The definitive Judas Priest playlist

Defenders of the Faith (1984) is among a string of Judas Priest albums that came out during the early 1980s that vaulted the band into the United States mainstream of hard rock and heavy metal music. Though this record didn't produce a memorable single for the masses, it is collectively hailed as among the group's best. "Love Bites" should never be confused with Def Leppard's ballad by the same name released a few years later. It's not one of Judas Priest's harder tracks but has plenty of "bite" to stand out on the record.

Killing Machine, released in the United Kingdom in 1978, was the band's fifth studio album. Due to the controversial title, and in the wake of a school shooting in Cleveland, the album was released under Hell Bent for Leather in the United States in early 1979. "Take on the World" is one of Priest's early attempts at an anthem, hoping to be like Queen's "We Will Rock You." In some sense, that was the case, especially in the U.K., where it was often played in sports stadiums.

During the 1970s, Judas Priest's sound delved into the progressive genre of rock at times — something that was quite popular in the United Kingdom. That mostly was not the case during the 1980s, but there are certainly elements of progressive tendencies from "The Sentinel," off Defenders of the Faith. Thus, making it one of the standout tracks on an album that was among its most accessible in terms of mainstream success or introducing a new breed of rock fans to Judas Priest. 

Yes, there are plenty of reasons for die-hard Priest fans to hate 1986's Turbo album. The band was already a commercial metal mainstay, but MTV and FM rock radio was the goal. The hair/glam metal approach secured spots on both, and Judas Priest wasn't immune from falling victim to selling out by Glenn Tipton and K.K. Downing teasing their hair. Though "Turbo Lover" might be the most recognized track from Turbo (which reached No. 17 on the Billboard 200 in America), the harmless sound of rebellion coming from "Parental Guidance" is more than tolerable. Honestly, it's better than most of what we were hearing from the Sunset Strip.

The leather look has been the band's trademark for decades, at times more menacing than others — certainly when talking about frontman Rob Halford. That was the attitude delivered on this track. Straight-forward hard rock, no apologies, and no need to explain packed into a tight two minutes and 38 seconds. A sound that was emulated a few years later by bands like Metallica and Megadeth. 

When Judas Priest released its prominent British Steel album in 1980, the band was finally recognized as a respected hard rock and heavy metal force. Priest's sixth studio album reinforced that. "Rapid Fire" is exactly what the title suggests. Fast, relentless, and powerful. A seemingly non-stop metal assault on the ears and one of the band's most underrated songs. Not just on the British Steel record but in its entirely massive catalog. 

"Freewheel Burning" kicks off the Defenders of the Faith album and just might be the one track that encapsulates the true Judas Priest listening experience. It's complete with Rob Halford's piercing, operatic voice and the twin guitar assault of Glenn Tipton and K.K. Downing. The tune can be a bit schlocky in parts, and Dave Holland's drumming has been critically branded as mechanical. Still, it's an above-average song that is a solid introduction to the band becoming more aware of what it took to become an international success.

From 1978's Stained Class, the controversial album that nearly ended the band's existence, "Exciter" is a blistering number. The first song off the record prominently features the brilliant work of drummer Les Binks, who debuted with the group on this album and stayed for one more studio LP. While "Exciter" doesn't usually garner the same lasting celebration as other great Judas Priest tracks, it can more than hold its own within the group's legacy.

After Judas Priest's 1974 debut Rocka Rolla was essentially dismissed by critics, the band found a more refined sound in its second offering, Sad Wings of Destiny (1976). It's a record that influenced the likes of Dave Mustaine and the guys from Slayer. "The Ripper" offers what Judas Priest fans love about the band. Heavy riffs (showcasing Glenn Tipton and K.K. Downing at their best) and signature-sounding Rob Halford vocals. There's also a heavy Queen influence on a track that's long been a live staple. 

We've packaged this as a twofer because of the way the two songs are intertwined as the final numbers from Side One of Sad Wings of Destiny. "Dreamer Deceiver" takes up most of the eight-plus minute combo and truly displays the vocal range and versatility of Rob Halford. It's a slower tune, which some continue to call a ballad. It eventually segues, via an extended Halford shriek, into the heavier "Dreamer." Each track is more than serviceable on its own but together makes for a magical metal moment.

