with CBS Records, the label hooked Judas Priest up with producer Dennis MacKay. Known more for his work with world-class jazz fusion artists such as Al Dimeola, Stanley Clarke and John McLaughlin, Dennis MacKay has also assisted and engineered albums for such heavyweights as David Bowie, Supertramp, Jeff Beck, and Return To Forever before becoming the producer on Priest's STAINED CLASS album. Since then, he has gone on to engineer and produce albums for Jack Bruce, Pat Travers, Gary Moore, Alan Holdsworth, Tygers Of Pan Tang, Whitney Houston... and that's just to name only a FEW!

Dennis MacKay

Locating to Chipping Norton Studios in Cotswold, London during Autumn of '77, MacKay worked with the band to try and make the songs more direct in their approach:

     "I think we were still looking for the right sound, which we hadn't quite got together. We were in the midst of trying to get away from the lengthy, post-early '70s, nine-minute epic songs and we didn't quite know where to go. Looking back, I'd say we were searching for our real identity."
- Rob Halford,
Heavy Duty official biography, 1984

DECEMBER 1977: One more song

With the sessions finished and the recording near completion, CBS approached management with a request for a cover they could push as a single. But Dennis MacKay was no longer available, so a second producer was called in to record the single at his London located Utopia Studios in the winter of '77/78. For this requested single, Priest chose to do a remake of the Spooky Tooth hit "Better By You, Better Than Me":

     "The reason for the 'odd song out' on the album stemmed from a request by the 'powers that be' to consider doing a cover version as a possible single. As this came after the original recording period, Dennis was unavailable to produce it due to prior commitments. So after a search for a new producer, James Guthrie was called in and the new song was recorded at Utopia Studios in London."
Stained Class Re-Master liner note, 2001

James Guthrie is best known for his work with Pink Floyd, for which he has won several awards for his production on newer albums and restoration of some of their earlier works. James also produced Queensryche's 'The Warning', among other things.


While the February release of STAINED CLASS did as well in the UK charts as the first CBS Records release SIN AFTER SIN, it did not chart as well in the States, barely breaking Billboard's Top 200 list. Priest had only visited the US a few months back in the summer of '77 and the fans were still warming up to their unique brand of metal:

     "We would go on stage and people would just stand there with their jaws on the floor; they couldn't believe it. 'What the hell is this? What is this, music?' "
- Rob Halford,
VH1 Behind The Music, 2001

     "It was a combination of being dumbstruck, weighing us up and thinking, 'I think this band are pretty good!' but not really absolutely sure.
- Glenn Tipton,
VH1 Behind The Music, 2001

     "Metal at that time was Black Sabbath, Led Zeppelin and Deep Purple. There wasn't really a screaming metal scene at that point. Judas Priest were the first band that really took the music out of psychedelic and into just screaming guitars..."
     "They were singing about rebellion and that was something that American youth were ready for. They almost created a social class with their music because it gave kids that were rebellious a place to go to be rebellious."

- Paul Gargano, editor for Metal Edge, VH1 Behind The Music, 2001

Though not as well received as their previous out-of-the-gates effort for CBS, STAINED CLASS would eventually catch on and even find prominence on two separate occasions in 1990. One drew negative attention to the band during the 1990 trial, but positive attention was also gained as the album became recognized for its groundbreaking influence on the rising thrash metal genre that would dominate the early '90s.

But for Rob Halford, success was already coming. The day after the album's release, Rob shared a bit of his confidence:

     "I'm 26. We are all around 26. I did some research a while ago and discovered that most people make it around this age. Strange, isn't it? It's probably nothing deeper than the fact that you've been at it long enough by then... and that you can handle it..."
- Rob Halford, Sounds, February 11, 1978


Exciter White Heat, Red Hot Better By You, Better Than Me Stained Class Invader Saints In Hell   Savage
Beyond The Realms Of Death Heroes End Fire Burns Below

1. Exciter
1st lead: Glenn; 2nd lead: Glenn & K.K. together
Performed live in: 1978-1979, 1981, 2002, 2005
Available live versions: Unleashed In The East (1979),
Palladium, New York (broadcast bootleg 1981)

"Exciter" is often pointed to as being the progenitor of speed metal, thus earning the band the affectionate title: "grandfathers of thrash".

