Les Binks was a drummer whose unmistakable style and energy left a profound mark on the world of heavy rock and heavy metal. Best known for his time in Judas Priest, he contributed to some of the band’s most iconic moments on stage and in the studio. This tribute is both a celebration of his life and a personal reflection on the impact he had on me as a fan—through the records I own, seeing him perform live, and the lasting memories of his powerful, precise, and spirited drumming. May this serve as a heartfelt dedication to his family, friends, and countless fans around the world.
My earliest brush with Les Binks’ talent came unexpectedly when I picked up Roger Glover’s The Butterfly Ball and the Grasshopper’s Feast in the mid-1970s. Although it was Roger Glover’s name that drew me in initially, it was Les Binks (credited as Leslie Binks) on drums who caught my ear. He added a distinctive groove and energy that helped make that project such a memorable listen.
Before long, I encountered him again on another Deep Purple family project, Wizard’s Convention, featuring a host of legendary musicians like David Coverdale, Glenn Hughes, and Jon Lord. Here again, the man behind the kit was Les—displaying a knack for versatility and creativity that would soon become more widely recognised once he joined Judas Priest.
The Judas Priest Era
By the time Judas Priest was touring to support their album Sin After Sin (1977), Les Binks had officially become a member of the band. I recall seeing them at the Birmingham Town Hall, utterly spellbound by his drumming on classics like “Let Us Prey,” “Victim of Changes,” and “Sinner.” Back then, I was so taken by the music that I hardly noticed a change in personnel behind the kit—such was the seamless power of his playing.
In 1978, Stained Class solidified his reputation further. The thunderous opener “Exciter” carried that hallmark double bass drive, and his inventive touches on songs like “Beyond the Realms of Death” added texture and depth. The following year, Killing Machine (called Hell Bent for Leather in the U.S.) continued that momentum with tracks like “Delivering the Goods” and “Running Wild,” all propelled by Les’s percussive force.
However, for me—and countless fans—the definitive document of Les Binks’ drumming is Unleashed in the East (1979). It’s often referred to (somewhat jokingly) as “Unleashed in the Studio” due to its production tweaks, but no one can deny the raw power and precision Les brought to songs like “Exciter,” “Running Wild,” and “Victim of Changes.” If ever there was a record to capture why he was so revered, this is it.
Although his time in Judas Priest was relatively short (1977–1979), Les Binks had a varied and accomplished career. He played with acts like Lionheart, teamed up with musicians from the New Wave of British Heavy Metal (NWOBHM) era—such as the band Tytan, featuring Steve Mann—and performed session work for various artists across rock and metal. His drumming style was noted for combining technical proficiency with a certain flair that made every fill and accent feel both exciting and meticulously placed.
Les’s early musical path also involved gigs in his native Northern Ireland and London’s music scene, cutting his teeth with smaller groups before big breaks came along. As word spread about his versatility and skill, he landed higher-profile session jobs, culminating in his eventual connection with Judas Priest (reportedly thanks in part to producer Roger Glover’s recommendation).
The passing of Les Binks on April 15th leaves a void for those of us who admired his music. Yet his work endures—especially on the legendary Unleashed in the East, where his drumming sets a gold standard for live heavy metal recordings. For anyone who wants to relive his brightest moments, play these albums loud and remember the passion and joy he brought to fans around the world.
Phil Aston | Now Spinning Magazine
