When it comes to some of the best albums of last year, it was difficult to find many metal enthusiasts who did not consider Judas Priest’s Invincible Shield. However, because to the COVID-19 pandemic and the fact that the band’s members live in different parts of the world, working on that record proved to be less than ideal for the most of the time.
During a recent interview with Radioactive MikeZ, presenter of the 96.7 KCAL-FM program Wired In The Empire, Judas Priest bassist Ian Hill explained just how unorthodox things were for the renowned heavy metal band when writing and producing Invincible Shield. “Yeah, it was it was a longer gestation period, definitely, because of the pandemic. The big issue was that Glenn [Tipton, Priest guitarist] and I were stuck on this side of the pond while everyone else was in the States. We were not allowed to travel. So I was rushed a little. The other guys were able to maneuver past it.
Scott [Travis, Priest drummer] and Richie [Faulkner, Priest guitarist] are now in the Nashville region, so they were able to complete their parts with ease. Well, not easy, but more direct. Nothing is ever easy. And Rob [Halford, Priest singer], of course, is out in Phoenix, and that was also rather simple.”
Aside from logistical challenges, Hill’s schedule became even more unusual when touring resumed following the outbreak. Rather of recording his bass parts in a studio, Hill explained that they were added to the mix in an ad hoc manner. “When it came to the bass lines, we went straight from the pandemic to the 50th anniversary tour, and the bass lines were done in hotel rooms on days off during the European tour. Andy [Sneap, Priest touring guitarist and producer] is already with us as the producer.
“Of course, he got his laptop with all the information on it. I only ever Direct-Input the bass; that goes straight into the desk. Any effects, it’ll just go on afterward sort of thing. So it was a straightforward thing. I just carried a bass around with me and went to Andy’s room. He was set up. One song, one day. It was great. Richie came in from time to time, just to nod his head and see how we were getting on. And it was done like that throughout the European
So, as I previously stated, it was a pretty quiet way of recording. You don’t have other people — there are six or seven other people, whether they’re studio workers or something — breathing down your neck. So, yes, it was fantastic. It worked out quite well.”
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