The riff at 3:55 is one of my favorite ever! And to answer your question the "gallop" is played by picking just the "open" (without pressing any fret of the keyboard) E string (the 6th) with only "downstrokes" and by muting it with the palm of the picking hand (not aggressively in this case).
BANGER!!! This is excellent on so many levels. I haven’t played it but I’m guessing that the “galloping” guitar is the lowest open string, palm-muted (the fleshy part of the side of the palm rests on the bridge of the guitar and slightly mutes the strings). Occasionally, the palm is lifted and power chords (2 notes played a fifth apart) on D and E (an octave higher) are played on the off beat 3:55. I like how Binks plays single-stick drum rolls on the snare at that part, too (he’s so good!) Halford’s vox are incredible and that long, falling wail and the word “DOWN” just before that break makes me feel like I’m falling with him 3:45. Finally, the main bass riff. Those right fingers are flying 1:03. So clean, too. It’s nice to hear to some expert bass on a track like this. I don’t give many 5 out of 5’s but this one sure is close!
On the Breakdown in question, it is a muted 6th string for 7 measures, and on the 8th measure, full chords are played to give the last measure an extra kick.
"...abattoir, abattoir, mon dieu quelle horreur!!!" Masterpiece of '70s metal. I love how (during the second verse) Glen Tipton mimes with the guitar the sounds of the animals mentioned in the lyrics.
A deep, dark and excellent cut from Priest's best album. The use of the guitar to simulate the various creatures mentioned in the lyrics always impressed me as a kid, along with the allusions to the destruction of the Cathars and the Albigensian crusade. \m/ \m/
Just some great songs throughout 👌 that's typical of their late 70s albums (75-79) great dual guitar jams 🎸 and of course Halford becomes the metal god for his vocals.
Back in the 80's, my copy of this album had a big scratch on this song, so it was the one I listened to the least (LOL) In my book, this is one of their best albums
To the "dumb" question: as someone has pointed out, all strings could be palm muted but in this case it's probably just a good bread-and-butter power chord (two strings most of the time) palm muted by both guitars. It could very well be just one string for each guitar, not sure haha. They tend to play with their dual guitars a LOT. In another song, Victim Of Changes (best version is on "Unleashed in the East"!) there's a chunky riff where one guitar guitar playes a meaty palm muted riff while the other one does nothing but completely muted rhythm accent "attacks" to give that part more crunch. I hope that makes sense. :)
As you are mostly into prog give a chance to "Run of the mill" or "Dreamer deceiver" on their first albums . "The sentinel" should be fit to your channel also. To have the galoping sound you just have to hit the first upper string or the 2 first strings (they make then a 5th or a 4th chord) and mute the strings with the palm.
As far as the guitar sound you mentioned goes, it sounds to me like they're partially muting a string, there. When you play an electric guitar through a loud amp, it's almost more about what strings you can _prevent_ from sounding, than about those you do sound. If you just leave the strings alone, you often get feedback. (Randomly there's some vibration; the vibration is picked up by the pickups, fed through the amp; comes back through the speaker, and causes more vibration in the string, quickly building up to that feedback sound we've all been hit by at some time.) You have to constantly keep the strings under control (unless you're using deliberate feedback - in which case you'll walk around, looking for the spot where it's most pronounced, since it will vary across a room or a stage. Joe Satriani apparently marks all the good feedback spots on any stage he's due to play on with tape, before the concert - to know to avoid these in quieter passages, and to know where to go when he wants the strings to screech and wail.) Because the combination of guitar and overdriven amp is so unruly, you'll find that full chords are a lot scarcer in hard rock styles than elsewhere, because the overdrive also adds harmonics to a note. (I think that's why it's such a popular sound. It's rich. Filthy rich, you might say - a bit too much. And as we all know, for a lot of people too much is not enough.) Most of the chords you'll hear in metal will actually just be power chords - two notes, not three - and consonant notes, not dissonant. Oh there's another thing that can catch you. If you give a string the right kind of pinch, or gentle touch-and-release after sounding it, or at the very moment you pick, you'll ring just one of the harmonics in a note. Kind of like hitting a tuning fork. With the pre-amp running at 11, the guitar-amp combination becomes very "harmonics sensitive". (You can do something similar on acoustic guitars, but not so easily. And not so LOUD.) Whenever you hear a very clean, ringing tone, a harmonic is a good suspect. Anyway, back to that sound you mentioned. I don't know enough to say whether it's a few strings or just one, but it sounds more to me like just one string - maybe fretted but muted with the palm of the picking hand. I think I hear both an upstroke and a downstroke of the pick. If you want to geek out to this kind of thing, *Troy Grady* will show you everything in close-up. ua-cam.com/video/JZ3f4uhQLkA/v-deo.html (This is his Michael Angelo Battio episode.)
