The true musical ability of the band is heavily exploited and displayed in the first side of the album in which they tried to put their heaviest and most poisonous stuff. Thus, all those who know the sound of songs like "Stagefright" could easily figure out how "Jawbreaker" sounds like, even though the latter is an enhanced version of the former.
Furthermore, the crazy speedish drums played Dave Holland end up sounding alike to the ones played by Rick Allen, even in the frenetic speed metal song "Freewheel Burning" which is the album's glorious opening track that recalls the spirit of the freeway madness. On the other hand, the second half is full of mid-paced songs that provide a happier vibe to the album, and it is less based on Def Leppard's stuff.
The songs herein kept in a certain way the sound of the preceding album, as they are somehow glammy, being "Some Heads are Gonna Roll" a good example. However, they refuse to stop playing speedish stuff, like the polemic alleged speed metal ode to oral sex "Eat Me Alive" which sounds like a mix of the opening track with some glammy elements of Screaming. That said, the album definitely passed the test of time, and after 32 years of its release date, it remains as one of the best metal releases of all times. A necessary album for those who are interested in the genesis of power metal and the agony of the NWOBHM, which took place in the middle of the 80's.
Thereafter, the band had serious difficulties finding a new sound and adapting to the constant changes that heavy metal experimented, either for good or for bad, which were mainly derived from the aforementioned decay of the NWOBHM. As it happens with other bands possessing large discographies, there're several distinct groups of Judas Priest fans defined by their preference towards a given style of the band. There are those who cherish their 70s output the most, the seminal metal they started to forge when Ozzy's Sabbath's fuel started to go low; classic rock-tinged heavy metal, and primeval proto-speed.
Others prefer the more in-your-face hard rock punch of albums such as Killing Machine and British Steel. Another group favors the ultimate speed metal record, Painkiller , considered by some of them as the peak, not only of the Metal Gods' prolific career, but of heavy metal music itself.
Personally, while I enjoy all of their styles and epochs, I undoubtedly stand among the latest group of Priest fans. So, after perfection itself, half man, half machine… what album comes in second place for us speed freaks? What album shares Painkiller's perfect combination of aggression, explosive catchiness and intelligent compositions that sears past trends and mere commercial intent? For me, it's Defenders of the Faith. While it isn't pure blister up and singeing the whole 39 minutes, the mid-paced tracks compensate with emotive heavy metal that's just as memorable but a tiny notch more elaborate than most of the tracks found on their previous four releases.
Dave Holland's finally unleashed here, even more so than in "Rapid Fire", and while he's no Scott Travis, the song's propulsive beats are more than legit for a mids metal album. And the way Halford finishes the song, with an impossible high singing of the title, it's just mind-blowing. My skin hairs rise every time I hear that into, such a powerful, ominous a monolithic guitar work. A tale of a post-apocalyptic villain, maybe an antihero, I imagine the guy as if Boba Fett was placed in the Mad Max universe.
The guitar solos dueling in the mid section of the song is definitely out of this world. I've had the privilege of listening to this masterpiece live and now I can die happy… even if it's one of the Sentinel's throwing knives the one that gets the job done. It's like a dark, electrifying rendezvous, with Halford's commanding vocals all over the place. The tune wouldn't be out of place in an erotic 80s flick or maybe a hentai anime. I'm thinking something classy, like Wicked City.
Fancy some god ol' BDSM? Both tracks feature extremely suggestive lyrics that are quite open to interpretation in terms of the sex genres, number of participants and roles played, so all of you can get to imagine your kinkiest fantasies just as Rob intended, you cheeky bastards! Those four minutes constitute my only real complain with this otherwise excellent, almost-masterpiece record, which has great production values, dated but still amazing, and yet another sophisticated cover artwork by Doug Johnson. I'll put my money on the Metallian over the Hellion anytime, though.
Defenders of the Faith was and still is Judas Priest epitome of 80s metal, in terms of musical quality and pure artistry. And just like with Painkiller I wish they had carried on with this direction, which is why the synth-happy Turbo will always be a much despised album by me. But the ultimate Defenders of the Faith, our Metal Gods, resonate strong with this outstanding release.
