It was supposed to be the end. Honestly, back in 2011, when Judas Priest announced the "Epitaph" tour, the metal world collectively held its breath. We all thought we were watching the final sunset of the Metal Gods. K.K. Downing had just walked away, Richie Faulkner had stepped into some impossibly large leather boots, and the band was promising a setlist that touched every single studio album from Rocka Rolla to Nostradamus.
Then they recorded the finale.
The Judas Priest Epitaph CD (and its video counterparts) captured that May 26, 2012, night at London’s Hammersmith Apollo. It wasn't just another live album to pad out a contract. It was meant to be a tombstone. But as we know now, Priest didn't die; they got a second wind. Yet, looking back at this specific recording in 2026, it holds a weird, almost sacred place in their discography. It’s the sound of a band trying to say goodbye while accidentally proving they had decades left in the tank.
The Setlist That Should Have Been Impossible
Most live albums are promotional tools for a new record. You get four new songs nobody knows yet, and then the hits. But the Epitaph project was different. The band committed to playing at least one song from every era.
Think about that.
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They had to dig up "Never Satisfied" from 1974. They had to make "Blood Red Skies" work alongside "Painkiller." You've got "Starbreaker" from Sin After Sin rubbing shoulders with "Prophecy." It's a massive, 23-track journey that basically serves as a history lesson in British Heavy Metal.
- The Deep Cuts: Hearing "The Sentinel" or "Night Crawler" with modern production values is a treat, but the real meat is in the stuff they hadn't touched in years.
- The Transitions: The way the band moves from the bluesy roots of the mid-70s into the stadium-shaking anthems of the 80s is seamless.
- The New Blood: Richie Faulkner didn't just play K.K.’s parts; he injected a youthful energy that clearly pushed Glenn Tipton and Ian Hill.
What Most People Get Wrong About the Vocals
There’s a common narrative that Rob Halford was "struggling" during this era. Look, the man was 61 years old at the Hammersmith show. He isn't going to sound like he did in 1982. But if you actually listen to the Judas Priest Epitaph CD, you’ll hear something more impressive than raw range: you'll hear technique.
On "Victim of Changes," he still hits the banshee screams. On "Diamonds and Rust," he brings a weathered, emotional depth that the younger Rob couldn't have tapped into. Yeah, he lets the crowd sing "Breaking the Law" entirely—which some fans hated—but it felt less like he couldn't sing it and more like he was taking a moment to absorb the love of a home-turf London crowd one "last" time.
Why the Audio-Only Experience Hits Different
While the Blu-ray is flashy with its pyrotechnics and Rob’s endless wardrobe changes (the silver cape for "Prophecy" is legendary), the CD or digital audio lets you focus on the mix.
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Produced by the band and Tom Allom, the sound is thick. Ian Hill’s bass is actually audible and driving—something that often gets lost in the "twin-guitar assault" chatter. Scott Travis is, as always, a human metronome of destruction on the drums. When you strip away the visuals of Rob leaning on his cane or the rapid-fire camera cuts that plagued the video release, you're left with a very honest, very heavy performance.
The "Farewell" Irony
The funniest thing about the Judas Priest Epitaph CD is the title itself. An "epitaph" is a final statement written on a gravestone. Since this came out, Priest has released Redeemer of Souls, Firepower, and Invincible Shield. They didn't retire. They didn't even slow down much.
In hindsight, this record isn't a funeral. It’s a transition. It marks the exact moment the band realized they weren't done. You can hear the hunger in Faulkner’s solos. You can hear Tipton realizing he’s found a partner he can actually trade licks with again.
Is It Better Than 'Unleashed in the East'?
Let's be real: Unleashed in the East is the gold standard. It’s short, sharp, and (arguably) heavily overdubbed in the studio. Epitaph is the opposite. It’s long, it’s raw, and it’s a warts-and-all document of a legendary band at a crossroads.
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If you want the "Greatest Hits," you buy A Touch of Evil: Live. But if you want to understand the breadth of what Judas Priest did for music, the Epitaph recording is the one. It covers the 70s prog-metal, the 80s commercial peak, the 90s speed metal, and the 2000s return to form.
Key Tracks to Revisit:
- "Blood Red Skies": This is arguably the definitive live version. The drama is off the charts.
- "Never Satisfied": A rare look at their 1974 beginnings played with 21st-century power.
- "The Hellion/Electric Eye": Because a Priest show without this doesn't feel right.
Getting Your Hands on a Copy
Finding the physical CD can be a bit of a hunt these days, as the DVD/Blu-ray versions were much more heavily marketed. However, for the completist, the audio version is essential. It’s widely available on streaming platforms, but there’s something about owning the physical disc with the booklet photos of that Hammersmith stage setup that feels right.
If you're looking to add this to your collection, check independent record stores or Discogs. The Japanese pressings often have slightly better packaging if you're into that sort of thing.
Actionable Insight for Collectors:
If you're a die-hard fan, don't just settle for the "Breaking the Law" crowd-sing version on this CD. Pair your listening with the Battle Cry live album (recorded at Wacken 2015) to hear how the band actually got tighter and more aggressive a few years after their supposed "retirement." Use the Judas Priest Epitaph CD as your baseline to appreciate the incredible longevity of the band.