Following the conclusion of the British Steel World Tour, the band began work on their next project. By this time, they had sufficient funds to fly all their equipment to the huge, state-of-the-art Ibiza Studios in Spain. This gave Point Of Entry a louder, stronger, more "live" sound than previous Judas Priest albums.
Three singles were released from the album: "Heading Out to the Highway", "Don't Go" and "Hot Rockin'", all of which had accompanying music videos. The song "Heading Out to the Highway" has been a staple in live shows since its release, "Desert Plains" was regularly played throughout the 1980s and "Hot Rockin'" is still performed today. On the 2005 "Re-united" tour they also played "Solar Angels" on rare occasions: on the World Wide Blitz Tour of 1981 (supporting Point of Entry), it had been the opening song of every show.
The North American cover differed from the rest of the world, this being repeated with the remaster. The US artwork featured computer printer paper to simulate the line in the middle of the road, and white cardboard boxes on the back. The artwork also saw the introduction of the 3D Judas Priest logo, which would be used up to Turbo.
The album was remastered in 2001, with two bonus tracks added, a live version of "Desert Plains" and "Thunder Road", a track from the Ram It Down sessions.
In the booklet of the Remastered CD, the band states:
"Recorded on the island of Ibiza with multiple distractions, glorious sunshine, and extremely low cost alcohol, this album was regarded with mixed feelings because it was different from what people expected. The album was nearly all spontaneously written and performed in Ibiza - it was an experiment in the sense that before this we had already written the majority of the songs before going into the studio."
In 2005, Point of Entry was ranked number 352 in Rock Hard magazine's book of The 500 Greatest Rock & Metal Albums of All Time. In the 2007 book Metal: The Definitive Guide, author Garry Sharpe-Young wrote that the album consists of "radio-friendly fillers." Morever, Sharpe-Young called the original British artwork "bland" and subsequent American alternative artwork "an even worse compromise."