Out of all the albums in the 80's, "Defenders of the Faith" is my definite favorite ever to be released by Judas Priest. It's got more power and aggression than "Screaming for Vengeance" and "British Steel" combined, and up until the release of "Painkiller" in , was pretty much the hardest album the band ever released. Sure, we do get some traces of commercial sound that CBS pressured Priest to create, but those don't affect how awesome it is in any way, 'cos even they're worth something. The sweet album cover art by Doug Johnson is only the beginning to the awesome power of "Defenders of the Faith".
On every song, Judas Priest put more power into their signature sound, creating something any metaller could be proud of. From the fast and blazing "Freewheel Burning" to the haunting and somber "Night Comes Down", there's something on this album for everyone. One of my favorite tracks, however, is "The Sentinel", which begins with an aggressive, yet elusive-sounding intro by K.
Downing that builds up to the fast and driving song itself. The guitar solos of Downing and Glen Tipton clash against each other, both playing some sick and tasty solos before combining to create a single harmonic solo to finish the break. They do the same thing in "Rock Hard, Ride Free".
Defenders of the Faith
Despite being at commercial tempo, "Rock Hard, Ride Free" doesn't necessarily need speed in order to be an underrated classic. Sure, this album isn't without its more commercial songs the band was, after all, under the iron fist of CBS Records! The song which I'm sure would get a lot of complaints would be the ballad, "Night Comes Down". I actually kinda like it better than other people would. It's got a more eerie and somber vibe to it rather than a pretentious and synth-infused one.
The chorus, however, could've been better, but it had to be catchy in order for it to get noticed, right? Then there's "Love Bites", a song with much more power. It's at that same commercial pace as the classic hit "You've Got Another Thing Comin'", but it actually has a more mystifying tone than an abrasive and crunching one. There's also "Heavy Duty", which fades into the title track, which mainly consists of a crowd chanting "We are defenders of the faith". Both songs have that pounding, and somewhat anthem-like tempo to it, but it's hard rocking tone doesn't quite make it reach the more majestic, anthem-like level of "United" on the "British Steel" album.
But there's also songs that are driving and powerful, all the way through. The opening track, "Freewheel Burning", is one of them. It's one of many songs on "Defenders of the Faith" that are grinding and full of energy, more songs than "Screaming for Vengeance" or "Britsh Steel". It's also the fastest track on the album, giving us the impression of leading at breakneck speed with high octane, as the lyrics describe, and the power of Rob Halford's vocals is part of the reason for it. With the previous album, "Screaming for Vengeance" we only get two or three songs where Rob is able to use his powerful voice to its fullest potential.
With "Defenders of the Faith", "Freewheel Burning" is one of several songs which feature Halford's high pipes. They also carry these songs higher than the production quality could ever dare to. The production quality that makes the album heavier is good, but such an album with high-energy vocals is even better. They make even slower songs, like "Rock Hard, Ride Free" incredible tracks, 'cos the song gets more energy than it would without Halford.
Even so, it still manages to be just as good as the songs that do feature Halford's metal screaming. I honestly don't see how such a tremendous album could get so little fanfare, even from the band itself its commemorative 30th anniversary edition didn't come out until almost a full year after its actual anniversary date. It's quite an underrated album. I get that we've got the classics, but why didn't any of the songs on here become classics themselves? How come "Defenders of the Faith" didn't get the recognition it deserved?
And more importantly; why does "Turbo" get more respect? The answers to these questions might never come to light, but nevertheless, "Defenders of the Faith" is the "Painkiller" of the 80's, a true forgotten masterpiece. To my mind this is Judas Priest's seventh best album. For most bands, that would make this garbage, but Priest were a strong band.