     "When Rob's vocals had got as high as he could possibly get, we would always insist he went higher! And he could achieve it too..."
- K.K. Downing, Metal Works liner note, 1993

     "...amidst much sweating and bulging of forehead!"
- Ian Hill, Metal Works liner note, 1993

Racing 'cross the heavens
Straight into the dawn
Looking like a comet
Slicing through the morn
Scorching the horizon
Blazing to the land
Now he's here amongst us
The age of fire's at hand

Stand by for Exciter
Salvation is his task
Stand by for Exciter
Salvation bids to ask

Everything he touches
Fries into a crisp
Let him get close to you
So you're in his trip
First you'll smoke and smolder
Blister up and singe
When ignition hits you
The very soul of your being will cringe

Fall to your knees and repent if you please

Who is this man?
Where is he from?
Exciter comes
For everyone
You'll never see him
But you will taste the fire upon your tongue

He's come to make you snap out
Of the state that you are in
Looks around and make you
See the light again
So much self-indulgence
Results in shattered eyes
Predominant complacency
Leads to beguiling lies

When he leaps amidst us
With combustive dance
All shall bear the branding
Of his thermal lance
Cauterizing masses
Melting into one
Only when there's order
Will his job be done

Racing past the heavens
Straight into the dawn
Looking like a comet
Slicing through the morn
Scorching the horizon
Blazing to the land
Now he's here amongst us
The age of fire's at hand

Stand by for Exciter

2. White Heat, Red Hot
Lead: Glenn
Performed live in: 1978, 1979. and by Halford in 2003

Available live versions: Live & Rare (1998), bootlegs from 1978
The father's son, thy kingdom come, electric ecstasy
Deliver us from all the fuss and give us sanctuary
Lead us all into arena, magnificent in death
Well let us serenade the sinner, we'll follow in his step

White heat, red hot
Burns deep, white heat red hot

The fury songs, venomous wrongs so rich in tragedy
An overture forever more to senseless victories
Give to us this day of glory the power and the kill
So we avoid the wrath and all the almighty fire of

The heat's hot
Burns a lot
Who are not cut out to fight this day will surely fall
The few who stand to take command forever and ever are men

Prepare to fight, unsheathe your scythe a ghastly beam of ill
To slice the life with blinding light and seventh dimensional skill
The centuries of dedication inherited till at last
From years of solar gladiation can only end in

White heat
Red hot
White heat
Red hot

3. Better By You, Better Than Me
G. Wright (original recorded by Spooky Tooth)
Licks: Glenn

Performed live in: 1978 and 1990
Available live versions: Stained Class Re-Master (2001)

     "This song was, 12 years later, to gain notoriety as being central in the ludicrous 'Subliminal Message' court case brought against us..."
Stained Class Re-Master liner notes, 2001

     "The lyrics to "Better By You, Better Than Me" are about going to war and about someone who is too upset to express himself to his lover and asks a friend to say it for him: 'It's better by you than me because you can express yourself better at this time'. It has absolutely nothing to do with suicide."
- Gary Wright, via email, May 8, 2003

You could find a way to ease my passion
You listen to the blood flow in my veins
You hear the teaching of the wind
Tell her why I'm alive within
I can't find the words
My mind is dead

It's better by you better than me

Guess you'll have to tell her how I tried
To speak up thoughts I've held so inside
Tell her now I got to go
Out in the streets and down the shore
Tell her the world's not much living for

Everybody knows
Everybody knows

Better by you, better than me
You can tell what I want it to be
You can say what I only can see
It's better by you better than me

