

Making good music isn’t easy, even for bands with a boatload of iconic albums under their studded-leather belts. Judas Priest has weathered many a storm, from pandemics to Parkinson’s to band drama, but continues to thrive thanks to the indomitable spirit of guitarist Richie Faulkner His creative energy was pivotal in the creation of the band’s latest album, Invincible Shield.
Did Invincible Shield take a long time to record?
We had some of the songs kicking around in early 2020; we were writing just before the pandemic hit, but couldn’t get together to record. Once the lockdown was lifted, we recorded between legs of a tour. We’d play, then have four weeks off, so we’d get guitars and drums done, then go back out. We recorded some of the bass in hotel rooms. There’s always a challenge when you’re making a record, and it becomes the story of the album. The challenge kind of makes it what it is.
How does writing happen?
Me, Rob Halford, and Glenn Tipton get together for sessions, and songs start as riffs and demos we have individually. I might have a couple, Glenn might have a couple, and if they match, we put them together. We add lyrics and make demos, which is what we had before the pandemic – basic structures of songs that are strong enough for an album. Then I work on guitar parts and solos.
Are your solos improvised?
I usually don’t work out solos, but for this one I had time to construct them. Usually, I play three or four takes – little motifs that tend to stick. Subconsciously, they become the solo. I keep those parts and see what else I can come up with, then build the solo from the vibe and energy of the song.
The solo on “Crown of Thorns” is absolutely killin’.
That one is a reference to the intro, but I let it go into its own thing. I like to keep the solo relevant to the song. When you’re younger, you think speed is king, but when you grow up, you realize the slower and more-melodic the solo, the more it resonates and connects. Faster might be flashy, but it doesn’t speak to people as much. Slow it down, play what’s appropriate, and have a good melody and strong emotion rather than a blaze of notes.
In light of Glenn Tipton being diagnosed with Parkinson’s Disease, how much did he contribute?
It’s hard to quantify. We add bits to each other’s ideas and if Glenn can play his ideas, he plays them. If he can’t, he translates them through me; he has good days and bad days. He brought some songs that were really great – “Sons of Thunder,” “Escape From Reality,” and “Vicious Circle” are all Glenn’s and you can hear his style all over them.
Onstage at the 2021 Louder Than Life Festival in Kentucky, you suffered an acute aortic dissection within an aneurysm – an extremely life-threatening condition that only about 20 percent of people survive. What do you remember about it?
During the solo to “Painkiller,” the last song in our set, I felt some pain in my chest. If I had known what it was, I would have rushed offstage straight away, but all I knew in the moment was that I was playing and there’s 50,000 people watching. Luckily, medics were backstage and they took me to the hospital, which was three minutes away. My brain shut down, my body shut down, and I went into shock. But I made it through, and we were back onstage five months later.
What’s your number one guitar?
I have two number ones – my original black Gibson Flying V, which has the double pickguard and EMG pickups. That’s the one my signature guitar is based on. Last year, we released a Custom Shop version, which is blue and has a one-piece body and neck, ebony fretboard, a Floyd Rose, and the Judas Priest emblem on the truss cover – no Tone knob because it has enough tone without it (laughs)! We also did an Epiphone version in 2017.
I love both guitars – they’re my babies (laughs). I have different guitars for different jobs, which include a couple of beautiful Les Pauls I take on the road, but mainly, it’s the two Flying Vs.
You’re set to announced a partnership with EMG, right?
Yes, I have signature pickups coming out, based on their 57/66 set.
This article originally appeared in VG’s June 2024 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.