For as much had decayed from their greatest years, this is still a good album. It suffers largely from annoying 80's cliches that renders almost half the album comletely uninteresting. I'll start with the guitars, as they're possibly the best aspect of the album. The riffs to songs like Freewheel Burning and The Sentinel are really, really good. The leads are even better though. I can't put my finger on why, but this just seems their most synchronized display of soloing. Each and every solo is matched by another in perfect succession, and for the last time their leads are roughly equal.
After this, Tipton began to really dominate the soloing, which I think is why people often associate Tipton as being the greater guitarist, which I don't disagree with so much as find the near-unanimity odd. I recall watching one of their live concerts on TV from this era, and Tipton definitely had more of an arrogance to him on stage than KK had.
His ego pushing Downing out was my first thought. My second is that as Tipton absorbed the new techniques first, he decided to give himself more solos to show them off. I don't know which it is, but considering the way KK worded his departure, I tend to think the former may have at least been on his mind. The next great aspect about this album are Halford's vocals. He gives one of the best performances of his career on The Sentinel, and he's pretty good elsewhere.
Supposedly, it was around this time that Halford kicked his addictions, but I don't hear any real improvement. Honestly, I like his vocals on the previous album better, and I think he just sounds his normal, high, quality here as opposed to some new heights. Compared to Screaming, these vocals are more heavily slanted to his gritter hard-rock style. He definitely has some great screeches, but they're not as common as they were on Vengeance.
- Defenders of the Faith - Judas Priest | Songs, Reviews, Credits | AllMusic.
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- Judas Priest - Defenders of the Faith - Reviews - Encyclopaedia Metallum: The Metal Archives.
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My metal and really music interest in general began with 70's bands, including Priest, and most of those bands worth hearing had a strong rhythm section and some good progressive songwriting. This era of Priest has neither of those, and so it leans far more heavily for me on its track by track impact.
I've mentioned the two classics, and one could toss the whole of the first five into the success pile. Eat Me Alive is a little different for two reasons. The first is that it's a good deal more aggressive than the rest of the album, so it seems almost out of place from the start. The second are the infamous lyrics; they're dreadful and pretty easy to make out. The two ballads afterwards don't do much for me, and the attempt at an anthemic stomper is boring.
There's something about the cliches of the 80's that have aged far more poorly than that of the 70's. The latter is that of rock music stretching out into uncharted new territories, and the mistakes are still listenable to some degree. The 80's, goaded by god knows what, spurned these gains and went straight for the allure of singles, thus creating such pandering cretins as what squats at the end of this album. One could argue that it's unfair to criticize an album on the basis of what was common in its time, but Priest predated this trend, and they could have chosen otherwise.
They showed an entire generation of metal bands how to craft epics with Beyond the Realms of Death and Dreamer Deceiver still stands as one of the greatest metal ballads of all-time. They also knew what they were doing when they dumbed down the lyrics and kicked out Binks. Priest chose financial success over consistent quality, and this album's second half is part of what paid the price. Obviously this is still one of their better albums, but it's nowhere near a must for metal fans like a few others are.
This is just recommended to fans of early metal and hard-rock, or at least the better songs are. Up in the sky! Is it a cat? Is it a tank? Is it a cat-tank? In any case, we've gone from mecha-avian to mecha-feline with Doug Johnson's second cover for Judas Priest, but this predatory juggernaut mascot is strangely appropriate for what was one of the band's heaviest records of the 80s, one I might have dubbed Painkiller, Jr. Certainly this is a more ballistic effort than its predecessor Screaming for Vengeance, and even though it lacks a true breakout hit at the level of "You've Got Another Thing Comin'", it's pound for pound competitive in terms of quality for much of its playtime, disintegrating only when you've gotten pretty far in the track list.
By , the rest of the metal world was starting to catch up with Judas Priest. By contrast, a group like Priest was, frankly, starting to feel old. Or rather, they would have, had they churned out another Point of Entry right in the middle of the mass evolution taking place. Fortunately, Halford and crew managed to stave off any notion of irrelevance with a pair of fine albums, first Screaming for Vengeance and then the Defenders of the Faith, the latter of which proved they had the muscle to go the distance, and that there was no known limit to which you could push Rob's lungs and the syncopated headbanging of the ax men.