Early Geddy Lee “wake the dead” shriek. I can’t concur with or even contemplate contradicting the commentary concerning the lyrics without entering manic street preacher mode. But i enjoyed the riffs, bass and drums. The coda coulda been condensed though. Their Point of Entry 1982 LP kept The songs shorter and simpler. I seem to remember an extra 7” inch single with Unleashed in the East “live”LP with Beyond the Realms of Death on it. Haven’t heard it in yonks. Budgie say Cheep!
@@a.k.1740 thanks🥁time eh? . It also has similar artwork to ‘Thirty Thousand Feet over China’ dontcha reckon?🤣 Call me Slinky or wot?! Cue JP! JP, you’re on. Play the song....JP!! Doh... he must’ve ...overindulged . Justin bach, this is your IILWAGFS wake up call. “You promised, you promised!” Back to the other jp, Breaking the Law was funny and catchy, United was abysmal but one reason why POE sounded so refreshing. 1981 . A good year!
@@HippoYnYGlaw During all these years, I had never made the connection between these two album covers! It is true that there are similarities, even if each one has its particularities. I never understood the craze for British Steel, of which I only really like "You Don't Have To Be Old To Be Wise" and "The Rage" (which are musically close to certain Point of Entry tracks) . The other pieces of British Steel seem very dull and unsubtle to me. I find there's a lot more finesse and nuance in POE (starting with Dave Holland, whose drumming I find much more diverse and flexible compared to his stiffer playing in BS). Yes I agree, 1981 was a good year for music !👍
This album just gets better as you go along - Beyond the Realms of Death will blow you away. Also the hugely underrated Heroes End
I've heard Heavy Metal change and develop for 45 years, and i still believe "Beyond The Realms Of Death " hasn't been surpassed!
@@Katehowe3010 \m/ \m/
This song should be way more popular.
Don't worry about that. It's a great tune
Priest should be more popular.
The riff at 3:55 is one of my favorite ever!
And to answer your question the "gallop" is played by picking just the "open" (without pressing any fret of the keyboard) E string (the 6th) with only "downstrokes" and by muting it with the palm of the picking hand (not aggressively in this case).
BANGER!!! This is excellent on so many levels. I haven’t played it but I’m guessing that the “galloping” guitar is the lowest open string, palm-muted (the fleshy part of the side of the palm rests on the bridge of the guitar and slightly mutes the strings). Occasionally, the palm is lifted and power chords (2 notes played a fifth apart) on D and E (an octave higher) are played on the off beat 3:55.
I like how Binks plays single-stick drum rolls on the snare at that part, too (he’s so good!) Halford’s vox are incredible and that long, falling wail and the word “DOWN” just before that break makes me feel like I’m falling with him 3:45. Finally, the main bass riff. Those right fingers are flying 1:03. So clean, too. It’s nice to hear to some expert bass on a track like this. I don’t give many 5 out of 5’s but this one sure is close!
On the Breakdown in question, it is a muted 6th string for 7 measures, and on the 8th measure, full chords are played to give the last measure an extra kick.
"...abattoir, abattoir, mon dieu quelle horreur!!!"
Masterpiece of '70s metal. I love how (during the second verse) Glen Tipton mimes with the guitar the sounds of the animals mentioned in the lyrics.
This is such a good album, with the best track still to come. I'm pretty sure you'll agree!
A deep, dark and excellent cut from Priest's best album. The use of the guitar to simulate the various creatures mentioned in the lyrics always impressed me as a kid, along with the allusions to the destruction of the Cathars and the Albigensian crusade. \m/ \m/
This track is such a banger! 🤘
The next track is the album's zenith. That solo could be metal's finest moment!
@@Katehowe3010 I have reflected on this matter for many years, and I have to concur: BTRoD has metal's greatest, most melodic and soulful solo.
@@pentagrammaton6793 ✌️
Tipton Genius!
This LP is the pinnacle
Of Priests creativity
And heaviness…
“Hell bent for Leather”
Is a close second.
It’s the album after this one.
Just some great songs throughout 👌 that's typical of their late 70s albums (75-79) great dual guitar jams 🎸 and of course Halford becomes the metal god for his vocals.
It's amazing huh!
Back in the 80's, my copy of this album had a big scratch on this song, so it was the one I listened to the least (LOL)
In my book, this is one of their best albums
Palm-muting can be done on one string or many, depending on how chunky you want it to sound.
To the "dumb" question: as someone has pointed out, all strings could be palm muted but in this case it's probably just a good bread-and-butter power chord (two strings most of the time) palm muted by both guitars. It could very well be just one string for each guitar, not sure haha. They tend to play with their dual guitars a LOT. In another song, Victim Of Changes (best version is on "Unleashed in the East"!) there's a chunky riff where one guitar guitar playes a meaty palm muted riff while the other one does nothing but completely muted rhythm accent "attacks" to give that part more crunch. I hope that makes sense. :)
One string per guitar in unison, aye. :)
Best metal band everr
absolutely epic song. every second of it
His voice is so smooth.