Guess I'll have to change my way of living
Don't wanna really know the way I feel
Guess I'll learn to fight and kill
Tell her not to wait until
They'll find my blood upon her windowsill

4. Stained Class
Lead: Glenn
Performed live in: 1978 and by Halford in 2000 and 2001
Available live versions: Cambridge Corn Exchange (bootleg, 1978) and Halford's Live Insurrection (2001)

     "...in the end of the archaic society against which Priest has so eloquently raged, ...we find renewal, salvation and a worldwide eruption of the oppressed against their oppressors. To call it a revolution would not be far off—indeed, talk of revolution, and one has no choice but to talk of Judas Priest."
- Stanley Laughner, Orange County Weekly, 2002

Thanks to Andrew Austin for his help on the call-and-response section in the first verse. As for the term Hyksos, they were a conquering Semitic tribe whose kings ruled over Egypt from the 18th to the 16th centuries before they were defeated and driven out of the Nile. The period of Hyksos rule was synonymous with anarchy and destruction.

Wild-eyed and tight fisted, I'm fused to the bone
I stand contemplating, reacting alone
Impaled with betrayal (Crashing on Hyksos)
The tourniquet turns (Mount passing God fear)
Society's creation (Tip of his finger)
Pole-axed out and burnt (They're spying his throne)

Long ago when man was king, his heart was clean now he's stained class
Time has slashed each untouched thing, so now he's just a stained class king

Transfixed at deliverance, is this all there is
Faithless continuum, into the abyss
Fierce is my conviction, absolute my belief
I spit at you apathy, and seducer deceit

Lethal, deadly, hung, drawn and quartered
He slaughtered and faltered and altered the world
But by doing so smashed all his hopes and utopian dreams
Whipping, stripping, peeling the flesh off, relentless and senseless
His lust snapped like vipers whose fangs sank in deep
To infest and decay from the core

Impaled with betrayal, the tourniquet turns
Society's creation, pole-axed out and burnt

Stained class king

5. Invader
Lead: Glenn

I came across a smoking field, pulsating afterglow
I saw a searing flash of light erupt and skyward go
I staggered back in dazed surprise
What was it I had seen?
And as I stood there mesmerized I heard my spirit scream

Invader invader nearby
Invader, invader is nigh

This is the first of more to come in carefully planned attacks
If it is so we must prepare defenses to fight back
The call is out throughout the world
United we must stand
To build a line, strategic force, they will not take a man

When they come to take control every man must play his role
They won't take our world away when the children we leave
Will have to believe in today

We warn you now you things out there
Whatever you may send
We won't give in without a fight, a fight until the end
With vigilance by day and night our scanners trace the sky
A shield is sealed upon this earth, a shield you won't get by

6. Saints In Hell
No Lead Break

They laughed at their gods
And fought them in vain
So he turned his back on them
And left them in pain
Now here come the saints
With their banners held high
Each one of them martyrs
Quite willing to die

Wake the dead, the saints are in Hell
Wake the dead, they've come for the bell

Cover your fists
Razor your spears
It's been our possession
For 8,000 years
Fetch the scream eagles
Unleash the wild cats
Set loose the king cobras
And blood sucking bats

We are saints
In hell
We are saints
In hell
We're going down
Into the fire
We're going down
Into the fire

The streets run with blood from the mass mutilation
As carnage took toll for the bell
Abattoir, abattoir, mon Dieu quelle horreur*
For a time is was like second hell

Saints in Hell
Saints in Hell

The battle is over, the saints are alive
How can we all thank you, we felt so despised

*(French translation: Slaughter-house, slaughter-house, my god what horror)

7. Savage
Lead: K.K.
Performed live in: 1978
Available live versions: Cambridge Corn Exchange (bootleg, 1978)

Who gives you the right to come here and tell me
I have to leave this place my home
To you it's a jungle, to me it's a kingdom
Where people are free there to roam
Born with the stars we are happy and peaceful
'Til now we were left undisturbed
But you rupture the forests our gardens
And fill them with filth from your cities unheard