The first seven tracks on this album completely destroy, with pure power metal pacers like "Jawbreaker" and "Eat Me Alive" highlighting just how rich and lethal Rob's vocal lines had become. The guitar tones fucking crush here, meaner and fatter than they had been on Screaming for Vengeance but just as resonant. Of special note on the album are the leads, which are in my opinion among the best of the band's career.
In "The Sentinel", "Some Heads Are Gonna Roll" and "Jawbreaker", they really let themselves dash all over the fretboards, whammy bars and all, with the sort of excess you'd expect out of a guitar hero like E. The dual melodies pop along to the beats, the rhythm tone is impenetrable. Dave Holland had gelled into a pure cipher of thunder. The slight use of atmospheric synthesized effects here like the intro to "Love Bites" is tasteful rather than out of control as is often the case with the following album Turbo.
Then, about the time we arrive at "Night Comes Down", the storm starts to subside. Not because this is a slower, near power ballad, because it's still pretty atmospheric and has a nice build into the chorus with some heavy riffs, but just because those leading up to it had been so much damned fun. Had Judas Priest clipped these last 8 or so minutes and included one more bridge burner, I'd likely rank this above Screaming for Vengeance and possibly up there with Stained Class in quality, but alas I can't ignore how the album just goes limp.
Either way, Defenders is still a ripper of a record that begs a question: Granted, I still enjoy that album to a degree, but couldn't they hear the spark of something so intense here? They'd already given us the hard rocker albums like British Steel and Point of Entry, so even in my youth I was hoping they'd take the material on Defenders and take even further.
After all I was starting to get into the faster and more aggressive metal around this time where I could sneak dubs of it off older kids whose parents wouldn't ground them for buying the tapes I was like 10, forgive me. Ram It Down would have been a far more natural progression from this, though I admit the songs there aren't quite this amazing. Alas, it would take until to get exactly what I wanted of Judas Priest, but get it I would. By no means is anything found on this album bad nor lacking in energy, but there is a general sense of safeness within the rock box that is rarely abandoned for some really kickass metal.
Granted this approach to writing a radio hit was not as horridly widespread as it would become later, but the overly predictable formula wears thin even for the pioneering versions of this format. This one is a bit faster and can run a good sprint, but its predecessor has staying power and can run a marathon with the best of them. This is an album that any fan of old school heavy metal should have, but a lot of the excessive praise that it tends to get is solely focused on the handful of songs where things are at the top of their game, and ultimately to the detriment of a clearer picture on the mixed nature of the whole.
They did better than this before, and would do better still later on. From out of the ashes and looming shadow of "Screaming For Vengeance" comes "Defenders of the Faith", the evil twin brother of Judas Priest's most popular 80's accomplishment. Underrated and sometimes even totally overlooked, this sucker can more than hold its own against its fellow brethren. However, as with its counterpart, "Defenders" suffers from inconsistency, which makes this all the harder due to a number of songs being some the band's most AWESOME of the decade, if not ever.
The band takes their talented well, mostly musicianship from the previous album, and add a darker, more evil slant on things, all seen over again by a big Tom Allom production. Dave Holland still just trudges along with his boring, meandering drumming, but at least he has more of his fast, hard fills to show off now and again.
Ian Hill has slightly more notable bass here, but sounds a bit too laid back in the final mix. Still he pounds it when possible, adding serious power to a few numbers. Glenn Tipton and KK Downing still whoop ass here with their solos and riffing, but come up with even better stuff here with the decision for added aggression.
Of course, Rob Halford lets it loose here, sounding really mean on some tracks with near growls and his rough 'n' tumble mid-range vocals. The man throws in a number of classic screams as well, though not as operatic as those on "Screaming For Vengeance". The album starts off like any good Priest album should: But this isn't just any song. Oh no, this is "Freewheel Burning!!!!
