Glenn Tipton has fired back at Kenneth “K.K.” Downing, claiming that the former JUDAS PRIEST guitarist has been saying things about him that are “crazy” and “aren’t fair.”

K.K. left PRIEST in 2011 amid claims of band conflict, shoddy management and declining quality of performance.

In 2018, Downing revealed that he sent two resignation letters to his bandmates when he decided to quit JUDAS PRIEST. The first was described as “a graceful exit note, implying a smooth retirement from music,” while the second was “angrier, laying out all of his frustrations with specific parties.”

Downing later said that he believed the second letter was “a key reason” he wasn’t invited to rejoin PRIEST after Tipton’s decision to retire from touring.

In the new issue of Guitar World, Tipton offered his side of the story, saying that he “never wanted to get into a public argument after K.K. left. I never said a word and I stuck to my guns for over 10 years, but there comes a point when you read things that have been said that are just crazy,” he said. “It’s time to say something, really because he’s saying things that he really shouldn’t be saying. They aren’t fair.”

“He’s insinuated that he was the driving force of the band,” the 74-year-old continued. “It just isn’t true. PRIEST [is] made up of five guys working together. [There’s] not just one person driving the band. He’s said all these things that, I think, are meant to upset us and get us to say something in response and for a long time we didn’t. But I’ve got a lot to say and enough’s enough.”

The 70-year-old Downing, who wrote about his departure from PRIEST in his 2018 autobiography, “Heavy Duty: Days And Nights In Judas Priest”, said last year that he was unhappy with the band’s live performances toward the end because Glenn “used to have too many beers before and during the concerts at the time. And I don’t know what was going on. We had words about it. But musically, we weren’t as footsure as I felt I wanted to be. I wasn’t really happy with that. It was rock and roll. It’s one of those things — it’s rock and roll, or you’re a band that really wants to lock it in tight. And that’s what I used to get off on musically — was being really solid and locked in with those kick drums. You’re either Keith Richards, and he’s got a beer in one hand and a cigarette in the other but you’re still playing the guitar, or you’re really digging deep.”

In the Guitar World interview, Tipton dismissed Downing’s claims as “silly”. “Everyone knows it’s not true,” he said. “Like I said, the fans aren’t stupid and they’ve seen me for 50 years playing around the world. I may have had a couple of beers onstage, but that’s all. It’s never affected the concert or my performance whatsoever and he knows that.”

Tipton went on to say that he “used to piece [Downing’s] leads together” in the studio. “I did a lot of editing to make his lead breaks worthwhile,” he said.

“I would never have talked about Ken that way,” he continued. “It’s just that his accusations have gotten sillier and sillier — and I deserve to respond. He left the band. We couldn’t convince him to stay. And then he accused me of taking six years off to write two solo albums. I only did the solo albums because we were inactive at the time while Rob [Halford, vocals] was doing his solo things.”

Read the full interview with Tipton in the new issue of Guitar World.

Four years ago, Downing spoke in more detail about why he thinks Glenn’s playing during JUDAS PRIEST’s live concerts had deteriorated toward the end of his tenure with the band.

“Glenn, bless him, obviously. Not as though people would particularly notice, but there were times when it was noticeable. I do say in the book, I think there were times in the ’80s Glenn would — I don’t know — party too hard,” K.K. said. “But that’s his choice. It’s rock and roll, and I’m not one to actually condone how people do it, how they do their show. I mean, it’s rock and roll — lots of people go out there with a bottle of Jack Daniel’s in their hands, or whatever they do. But there were times before — many times — and it made us all feel nervous, that Glenn was just more of a rock and roll party guy where the rest of us were… I would get nervous about my performance ability. I would wanna play perfectly every single night, and that was me — that was how I do it. Obviously, later on, Glenn [would enjoy his] beers, and that’s harmless enough, but, after a point, it starts to affect the show a little bit. And I was getting nervous, the other guys were nervous. When Ripper [singer Tim Owens] was in the band, he was nervous. It’s no different… I mean, if you’re in a car with a couple of mates, and the driver is the only one that’s been drinking, and he’s still having a few swigs in the car, do you prefer it not to be happening if he’s got your life in his hands? Well, if someone’s got the gig in their hands, that’s kind of how it feels — [it made us] a bit insecure; that’s all. And it just wasn’t for me. That was the main thing. And it just didn’t help me enjoy the shows. If I’m nervous, it doesn’t help me enjoy the show. I wanna listen to the music being absolutely precision — everybody locked into those kick drums and snare — and that’s how I liked it… Everybody makes mistakes and everybody can be a bit sloppy at times if they’re a bit tired and they’re not feeling great. But if it’s self-induced, then that’s not right — it’s what I think. It’s a little bit selfish and inconsiderate, and I will say that now. But it’s not to say that rock and roll is not rock and roll; it’s a difficult one for me. But that, with a lot of other things that were going on, tipped me over the edge. If I had rode through that storm, I would probably still be on stage now. But who knows? It is what it is. If you fall out with your girlfriend, or if she falls out with you, if it’s not reconciled fairly quickly, somebody could find a different partner and they get used to that different partner, and that’s what happened. So, [it’s] sad, really, in a way. I was the one guy… I’d never done a solo career — I never wanted do. I never wanted to have my own web site; never wanted to sell my own merchandise on the back of PRIEST. I was totally dedicated.”