Savage, who is savage
Leave your morals, stake your claim
Savage, you are savage
Modern man can take the blame

You poisoned my tribe with civilized progress
Baptizing our blood with disease
You christened our bodies with sadness and suffering
Saying then that your god is well-pleased
What have we done to deserve such injustice
Explain to us please if you can
But you can't, no you can't, we can see it in your eyes
Of us both who's the primitive man

Savage, savage
Savage, savage
Who's the savage
Modern man
Who's the savage
Modern man

8. Beyond The Realms Of Death
1st (slow) lead: Glenn; last (fast) lead: K.K.
Performed live in: 1978-1981, 1988, 1990-1991, 1998, and by Halford in 2001-2002, 2004-2005
Available live versions:
Unleashed In The East (UK bonus EP, 1979), Live & Rare (1998), '98 Live Meltdown (1998), Halford's Live Insurrection (2001), Live In London (Video and audio 2002/2003)

     "I like the title 'Beyond The Realms Of Death'. It feels evil when you say it."
- Rob Halford, Spin, June 2004

"Beyond The Realms Of Death" contains the only co-writing credit from Les Binks:

     "Our drummer at the time, Les Binks, was left-handed. One day he walked into the studio and picked up one of the guitars - it must've been mine because Glenn would guard his with his life! Anyway, Les picked it up, turned it up-side down and played that riff. We thought, 'That's nice! Let's put a song around that...'. I don't know where he got it from. I've never heard him play anything else on guitar, ever!"
- K.K. Downing, Metal Works liner notes, 1993

     "Les came in and grabbed an electric guitar and played the intro to what became 'Realms...', and Rob had written out lyrics already about subliminal thoughts and some other weird shit, so we put the song together. Well he wrote all the licks expect for the solos. I suppose that he was just fucking around with the guitar and picked the riff up."
- K.K. Downing, 1988

Les and K.K.

He had enough
He couldn't take anymore
He'd found a place
In his mind and slammed the door
No matter how they tried
They couldn't understand
They washed and dressed him
Fed him by hand

Yeah! I've left the world behind
I'm safe here in my mind
Free to speak with my own kind
This is my life, this is my life
I'll decide not you

Withdrawn he'd sit there
Stare blank into space
No sign of life
Would flicker on his face
Until one day he smiled
It seemed as though with pride
The wind kissed him
Goodbye - and then he died

Keep the world with all its sin
It's not fit for livin' in
Yeah! I will start again
It can take forever, and ever, and ever
And ever, but I'll still win.

How many like him
Are there still
But to us all
Seem to have lost the will
They lie in thousands
Plagued and lost
Is nothing worth this bitter cost

Yeah! I've left the world behind
I'm safe here in my mind
Free to speak with my own kind
This is my life, this is my life
I'll decide not you

Beyond the realms of death

9. Heroes End
Lead: Glenn

Three fallen "heroes" of the arts - one a singer (Janis Joplin), one a guitarist (Jimi Hendrix) and one an actor (James Dean).

The song was originally blamed for the suicide deaths of two teens in the mid '80s, as the prosecution tried to say the lyrics glorified death as heroic, but the Judge ruled the lyrics were protected by the First Amendment Right of free speech.

Far from glorifying a desire to die, the song simply asks the question: Why do people have to die before they are recognized as heroes for their efforts?