Judas Priest - Defenders of the Faith - Encyclopaedia Metallum: The Metal Archives
It has a sense of evil, aggression, lots of cool riffs, a vicious and memorable solo with slight but chilling tempo changes, and vicious Halford vocals, including his legendary spitfire shouting during the song's middle portion. A fucking killer start! A pretty killer followup is "Jawbreaker". While still dark and menacing, it lacks the speed and overall aggression of "Freewheel". Still, its stomping midpace and abundance of catchy riffage, as well as some neat melodic vox, make it one killer keeper. In third is the great, woefully underrated "Rock Hard, Ride Free".
With a more hard-rock tinged sound, as the title suggests, this big and beautiful semi-ballad comes complete with a gorgeous, epic-sounding chorus and an aboslutley rockin' solo that runs over two minutes long with time changes and Downing-Tipton dueling a plenty. Up next is probably the main reason why I gave this album the high rating it has: Take the "big" feel of "Rock Hard" and give it the evil of "Freewheel", and here you have this masterpiece.
Beware of Ian Hill's bass attack in the intro, Halford's wild shrieking, the nifty time changes, and that chorus, which at the end builds and builds until we get a glorious heavy metal explosion, ending in a slow fadeout. After that, "Defenders" sort of trips and falls on its face, but manages to get back up with relatively minor injuries.
The 1st has more immense bass to it and a good atmosphere, but it lacks the glorious punch of the last 4 songs. The 2nd thumps along with some of that more "Freewheel"-sounding speed and aggression, but its repetitive nature and goofy lyrics less subtle than those In "Jawbreaker" by far hold it back from being really good. The 3rd stands out as the strongest; while still kinda repetitive, it comes with a thundering mid-pace mixed with more melodic riffage, giving it a sound that somehow makes it stand out.
Unfortunately, the album falls to its face a second time, but now never recovers. What the fuck could have went wrong? Overall, this album, like its predecessor, is a mixed bag, only at greater points across the scale. It starts out absolutely awesome, and then gets progressively weaker after the first four songs. I highly recommend the first four, while the next three are just okay, but beware the lousy finale.
Buy at your own risk, I guess. It could've been a good EP. I live to serve thee! Including sucking off the metal god himself, although I'm not gay. Defenders Of The Faith, while not the band's very finest hour, comes close to that peak that would be reached on Painkiller. First off, let's go over the worshiping side once more. As those who have been fortunate enough to read my other reviews, often of Iron Maiden albums, are most likely aware, I have often referred to this album as a masterpiece, a heavy metal album by which to judge other heavy metal albums, a standard which is rarely ever met.
I have railed against those who dismiss it as commercial while fellating Maiden's cock without shame no offence to Maiden fans, and I do love the band too, just not as much as I love Priest I have called it a masterwork of real heavy fucking metal. When I'm in fanboy mode, then yes, I do worship albums such as this and Painkiller. When I'm not, and I step back and look at it seriously, this album isn't perfect. So close, oh so close, but not quite. The two terms are often interchangeable, and there's nothing wrong with good hard rock; Purple, Zeppelin, AC-DC, Kiss, etc, are all fantastic bands, whether metal or just plain ol' rock 'n' roll.
However, Priest are usually regarded as "pure" heavy metal. The problem is, just what is "pure heavy metal"? Does it even exist? And if it does, what is it? I would say the latter. Like it or not, heavy metal started out low and slow. The first metal band I ever heard was not Priest, nor Maiden, nor Metallica, but Candlemass, and they blew me away. Everything else, with the exception of thrash and death metal acts, seemed very light in comparison. There's something about downtuned guitars playing monstrous power chords in a slow, oppressive fashion that is just so motherfucking heavy.
Of course not, because they started in an era when heavy metal hadn't even been properly defined yet. That was the 70's, baby. Filled with experimentation of all kinds. Or just plain ol' hard rock? That's the whole point The 80's were a different manner. By then, the use of the term heavy metal had become widespread, and the genre was increasing in popularity hugely. Ironically, this was mostly due to the glam metal acts from the same period, which had a lot more in common with hard rock than "pure" heavy metal.
