IAN HILL Reveals The Unorthodox Way He Recorded His Bass Lines For JUDAS PRIEST’s Latest Album

In a new interview with Radioactive MikeZ, host of the 96.7 KCAL-FM program Wired In The Empire, Judas Priest bassist Ian Hill offered insight into the band’s unconventional songwriting and recording process for their latest album, Invincible Shield, much of which was done during the pandemic.

Hill explained: “Yeah, it was it was a longer gestation period, definitely, because of the pandemic. The big problem was that Glenn [Tipton, Priest guitarist] and myself were stuck on this side of the pond and everybody else was in the States. We weren’t allowed to travel. So, I was rushed a little bit. The other guys managed to get around it. Scott [Travis, Priest drummer] and Richie [Faulkner, Priest guitarist] are in the Nashville area now, so it was quite easy for them to get their parts done. Well, not easy, but more straightforward. Nothing’s ever easy. And Rob [Halford, Priest singer], of course, he’s out there in Phoenix, and that was comparatively straightforward as well.”

While some members like Scott Travis and Richie Faulkner, who were based in Nashville, had an easier time recording, the situation was more complicated for Hill, as he was juggling tour commitments. He shared: “When it came to the bass lines, we went straight out of sort of the pandemic and straight into the 50th-anniversary tour, and the bass lines ended up being done in hotel rooms on the European tour on days off. I mean, Andy‘s [Sneap, Priest touring guitarist and producer] with us anyway, the producer.

“Of course, he got his laptop with all the information on it. I only ever Direct-Input the bass anyway; 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 tour. So it was, like I say, a very tranquil way of recording. You don’t have other people — there’s six or seven other people, whether it’s a studio person or whatever — breathing down your neck. So, yeah, it was great. It turned out really well. ”

Hill also mentioned that the additional time due to the pandemic actually had some advantages, allowing for greater refinement of the songs. “The main thing was Richie and Glenn had more time to finesse the songs. We had very little messing around in the studio. We knew pretty much what the songs were gonna be, which made things more straightforward for myself when I came around to do my part, and Scott as well, to put the drum patterns down. So, yeah, it had its plus points as well, the pandemic, as well as the minus ones.”

Despite the unconventional process, Hill praised Andy Sneap for his seamless work in pulling the project together. “Andy was pushed, obviously, ’cause he went straight out of the tour and straight into the studio to start to produce it and put his magic to the completed project. But it worked out well.”