I heard a human voice who sang like no one else
I heard a proud lady singing loud
Lived her life as she liked, didn't give a damn
But soon she found she was underground and wasted

I watched her hitting notes as she strutted stage
Her body shook oh, she did her stuff
She screamed and quake, give and take, maybe took too much
If you take the smooth you gotta take the rough

Why do you have to die to be a hero
It's a shame a legend begins at its end
Why do you have to die if you're a hero
When there's still so many things to say unsaid

I heard a man's guitar electrify a crowd
I felt the sound shower 'round
And he would take you with him where no music's been before
As you merged the power surge together

His music knew no limits if you were in it's wake
You had no choice, no, but hear its voice
And you would listen hypnotized, and in a dream
But once so strong survive or become weak

If you gaze across timeless years you'll find them always there
And many gods will join the list compiled with dying care
Hungry mouths are waiting to bite the hand that feeds
And so the living dead carry on immortal deeds

I saw on silver screen an actor's rise to fame
But fast car user lose
That legend's born from death and that is such a shame
'Cos every year new ones appear

10. Fire Burns Below
RE-MASTERS Bonus Track

Acoustic guitar lead Glenn; 1st harmony section: Glenn & K.K. together; 1st lead: Glenn; 2nd harmony section: Glenn & K.K. together; 2nd lead: Glenn

Stand and face each other
Don't know what to say
But that look in your eyes
Give it all away

You say you've got these feelings
You can't put into words
But you don't have to say a thing
'Cause I've already heard

Give me one good reason
Why this has to be
That's all I'm asking for

Don't say that it's over
When you and I both know
You can't put out this love
The fire burns below

We've been through so much together
We've laughed and we've sometimes cried
To say our love ain't working - well we
Haven't really tried

But why let's talk things over
Love can't be bought and sold
One more night together's what the future holds
What the future holds

Well give me one good reason
Why this has to be
I said that's all I'm asking for
Can't you see I said

You can't put out the fire down below

All songs published by EMI Songs Ltd.
Lead breaks are taken from the 1982 World Vengeance tour program


1978 Tour Program

Rob Halford - v, Glenn Tipton - g, K.K. Downing - g, Ian Hill - b, Les Binks - d
Tour co-ordination: John Blackburn

SETLIST (Orange titles are from the current album)

From the January 20 Cambridge Corn Exchange pre-release show:
White Heat, Red Hot
The Ripper
Beyond The Realms Of Death
Victim Of Changes
Better By You, Better Than Me
Stained Class
Let Us Prey/Call For The Priest

From the July 25 Nakano Sunplaza Hall, Tokyo, Japan broadcast:
White Heat, Red Hot
The Ripper
Beyond The Realms Of Death
Better By You, Better Than Me
Victim Of Changes
Diamonds And Rust

     "I think it's fabulous that people perhaps waited weeks to see us tonight...people aren't just there, they come from all over the place, to this one spot."
- Rob Halford, Sounds, February 11, 1978

For the Stained Class tour, Rob often wore a simple black outfit, but also accessorized with studded leather belts and wristbands - a precursor of things to come...                              


Of course, the rest of the band hadn't quite gained their sense of fashion either:

Ritchie Blackmore and Jimmy Page?

     "It was a tour when we said, 'Let's cut out the crap and just get out there and play.'"
- Ian Hill, Heavy Duty official biography, 1984

     "Rob had been through different moods and fashions. We've always tried to cater to what the people expect and around that time it was a case of being raw and ready, so we just decided to get down to basics."
- Glenn Tipton,
Heavy Duty official biography, 1984

British tour with support from The English Assassins

January 19 Cramer Links Park West Runton England
January 20 Corn Exchange Cambridge England Bootleg audio exists. Invite only pre-record release listening party
January 21 Leeds University Leeds England
January 22 Coventry Theatre Coventry England
January 23 City Hall Sheffield England

Def Leppard's Pete Willis and Joe Elliot ran into future second guitar player Steve Clark at this very gig. After the show, they sat in the bar lifting pints together and talking music. Steve was then invited to come to the next Leppard rehearsal and audition for the newly forming band. Clark accepted their offer and came down to the rehearsal place at Bramall Lane on January 29, where he impressed them by playing the solo from Lynyrd Skynyrd's classic "Freebird" and was instantly accepted into the band!

In 1980, Priest would once again play a major role for the development of Def Leppard by taking them on as openers for the BRITISH STEEL tour and in the process breaking them to the States. Of course Def Leppard would go on to outsell Judas Priest by millions, but such has always been the case for the boys from Birmingham who chose to stay true to their metal...

