Judas Priest

Context: Judas Priest were formed in 1969 in industrial West Bromwich, in the Black Country, by vocalist Al Atkins and bassist Brian "Bruno" Stapenhill, with John Perry on guitar and John "Fezza" Partridge on drums. Perry soon died in a road accident, and amongst the replacements the band auditioned were future Judas Priest guitarist Kenny "K. K." Downing; at the time, they turned him down in favour of 17-year-old multi-instrumentalist Ernest Chataway, who had played with Birmingham band Black Sabbath when they were still called Earth. Stapenhill came up with the name Judas Priest from Bob Dylan's song "The Ballad of Frankie Lee and Judas Priest" on the album John Wesley Harding. No member of that early lineup lasted long enough to play on the band's recordings, though several songs co-written by Atkins appeared on their first two albums. The band gained a three-album recording contract with the label Immediate in late 1969 after a gig in Walsall, but the label went out of business before an album could be recorded, and the band split in 1970. Late in the year, Atkins found a heavy rock band rehearsing without a singer called Freight, made up of K. K. Downing on guitar, his childhood friend Ian "Skull" Hill on bass, and drummer John Ellis. He joined them, and they took on Atkins' defunct band's name. Their first gig was on 6 March 1971. Ellis quit later that year and was replaced with Alan Moore. Early shows included Hendrix and Quatermass covers, and in 1972 the set list included the originals "Never Satisfied", "Winter", and the show-closer "Caviar and Meths". Moore left and was replaced with Christopher Louis "Congo" Campbell, and the band joined Black Sabbath guitarist Tony Iommi's management agency Iommi Management Agency. Atkins continued to write material for the band--including "Whiskey Woman", which became the base for the Judas Priest staple "Victim of Changes"--but as finances were tight and he had a family to support, he played his last gigs with the band in December 1972. Campbell left soon afterwards, and the band enlisted two members of the band Hiroshima: drummer John Hinch and vocalist Rob Halford, the brother of Hill's girlfriend. Judas Priest made their first tour of continental Europe in early 1974 and returned to England that April to sign a recording deal with the label Gull. Gull suggested adding a fifth member to fill out the band's sound; they took on as a second lead guitarist Glenn Tipton, whose group The Flying Hat Band were also managed by Iommi's agency. Judas Priest went into the studio in June-July 1974 with Black Sabbath producer Rodger Bain. The band released their debut single "Rocka Rolla" that August and followed in September with an album of the same name. The album features a variety of styles--straight-up rock, heavy riffing, and progressive. Technical problems during the recording contributed to the poor sound quality of the record. Producer Rodger Bain, whose resume included Black Sabbath's first three albums as well as Budgie's first album, dominated the production of the album and made decisions with which the band did not agree. Bain also chose to leave fan favourites from the band's live set, such as "Tyrant", "Genocide" and "The Ripper", off the album and he cut the song "Caviar and Meths" from a 10-minute song down to a 2-minute instrumental. The tour for Rocka Rolla was Judas Priest's first international tour with dates in Germany, the Netherlands, Norway and Denmark including one show at Hotel Klubben in Tonsberg, one hour from Oslo, Norway, which scored them a somewhat negative review in the local press. The album flopped upon release, leaving Priest in dire financial straits. Priest attempted to secure a deal with Gull Records to get a monthly pay of 50 pounds, however, because Gull Records were struggling as well, they declined. Rocka Rolla (1974) has been for the most part dismissed by the band and none of its songs were played live after 1976 except for "Never Satisfied", which was revived during the Epitaph Tour in 2011. The band performed "Rocka Rolla" on BBC Two's The Old Grey Whistle Test in 1975, as well as the "Dreamer Deceiver"-"Deceiver" pair the year before the songs appeared on Sad Wings of Destiny. Hinch left the band for reasons that are disputed and was replaced with Alan Moore, who returned to the band in October 1975. Finances were tight: band members restricted themselves to one meal a day--and several took on part-time work--while they recorded their follow-up album on a budget of PS2000. The group intended to make an album mixing straight-ahead rock with a progressive edge. The band recorded Sad Wings of Destiny over two weeks in November and December 1975 at Rockfield Studios in Wales. The band stayed sober during the 12-hour recording sessions. The cover depicts a struggling, grounded angel surrounded by flames and wearing a devil's three-pronged cross, which became the band's symbol. The album was released in March 1976, with "The Ripper" as lead single. The band supported the album with a headlining tour of the UK from April to June 1976. By this time Halford joked that fans should burn their copies of Rocka Rolla. The album had little commercial success at first and had difficulty getting noticed due to critical competition from the rise of punk rock, though it peaked at No. 48 in the UK and had a positive review in Rolling Stone. Fans, critics, and the band have since come to see Sad Wings of Destiny as the album on which Judas Priest consolidated their sound and image. It features heavy riffing and complex song arrangements that Tipton and Downing have said were inspired by the factories of The Black Country. The album's centrepiece "Victim of Changes" evolved from a combination of Atkins' "Whiskey Woman" and Halford's "Red Light Woman", and went on to become a fan favourite. The band grew dissatisfied with Gull; the tight finances led Moore to leave the band a second time--this time permanently. Sad Wings of Destiny caught the attention of CBS Records, and with the help of new manager David Hemmings, the band signed with CBS and received a PS60000 budget for their next album. The signing required breaking their contract with Gull, resulting in the rights to the first two albums and all related recordings--including demos--becoming property of Gull. Gull periodically repackaged and re-released the material from these albums. CANNOTANSWER

Question: was the Sad Wings of Destiny album successful?
Answer: critical competition from the rise of punk rock, though it peaked at No. 48 in the UK and had a positive review in Rolling Stone.