The closer to Sin After Sin, the band's third studio album from 1977. On the record, it's segued from the ballad "Here Comes the Tears," but "Dissident Aggressor" can stand on its own. It's one of Priest's heaviest moments, which is saying a lot. More stellar dual-guitar work — and trade-off solos — from K.K. Downing and Glenn Tipton and thundering bass performance from Ian Hill. Oh yeah, did we mention Rob Halford's memorable shriek? When it comes to serious, earth-shacking metal, this is what we're talking about.

Judas Priest has released some strong cover versions over the decades. Standing above the rest is "Diamonds & Rust." It's the Joan Baez folk classic that Priest eventually featured on 1977's Sin After Sin. Though not completely the same as Baez's original (and there are different Priest versions, too), this take certainly fits with the band's attitude. Want more? Check out the various acoustic versions the group has showcased over time.

"Breaking the Law" is one of Judas Priest's two signature moments from British Steel. The leadoff single from the album, "Breaking the Law" is pretty much synonymous with the band. From its memorable opening riff to blaring sirens to Rob Halford snarling out the famous chorus. While the song was already an essential part of Priest's legacy before the 1990s, it reached a new surplus of fans from its inclusion in and references to the beloved Beavis and Butt-Head animated series.

Screaming for Vengeance, from 1982, is the record that put Judas Priest firmly on the mainstream map and served as its commercial breakthrough — earning double-Platinum status in the United States. "You've Got Another Thing Comin'" was a major reason for that success. It's the only Priest song to chart on the Billboard Hot 100 (topping out at No. 67). It earned some MTV love, is often considered the group's signature song, and is long at the forefront of the Judas Priest legacy. 

Sure, plenty of Judas Priest fans don't want to talk about the band's power ballads. Still, the masterfulness of "Beyond the Realms of Death," from Stained Class, can't be mistaken. Going a step further, the track picks up enough speed and is certainly hard enough to shed that moniker and be defined simply as a melodic change of pace with plenty of fury. This is perhaps because of Rob Halford's vocal performance, which is right up there with anything he's put forth during his illustrious career. More stellar guitar work and a strong performance from drummer Les Binks are not to be outdone. 

Another twofer. This time, it's the 41-second instrumental opener "The Hellion" that goes right into the hard-charging "Electric Eye." "You've Got Another Thing Comin'" might be the most recognizable mainstream track from Screaming for Vengeance, but Judas Priest fans of all levels can argue that this pairing is the shining moment from the record. Complete with its Orwellian and dystopian vibes, "Electric Eye" sets the stage for what would become Judas Priest's breakthrough album.

The year was 1990, Judas Priest had gone through its MTV/glam metal phase but entered a new decade with one of its heaviest and rawest projects in Painkiller. It was the first Priest record to feature former Racer X drummer Scott Travis as a member. Travis' presence was immediately announced with his drum intro to this blistering title cut. The tale of a superhero cyborg who saves the world, "Painkiller" was nominated for Best Metal Performance at the Grammys. 

The song that opened Sad Wings of Destiny has long been considered one of the great hard rock and heavy metal songs of all time. There's a bluesy feel to track in the same neighborhood as classic Black Sabbath. Not one of Judas Priest's heaviest songs but arguably the one that helped critics take the band seriously after a dismal critical debut. At nearly eight minutes long, "Victim of Changes" is one of the longer songs in the band's catalog, but time seems to fly because of the piece's intricacy, complexity, and unique nature.

British Steel was Judas Priest's first album to earn Gold status in the United States. "Living After Midnight" was a big reason for that type of success. An ode to the rebellious and promiscuous days of the late 1970s, especially for hard rockers around the globe, and perhaps America, especially. It's a true metal anthem, though not in an old-school way. Still, the song is catchy and hooky enough to influence — for better or worse — those Sunset Strip bands of the 1980s that, as we saw, Priest eventually found itself among. 

The opening number from 1981's Point of Entry, "Heading Out to the Highway" was the first Priest song to crack Billboard's Mainstream Rock Chart in the United States (peaking at No. 10). There are plenty of critics who believed that "Heading Out to the Highway" was an extension of what we heard on "Living After Midnight," but the former has a ballsier, robust sound than the latter. It may not be the first Judas Priest track that comes to mind, but it's strong enough and important within the band's legacy to carry the torch on this list.