January 24 Top Rank Cardiff England
January 26 Victoria Hall Hanley England
January 27 Lancaster University Lancaster England
January 30 Guild Hall Portsmouth England
January 31 Colston Hall Bristol England
February 1 Civic Hall Wolverhampton England
February 2 City Hall Newcastle England Bootleg audio exists
February 3 Music Hall Aberdeen Scotland
February 4 Odeon Theatre Edinburgh Scotland
February 5 Apollo Theatre Glasgow Scotland Bootleg audio exists
February 6 Free Trade Hall, Apollo Theatre Peter St. Manchester England Bootleg audio exists
February 7 De Montford Hall Leicester England
February 9 Queensway Hall Dunstable England
February 10 Hammersmith Odeon Theatre London England
February 11 Odeon Theatre Birmingham England
February 12 Town Hall Middlesbrough England
February Civic Hall Guildford England
February 25 St. George's Hall Bradford England Bootleg audio exists
Support from English Assassin
February Hempstead Pavillion Hemel England
US tour as support to Angel, Foghat and B.T.O.
March 10 Palladium Theatre New York, NY USA  Support to Angel; Bootleg audio exists
March 11

March 17 Tarrant County Convention Center Fort Worth, TX USA Support to Foghat and B.T.O.
March 18
     "I don't think Foghat ever spoke to us. It was a bit uncomfortable, but that taught us a lesson and we've subsequently tried to help support bands in whatever area we can. Foghat weren't helpful at all; apart from not talking to us they only allowed us half an hour on stage and wouldn't even let us use their spotlights. But the thing is, you've got to just put the bit between your teeth and go on stage and play your heart out. We always took that attitude in America and I think that's been one of the keys to our success. Instead of moaning, bitching and going on stage with a half-hearted attitude, we've always gone out and given 200 percent."
- Glenn Tipton, Heavy Duty official biography, 1984
March 23 San Antonio, TX USA
March 25 Crazy Horse Saloon Killeen, TX USA Bootleg audio exists
March 28 Civic Arena Killeen, TX USA Bootleg audio exists
May 7 Agora Ballrooms Cleveland, OH USA Bootleg audio exists
May 12 Riverfront Coliseum Cincinnati, OH USA
May 13 Rockne Hall Allentown, PA USA Bootleg audio exists
July 7 Civic Center San Antonio, TX USA
Japan tour
     "From the moment we got through the customs area it was like Beatlemania. For two weeks, the world was ours!"
- K.K. Downing, Heavy Duty official biography, 1984

     "When we got to the gig there was no equipment set up at all. We were just about to start ranting and raving and then suddenly about 30 little guys in white overalls came out and, before we knew it, everything was up and they were gone! That just about sums up the way the Japanese people are - very efficient, very helpful, and totally enthusiastic."
- Glenn Tipton,
Heavy Duty official biography, 1984

     "At the time, we used to start the show with our backs to the audience, with a stage full of dry ice. When the curtain went up in Tokyo that first night, we were blown away because we turned around and saw all these bouquets of flowers, presents, balloons, and streamers flying toward us. It was outrageous!"
- Rob Halford,
Heavy Duty official biography, 1984

Japan tour promo photo                             Japan loves K.K. - K.K. loves Japan!
July 25 Nakano Sunplaza Hall Tokyo Japan Bootleg audio exists

Ticket from the July 25 Tokyo show
July 29 Shiba Yubinchokin Hall Tokyo Japan
July 31 Kosei-Nenkin Hall Tokyo Japan Bootleg audio and a 5-song bootleg video from this show exists
August 3 Kosei-Nenkin Hall Nagoya Japan Bootleg audio exists
August 5 Festival Hall Osaka Japan Bootleg audio exists

US tour dates are taken from the Hell Bent For Leather T-shirt

Steel & Leather Productions, U.S.A.