In “Heavy Duty: Days And Nights In Judas Priest”, Downing wrote that he told Tipton and PRIEST co-manager Jayne Andrews that he had “hated” them both “since 1985.” Last year, he explained his outburst to Classic Rock magazine: “I was angry. Glenn had formed a relationship with Jayne from day one, and it felt a bit like a John-and-Yoko situation. I didn’t like that.”

Downing has called his replacement Richie Faulkner his “clone” and revealed that he “never found” Tipton “to be particularly easy to get along with. Very early on, I was fully aware of the limited conditions under which he operated,” K.K. wrote in his book. “If you were going to relate to him, you would do so entirely on his terms.”

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Ted Nugent has expressed his support for those involved in the Canadian trucker protests, saying they “stand up for the best of humanity.”

A three-week protest in downtown Ottawa initially focused on Canada’s vaccine requirements for truckers entering the country but it morphed into a broader attack on COVID precautions and Prime Minister Justin Trudeau’s government. As a result, Trudeau invoked the Emergencies Act granting authorities broader powers to stop the demonstrations in Ottawa and blockades of several Canada-U.S. border crossings.

Nugent weighed in on the trucker protests in a new interview with Eric Bolling, the host of Newsmax’s “Eric Bolling The Balance”. The outspoken 73-year-old rocker said (as transcribed by BLABBERMOUTH.NET): “Well, Eric, you’ve got the right guy, ’cause my name is Ted Nugent. I’m the Motor City truckin’ guitar player. I’ve got my own truck and I’m gonna join these truckers. These guys stand up for the best of humanity.

“It’s really quite simple. You hear all this talk about, ‘We’re divided.’ Well, of course we are. I’m divided between good against evil and dishonesty and rot and criminal corruption which describes Fidel Jr. up there in the snow land,” he continued, apparently referencing a debunked claim that Fidel Castro was Trudeau’s father.

“Those are great, great people up there,” Ted added. “They live by work ethic and being the best that they can be. And certainly that describes the truckers here in America. I mean, I have campfires every hunting season with the teamsters and with those truck drivers. I know these guys. I am these guys. I’ve got a big zebra Ford Bronco with 900 horsepower that gives you exactly six hundred yards to the gallon. So I’m gonna go join those guys and make sure that the middle finger stays on fire, because good people support ’em, rotten people are against ’em. And old Fidel Jr. perfected that.”

Addressing reports that Canadian authorities froze the finances associated with certain individuals and companies believed to be involved in the ongoing protests in Ottawa, Nugent said: “Well, again, I know these guys. I hunt in Canada every year. I rock and roll in Canada every year since 1967. They really are the salt of the earth. But the dynamic here is very powerful. There is no more polite society, there is no more kind, good will and decency than you will find in the citizens of Canada. They have taken it and they have taken it and taken it. When these polite, kind, tolerant people have had enough, that is an irrefutable indicator that we really have had enough.

“I didn’t invent the middle finger, but I perfected it back in Detroit around 1958,” Ted added. “And the citizens of Canada have found their middle finger and they’re settin’ it on fire and I couldn’t be more proud. I’m gonna invite them to all come deer huntin’ with me this year.”

The so-called “freedom convoy,” which started on January 28, has drawn support from right-wing extremists in Canada and abroad. The demonstrations have reportedly turned into a broader far-right movement, with some demonstrators waving Confederate and Nazi flags.

A number of other conservative figures in the U.S. have voiced their support for the Canadian truckers, including former president Donald Trump, who said there’s “a lot of respect” for the protestors. Republican senator Ted Cruz has called the truckers “heroes” fighting for a righteous cause while Fox News’ Sean Hannity sent “solidarity, love and support” to the demonstrators.