As you are mostly into prog give a chance to "Run of the mill" or "Dreamer deceiver" on their first albums . "The sentinel" should be fit to your channel also.
To have the galoping sound you just have to hit the first upper string or the 2 first strings (they make then a 5th or a 4th chord) and mute the strings with the palm.
Love the review and reaction
As far as the guitar sound you mentioned goes, it sounds to me like they're partially muting a string, there. When you play an electric guitar through a loud amp, it's almost more about what strings you can _prevent_ from sounding, than about those you do sound.
If you just leave the strings alone, you often get feedback. (Randomly there's some vibration; the vibration is picked up by the pickups, fed through the amp; comes back through the speaker, and causes more vibration in the string, quickly building up to that feedback sound we've all been hit by at some time.) You have to constantly keep the strings under control (unless you're using deliberate feedback - in which case you'll walk around, looking for the spot where it's most pronounced, since it will vary across a room or a stage. Joe Satriani apparently marks all the good feedback spots on any stage he's due to play on with tape, before the concert - to know to avoid these in quieter passages, and to know where to go when he wants the strings to screech and wail.)
Because the combination of guitar and overdriven amp is so unruly, you'll find that full chords are a lot scarcer in hard rock styles than elsewhere, because the overdrive also adds harmonics to a note. (I think that's why it's such a popular sound. It's rich. Filthy rich, you might say - a bit too much. And as we all know, for a lot of people too much is not enough.) Most of the chords you'll hear in metal will actually just be power chords - two notes, not three - and consonant notes, not dissonant.
Oh there's another thing that can catch you. If you give a string the right kind of pinch, or gentle touch-and-release after sounding it, or at the very moment you pick, you'll ring just one of the harmonics in a note. Kind of like hitting a tuning fork. With the pre-amp running at 11, the guitar-amp combination becomes very "harmonics sensitive". (You can do something similar on acoustic guitars, but not so easily. And not so LOUD.) Whenever you hear a very clean, ringing tone, a harmonic is a good suspect.
Anyway, back to that sound you mentioned. I don't know enough to say whether it's a few strings or just one, but it sounds more to me like just one string - maybe fretted but muted with the palm of the picking hand. I think I hear both an upstroke and a downstroke of the pick.
If you want to geek out to this kind of thing, *Troy Grady* will show you everything in close-up. ua-cam.com/video/JZ3f4uhQLkA/v-deo.html (This is his Michael Angelo Battio episode.)
Good lesson the first physics of the electric guitar! 🤘
Back in the day, Ted Nugent would map out the stage before concerts so he could play the feedback - he was a master of it with his hollow-body guitar
Yep, playing raw metal guitar is like taming a wild beast. Muting and feedback control are everything.
Les!
Yes! Les is just killing it!
I had always heard that castrati were no longer a thing. How wrong I was!
Early Geddy Lee “wake the dead” shriek. I can’t concur with or even contemplate contradicting the commentary concerning the lyrics without entering manic street preacher mode. But i enjoyed the riffs, bass and drums. The coda coulda been condensed though. Their Point of Entry 1982 LP kept The songs shorter and simpler. I seem to remember an extra 7” inch single with Unleashed in the East “live”LP with Beyond the Realms of Death on it. Haven’t heard it in yonks.
Budgie say Cheep!
The underrated Point of Entry is not from 82 but from early 81.😉
@@a.k.1740 thanks🥁time eh? . It also has similar artwork to ‘Thirty Thousand Feet over China’ dontcha reckon?🤣 Call me Slinky or wot?! Cue JP! JP, you’re on. Play the song....JP!! Doh... he must’ve ...overindulged . Justin bach, this is your IILWAGFS wake up call. “You promised, you promised!”
Back to the other jp, Breaking the Law was funny and catchy, United was abysmal but one reason why POE sounded so refreshing. 1981 . A good year!
@@HippoYnYGlaw During all these years, I had never made the connection between these two album covers! It is true that there are similarities, even if each one has its particularities.
I never understood the craze for British Steel, of which I only really like "You Don't Have To Be Old To Be Wise" and "The Rage" (which are musically close to certain Point of Entry tracks) . The other pieces of British Steel seem very dull and unsubtle to me. I find there's a lot more finesse and nuance in POE (starting with Dave Holland, whose drumming I find much more diverse and flexible compared to his stiffer playing in BS). Yes I agree, 1981 was a good year for music !👍
@@a.k.1740 I find British Steel to be a solid, but curiously mismatched and somewhat overrated album. I have to skip a few tracks if I listen to it.
🤘😁✌
The chugga chugga gallop is string muting. Depending on the riff the stings are a select few
Coat of arms?