Nevertheless, some of these bands Early Def Leppard, Motley Crue, Twisted Sister, etc were at one point or another definitely heavy enough to be called heavy metal. They'd been metal for years. Not the same kind as Sabbath, though; they were always a different beast. They showed that metal didn't have to just be slow and oppressive - it could also be fun, upbeat, aggressive and very exciting while also being really heavy. No downtuned guitars of course. Since I seem to have gone off on a tangent here, let me bring this back to my original point and yes, it does fit in: This is not a criticism by any means, I am simply pointing out something about genres but yes, that does have something to do with the way I am rating the album, to a point If the NWOBHM ever was pure heavy metal, then the only songs that really fit that mold were the aggressive ones, because let's face it, no matter how much distortion you give your guitar, if you aren't downtuning, and are simply playing standard rock riffs, then you aren't heavy metal.
If you play fast and aggressive, on the other hand, that's a different matter entirely.
When Priest go for the jugular on this album, then yes, that's definitely heavy metal, of the same kind that would lead to thrash - and by this point in history already had , the same year Ride The Fucking Lightening was released, fucking hell. That's speed metal, one could argue, and yes, heavy metal that undoubtedly is. On the other hand, when they slow down and play with more of a groove, it's no more pure heavy metal than AC-DC. Back in Black was pretty damn heavy, as you surely all know, but it was just heavy rock, not heavy metal. It's still heavier of course, as Priest did have a heavier guitar tone, but when they weren't playing chugging riffs, they could easily have been hard rock.
Perhaps that's the whole point; Hard Rock and Heavy Metal aren't all that different, but at the same time they are - it all depends on the band. The main point here, however, is that "pure" heavy metal, as a genre, doesn't really exist outside of the Sabbath mold, and that's doom metal. The idea of "pure" 80's metal is often a fallacy. Everything else generally comes under the glam label, which is rarely ever pure metal. Sure it all depends on how fast and aggressively you play, which is why Maiden are often considered to be more pure heavy metal than Priest.
Perhaps they would have been - I have no idea, as their guitar tones were often unbearably shitty.
That's one mistake Priest didn't make here: Defenders has an incredible tone, really thick, heavy, and all around powerful. When this album slows down, though, it is generally weaker, and closer to straightforward 80's hard rock. There's nothing wrong with this, in and out of itself; I love 80's hard rock, and I love a lot of glam too. But it doesn't really fit with what Priest were trying to do with this record, which was, I believe, to get further away from the more commercial side of Screaming for Vengeance and more in line with the original speed metal they had helped to create back in the 70's.
Freewheel Burning is a perfect example of the latter: It's quite an odd choice for a single, being very heavy and not really typically commercial at all aside from the polished production , and an even odder choice for a first single. More on that later Nevertheless it's brilliant, Halford giving as great a performance here as ever, the guitars crushing and heavy, some really interesting moments Halford's near rapping during the bridge , and brilliant leadwork. The solo here is fantastic, very powerful, metal, and all around good. It's about as perfect an opener as one could ask for, and ends in a very classic heavy metal way, all the instruments pounding away before ending with a power chord.
Jawbreaker continues in this same style. It's slower, but definitely metal, with a chugging main riff and a somewhat desperate tone quite amusingly, considering the song is apparently about fellatio with the giant beast on the cover that sets it well apart from standard 80's arena rock. Of course, parts of the album are like that, and despite what I said earlier, they do add to its charm somewhat. Arena metal could easily be used to describe an album like this - it's got a big, expansive, and not at all suffocating sound - very wide and open, and epic.
Now we come to a more hard-rockish song, in "Rock Hard, Ride Free". The very title includes the word rock, so why not? This is a classic song in every way, perhaps less metal in terms of the riffs overall, but with enough chugging riffs and super-melodic solos to place it apart from standard 80's rock, like its predecessor although Jawbreaker was more obviously metallic. It's a rock anthem, a metal anthem, and a biker anthem all in one. The middle section is the most interesting, and there are some fantastic solos to be heard here. Again, the song has an epic, expansive feel that places it squarely in the best part of the 80's.
