★葛莱美“最佳金属演出”+MTV台“史上伟大金属乐团”+VH1频道“史上最伟大艺人”等多重荣耀加持的英国金属之神，1980年第六张录音室专辑

★全英排行榜TOP 4，滚石杂志评鑑史上百大金属乐专辑排行第三名，开启1980年代摇滚盛世之金属旷世经典

★收录"Breaking the Law" , "Living After Midnight" 等摇滚经典

冠以“金属之神Metal Gods”封号的Judas Priest，少数经历摇滚黄金年代、另类摇滚崛起、摇滚式微的改朝换代，完全不受后起新秀的威胁，依然屹立不摇持续发行叱吒排行作品！拿下葛莱美“最佳金属演出”喝采，荣登MTV台“史上伟大金属乐团”亚军，进入VH1频道“史上最伟大艺人”以及“摇滚荣耀”行列，全球突破5000万张销售量的Judas Priest，70年代中期之后，在Columbia Records的协助下，由大英帝国横扫美国市场，进而攻陷国际领域。1982年发行的《Screaming For Vengeance》，在各大乐评媒体获得好评盛讚，美国权威娱乐媒体IGN就将这张作品选为“史上最佳25重金属摇滚专辑”、Metal-Rules.com网站票选“史上最佳百大重金属摇滚专辑”第十名，另外更入选Kerrang!“史上最佳百大重金属摇滚专辑”！2014年的《Redeemer Of Souls》新作一问市，强势攻上美国流行榜第6名，实证Judas Priest魅力依旧，宝刀未老！

就如同重金属名团Anthrax吉他手Scott Ian所说，这是一张真正定义重金属的专辑。发行于1980年，巧妙地将摇滚注入更具侵略性的音量，更加琢磨每首歌的旋律感，终于获得商业成功，打入主流市场，正式开启80年代重金属乐团大爆发。

Predating Metallica's self-titled blockbuster by 11 years, Judas Priest's British Steel was a similarly pitched landmark boasting many of the same accomplishments. It streamlined and simplified the progressive intricacies of a band fresh off of revolutionizing the entire heavy metal genre; it brought an aggressive, underground metal subgenre crashing into the mainstream (in Priest's case, the NWOBHM; in Metallica's, thrash); and it greatly expanded the possibilities for heavy metal's commercial viability as a whole. Of course, British Steel was nowhere near the sales juggernaut that Metallica was, but in catapulting Judas Priest to the status of stadium headliners, it was the first salvo fired in heavy metal's ultimate takeover of the hard rock landscape during the 1980s. Packed with strong melodic hooks, British Steel is a deliberate commercial move, forsaking the complexity of the band's early work in favor of a robust, AC/DC-flavored groove. It's a convincing transformation, as Priest prove equally adept at opening up their arrangements to let the rhythms breathe (something Iron Maiden, for all their virtues, never did master). The album is built around the classic singles "Breaking the Law" and "Living After Midnight," both big hits in the U.K., which openly posit Priest as a party band for the first time. But British Steel is hardly a complete break from the band's past. There are still uptempo slices of metallic mayhem bookending the album in "Rapid Fire" and "Steeler," plus effective moodier pieces in "Metal Gods" (ostensibly about gods literally made of metal, though you know full well the band wanted a nickname) and the crawling menace of "The Rage," which features arguably the best Rob Halford vocal on the album. Not everything on British Steel quite holds up today -- the British hit "United" is a simplistic (not just simplified) football-chant anthem in the unfortunate tradition of "Take on the World," while "You Don't Have to Be OId to Be Wise" wallows in the sort of "eff your parents, man!" sentiments that are currently used to market kids' breakfast cereals. These bits of blatant pandering can leave more than a whiff of unease about the band's commercial calculations, and foreshadow the temporary creative slip on the follow-up, Point of Entry. Still, on the whole, British Steel is too important an album to have its historical stature diluted by minor inconsistencies. Rather, it sealed Judas Priest's status as genre icons, and kick-started heavy metal's glory days of the 1980s. It went Top Five in the U.K. and became their first Top 40 album in the U.S., going platinum in the process and paving the way for countless imitators and innovators alike.