01. Light Comes Out Of Black (4:56)
02. Screaming In The Dark (3:41)
03. Heart Of A Lion (3:51)
04. Hell's Last Survivor (3:24)
05. Sad Wings (3:37)
06. Prisoner Of Your Eyes (4:34)
07. Forgotten Generation (4:36)
08. God Bringer Of Death (2:48)
09. Rock The World Forever (3:11)
10. Forbidden (5:09)
11. Psycho Suicide (4:48)
12. Drop Out (3:40)
13. Fetish (3:14)
14. Down (4:40)

Rob Halford - Vocals
Metal Mike Chlasciak - Guitars  
Bobby Jarzombek - Drums 
Mike Davis - Bass
Roy Z - Guitars

There have been few vocalists in the history of heavy metal whose singing style has been as influential and instantly recognizable as Rob Halford. Born on August 25, 1951, in Birmingham, England, Halford began singing as a teenager, fronting a local rock band, Hiroshima, and working as a theatrical lighting engineer. But a freak occurrence landed Halford the frontman spot with an up-and-coming rock band out of Birmingham, Judas Priest. In 1973, Halford's sister was dating Priest bassist Ian Hill, and one day a few members were over at the Halford's house, when they overheard Halford singing along to the radio. Priest had just lost a singer, so a tryout was set up, and Halford was promptly accepted into Priest, joining Hill, the twin guitar team of K.K. Downing and Glenn Tipton, and a revolving door of drummers.

With Halford on board, Priest's sound shifted to a more metallic sound, and by 1974, their first album was issued on the small Gull label, Rocka Rolla. Although the debut was an unfocused affair that quickly sank from sight, with each successive release, Judas Priest focused their sound and songwriting, leading to a string of certifiable metal classics that broadened their worldwide fan base -- 1976's Sad Wings of Destiny, 1977's Sin After Sin (the band's first for Columbia Records), 1978's Stained Class, plus 1979's Hell Bent for Leather and Unleashed in the East (these albums in particular would inspire countless future metal bands: Iron Maiden, Metallica, Slayer, Def Leppard, Megadeth, Pantera, etc.) During this time, Halford's look reflected a motorcyclist -- dressed head to toe in leather and studs, he would even drive a Harley out on stage at each show. He also had become one of the best singers in all of hard rock, able to effortlessly alternate between a throaty growl and an ear-splitting falsetto.

Judas Priest had built up a loyal cult following during the '70s, but by the dawn of the '80s, the quintet sought to broaden their sound to obtain mainstream success. The ploy worked, with such gold- and platinum-selling hits as 1980's British Steel, 1981's Point of Entry, 1982's Screaming for Vengeance, and 1984's Defenders of the Faith, making Priest one of the world's top metal bands and an arena headliner. Further sold-out tours and albums of varying quality followed (1986's Turbo, 1987's Priest Live, 1988's Ram it Down, and 1990's over-the-top metalfest Painkiller), but by 1992, Halford announced he was leaving the group after nearly 20 years of service.

Although the reason given for Halford's abrupt departure was his need to explore other musical styles, his first non-Priest project was Fight, a quintet that was a carbon copy of Painkiller-era Priest. After a total of two albums (1994's War of Words and 1995's Small Deadly Space) and an EP (1994's Mutations), Halford ended the band. His next project would be a more industrial-sounding outfit, entitled Two. Undoubtedly inspired by Nine Inch Nails (the band was even signed to NIN leader Trent Reznor's label, Nothing Records), Two issued a lone album in 1997, entitled Voyeurs. Just prior to the album's release, Halford addressed long-standing rumors concerning his sexuality by stating publicly for the first time in his career that he was gay. With his electro-rock experiment out of his system, the former Priest singer returned to his metal roots with another quintet entitled, simply, Halford. 2000's Resurrection was greeted favorably by metalheads everywhere, as an opening stint on Iron Maiden's Brave New World tour heightened interest. Halford's first post-Priest live set followed a year later with the double-disc Live Insurrection, while rumors continued to persist concerning a Halford/Priest reunion (both camps have supposedly patched up their differences). In 2002, another Halford release was issued, Crucible, before the announcement that many a metalhead had been clamoring for was made public -- Halford and Priest were once again back together, resulting in the release of such subsequent albums as 2005's Angel of Retribution and 2008's Nostradamus, and world tours. ---Greg Prato, allmusic.com

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01. Get Into The Spirit (5:26)
02. We Three Kings (4:07)
03. Oh Come O Come Emanuel (4:38)
04. Winter Song (5:38)
05. What Child Is This? (4:27)
06. Christmas For Everyone (3:07)
07. I Don't Care (3:14)
08. Light Of The World (4:14)
09. Oh Holy Night (4:09)
10. Come All Ye Faithful (2:27)

Bass – Mike Davis 
Drums – Bobby Jarzombek
Guitar – Mike Chlasciak, Roy Z
Keyboards – ed roth
Vocals – Rob Halford

Who would have honestly thought that a Rob Halford holiday album would be superior to his latest effort with Judas Priest? When I first heard about this release, I cringed, as it seemed like an awkward and poor decision. I was expecting Rob to lend his voice to more traditional versions of these songs, but it turns out that he has metalized each of the covers, more or less successfully.

Winter Songs features a mix of classics and new originals, and at the very least, you could say Rob's voice is still in fine form. Most of the traditional tunes like "We Three Kings", "What Child is This", and "Come All Ye Faithful", sound much like you'd expect a metal cover to sound like. The vocal melodies remain the same as ever, but having Halford's cutting shriek atop them is not a horrible interpretation. As for the originals, it's a mixed bag. "Get Into the Spirit" features some good melodic lines and the more aggressive vocal edge ala Painkiller, all dowsing the low end groove and chug of the Halford solo albums. "Winter Song" is a passeable ballad with a 70s atmosphere, Rob's voice wavering over bells and bluesy solos. The rest of the album is hardly worth mentioning.

On paper this idea may have seemed corny, but the finished product is not nearly as bad as it could have been. The mix seems a little lo-fi, but I wouldn't expect much effort for an album of this sort, released largely for fun and probably, because Rob always wanted to lend his voice to these tunes. Do the songs live up to the great pair of solo albums he's released, or the Priest discography up to and including 1990? Absolutely not. But it's a lot less disappointing than Nostradamus. ---autothrall, metal-archives.com

"W tym szaleństwie jest metoda!" można powiedzieć słuchając trzeciej solowej propozycji Halforda. Nie jest to najlepsza płyta, na której śpiewa, ani nie najgorsza. Inna a zarazem taka sama. Metalowa a zarazem ckliwie świąteczna. Łącząca ogień z wodą, blask z ciemnością, moc truchleje itepe... Metal God nic już nie musi udowadniać, tą płytą udowodnił wszystko. Za muzykę 6, ale za pomysł i odwagę 7. ---Grzegorz Żurek, magazyngitarzysta.pl

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