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Most Priest albums also include a true epic, some really memorable and usually, very metal song that really stands out. Defenders is no exception. The Sentinel is one of Priest's finest songs, with a brilliant, epic opening, epic riffs, epic vocals and Seriously, this is just one of those songs that you have to hear in order to understand. This is crushing, without a doubt real heavy metal with its speed metal riffing and over the top vocals , possessed of some fiery power and edgy nature that is best exemplified by Rob's performance, which is nothing short of mesmerising.
That it's cheesy and OTT is irrelevant; it just plain works. The best version of this song can be found on an 80's live video from Texas, where Rob really gives it his all. I urge you to find this video, for it is truly amazing. About here is where the album temporarily trails off, first into something rather boring, less metal, and a little stale, then wildly into totally insane territory for a brutal speed metal crusher that unfortunately has some of the worst lyrics Priest ever wrote.
The former is "Love Bites", Defenders Of The Faith's second single, and a rather obvious choice too - it's not very heavy due to it's slow, rockish verses, and very predictable chorus. The best part is, again, Halford's singing. He goes a long way towards making the song more unique. Sadly, that's all there is to "Love Bites", which, if not for its dark lyrics and cool vocal delivery would just be a generic 80's hard rock song.
The latter is "Eat Me Alive", which is not about being devoured by some monster, so much as about a deranged, super-macho homosexual forcing some hapless male victim to eat HIM alive at gunpoint, and keep on doing it until he has a huge orgasm made clear both by his own exclamations and the "explosion" of guitars and drums, which slowly fades out as he relaxes after I think I got carried away there. As described above, our third party partners may use persistent identifiers to track your Internet usage across other websites, online services, email and mobile applications in their networks beyond the Services, and may combine information about you from other sources.
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The laws in the U. Any such transfers will comply with safeguards as required by relevant law. If applicable, you may have a right to claim compensation for damages caused by a breach of relevant data protection laws. By using the Services, you agree to have your information used and transferred to the United States as set forth in this policy. Purposes of processing and legal basis for processing: As explained above, we process personal data in various ways depending upon your use of our Services.
We process personal data on the following legal bases: Right to lodge a complaint: Users that reside in the EEA or Switzerland have the right to lodge a complaint about our data collection and processing actions with the supervisory authority concerned.
Contact details for data protection authorities are available here. Personal information we collect may be transferred to, and stored and processed in, the United States or any other country in which we or our affiliates or subcontractors maintain facilities.
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Upon the start of enforcement of the General Data Protection Regulation GDPR , we will ensure that transfers of personal information to a third country or an international organization are subject to appropriate safeguards as described in Article 46 of the GDPR. In order to verify your identity, we may require you to provide us with personal information prior to accessing any records containing information about you. You have the right to have your data erased from our Services if the data is no longer necessary for the purpose for which it was collected, you withdraw consent and no other legal basis for processing exists, or you believe your fundamental rights to data privacy and protection outweigh our legitimate interest in continuing the processing.
You have the right to restrict or object to our processing if we are processing your data based on legitimate interests or the performance of a task in the public interest as an exercise of official authority including profiling ; using your data for direct marketing including profiling ; or processing your data for purposes of scientific or historical research and statistics.
If you have any questions about your privacy or security at the Services, or wish to update your information, please send an email to privacy townsquaremedia. You may call us at 1 We partner with third parties to deliver content that may be of interest to you, including advertisers.
As described in our Privacy Policy , we allow third party partners to serve cookies or set trackers, which may result in the collection of data regarding the visitors to our websites. Data collected by these third parties is subject to the privacy policies and practices of these companies.
TSM has no role in creating these policies or setting practices of third parties. You can learn more about our third party partners and their privacy practices by clicking on the links below. Townsquare may add new partners in the future or terminate its relationship with current partners. The above list is current as of May 25th, Please check this page often for updates. Use of Your Information 4. Sharing Information With Third Parties 5.
Your California Privacy Rights 9. International User Notice Use of Your Information 3.