Budget renditions of established-model guitars used to make me skeptical. There was often a hitch: rough frets, pickups that were let-downs, funky pots, etc. But over the past decade-plus, the quality of guitars built in Asia by the major brands has continued to improve. PRS’s lower-priced version of their John Mayer signature model, the SE Silver Sky, is a premier example.Apples to More Affordable ApplesThe original PRS John Mayer Silver Sky arrived in 2018 sporting three of the company’s Mayer-co-designed 635JMR single-coils, all voiced the same for even tone. Its C-shaped maple neck—with maple or rosewood fretboard—vintage-style 7 1/4″-radius, bone nut, alder body (with gracefully slanted lower cutaway for easy high-fret access), 6-point tremolo bridge, and locking tuners make it a thoughtful take on Fender’s stalwart early-’60s Strats. And it quickly earned a rep as an exceptionally comfortable and great sounding instrument. At $2,459, it is also an expensive one.But damned if the PRS SE Silver Sky doesn’t sound and feel like a clone at about a third of the price. The only substantial differences I could find were a poplar versus alder body, an artificial bone nut, a China-manufactured 2-point tremolo bridge, vintage-style tuners, 635JMS pickups (with the S indicating their Indonesian origin), and a slightly flatter 8 1/2″ fretboard radius that makes string bending a cinch. The original Silver Sky’s secret weapon is also intact: The lower tone dial controls the bridge pickup. Fender’s Stratocaster provides no tone control for the bridge pickup. That means that when the sound in position 5 gets ice-picky, there’s no recourse besides dialing back your guitar volume (which in vintage circuits also cuts highs), your amp, or switching pickups. Not so here. If not for the distinctive PRS headstock and the diving-bird inlays, it would be easy to mistake this guitar for a very well-built Strat. And the SE Silver Sky is, indeed, priced the same as Fender’s Player Stratocaster.Ready, Steady, Go!Our test guitar emerged from its sturdy gigbag in beguiling stone blue—a PRS shade that recalls a cross between Fender’s seafoam green and daphne blue. The SE Silver Sky also comes in dragonfruit, moon white, and evergreen shades. Thanks to a careful medium-low action setup, it was ready to go from the moment I popped in the tremolo arm. The 22 smoothly finished medium-jumbo frets felt inviting and comfortable. They beg for string bending and really digging in, and there is no string buzz. I’ve encountered the same perfect playability on the necks of other PRS instruments I’ve played, so I expected nothing less.In all 5 pickup settings and with all three amps, the Silver Sky kicked my ol’ dependable Strat’s ass.The back of the neck has a satin finish for easy mobility. The bridge has individual saddles, of course, and four springs, to help with intonation and tuning stability. The 3-knob control set is laid out like that of a standard S-style, but the input jack’s plate is slightly arched, to make plugging in a little easier.Playing the Light FantasticI have a ’73 Stratocaster with a nice, traditional voice I use as a template for evaluating S-style guitars. The poplar-body PRS SE Silver Sky weighs 7 1/2 pounds, compared to my ash Strat’s 8 1/2. I A/B’d both guitars plugged into a Carr Vincent, a ’64 Supro Tremo-Verb, and a ’72 Marshall Super Lead. I was bummed, though, because in all 5 pickup settings and with all three amps, the Silver Sky kicked my ol’ dependable Strat’s ass. Playing campfire chords and some chord-and-lick riffs, the PRS neck felt faster and more comfortable than my old friend’s, and while I managed to knock the Silver Sky out of tune a bit by bending strings hard while using the whammy bar, it was more stable than my Strat. The vibrato, by the way, has just enough resistance to require a bit of practice, but you can negotiate lovely surfy and textural bends.Just for fun, I tuned the Silver Sky to open G and open D for some old-school fingerpicking with slide. It was a blast to really dig into the strings and snap the notes—listening to them sustain and fade with buttery, lingering beauty, holding high notes that sang with sustain from a Tone Bender clone, and adding shiver from the tremolo arm’s sway. And while I don’t typically spend a lot of time on the highest frets, the slanted cutaway in the treble horn makes it easier to play radical, over-the-pickups slide.As great as the playability is, the 635JMS pickups are the Silver Sky’s stars. Compared with my Strat’s 20-year-old Seymour Duncans, they were bolder, more articulate, and responsive in every position, yielding fatter lows, more ringing highs, and mids to die for. And the volume and tone pots were wide ranging. In the 1 and 2 slots, the typical S-style quack and tubular sound qualities are well defined, the center setting is lush, and being able to easily dial back the brightness in the bridge pickup is a gift, yielding tones that cut without drawing blood from the eardrums. The Silver Sky’s well-sculpted sounds also work beautifully with modulation, fuzz, and overdrive pedals. It was a pleasure listening to its already transporting voice with long analog and digital delays.The VerdictThe PRS SE Silver Sky is a pro instrument with a very competitive $849 price. It’s ready for the stage or studio, with a weight made for multiple-set nights, a fretboard that begs to be played, super-responsive controls, and definitively S-style tones. If you’re already an S-style fan or looking to add that voice to your palette, you should try the SE Silver Sky. It could be love.PRS SE Silver Sky John Mayer Signature Demo | First Look