Judas Priest were an incredibly important band in the history of metal. They were essentially the link between the OG metal bands (Led Zeppelin, Black Sabbath, Deep Purple) and all the metal bands/genres from the 80s on (Iron Maiden, Metallica, Slayer, etc.). As I said in Top 100 Artists list, they essentially combined the heaviness of Sabbath, the speed of Purple, and the experimental complexity of Zeppelin and helped to transition metal from its blues roots towards its own unique genre. Victim of Changes was from their second album, and it was indicative of that change. The album itself is arguably one of the 5 most important/influential metal albums ever. It sounded like nothing else at the time. You can essentially hear all the DNA of future of metal in this song, even though there are still echoes of metal's blues-rock roots too. It really treads that middle ground marvelously. Though I do love this song, I've always found the production on this song (and album in general) to be a bit weak, especially with the guitar mix. The live version on Unleashed in the East is much better, and Halford lets out a blood curdling scream at its climax, even more powerful than the one on this studio track.
"Victim Of Changes" is actually two songs combined into one. There was track "Whiskey Woman", and "Red Light Lady". Those songs were wrote before members of the band formed Judas Priest.
KK is playing the first guitar solo, he was and still is a whammy bar maniac and i love that😎🤘 His solos are wild, and that is his main signature. Heavy metal guitar solos can be both very structural or completly over the top, so you can’t measure it with how instruments are played in classical pieces. This is rock’n roll, man😉
Sometimes it really helps to pay attention to the lyrics. That way its easier to understand what emotions the song is trying to express. Loss of direction, frustration, anxiety, emptiness, anger and sadness are phases in this song. It's dripping of emotions.
In a three album run, starting with this one, Judas Priest exorcised the blues from hard rock. The result is Stained Class, which I think is the first true metal album.
Personally, this song came out ~10 years before I was born, so I also wasn't around when it was released. However, I grew up with my dad playing drums to classic rock radio, so in a way I grew up with blues-rock and a lot of the music of the 70s and 80s. It wasn't until my teens that I discovered metal (Iron Maiden was my introduction). Judas Priest was one of my early metal discoveries too, and I think what I loved about them (and this song) is precisely that they were that middle ground between blues-based hard rock and the future of metal. To my ears at the time it felt both comfortable and familiar (the blues-rock element), but also new and exciting. As a burgeoning guitarists these were fun songs to play too, with lots of interesting lead lines and riffs. They offered just enough challenge to be interesting, but not so much as to be frustrating (like a lot of the more advanced metal of the 80s like Megadeth; not to mention prog metal). I also always loved Halford's voice, especially the high-pitched scream. That type of vocal (not as extreme, but similar) was really common in 70s/80s rock. I think it all started with Robert Plant of Zeppelin who had a pretty high voice, and Zeppelin were so influential that later bands kept pushing that further. Halford took it about as far as it could go, and a lot of 80s metal bands were hugely influenced by his vocals. Ironically, modern metal eventually trended towards the other extreme, with voices being as low and guttural as possible, often with a lot of distortion (ala death metal). I can understand how/why it can come off as cheesy, particularly given that power metal is arguably the metal genre most directly influenced by the style that's still going. I don't think it was cheesy for the time, though. For this song in particular I've always been a sucker for songs that build to great climaxes. I think they do it much better on the live version, but the way they go into that soft, quiet, quasi-psychedelic section that slowly builds until that main riff crashes back in with Halford's belt blaring over it has always struck me as incredibly powerful. Of course, it's a rather simple thing to go from quiet to loud--Pixies/Nirvana made an entire genre out of it--but dynamic changes this extreme weren't as common in 70s, at least not outside of prog (and prog's climaxes tended to be different than Victim of Changes, which feels like a volcanic eruption comparatively).
Somehow I get the feeling you wouldn't like doom metal :) Sometimes keeping the song simple, composition wise, is the right thing to do. This song is even better live, and there you don't have the varied guitar sounds the studio version has. But it just works, brilliantly. There are times you just have to shut off the analytical part of your brain and just feel the music instead. There's so much music in my collection that is just plain and simple boring, composition wise, but the feeling, the attitude in the performance really grips you and lift the music to another level. Perhaps it's a benefit of not being a musician, being able to also appreciate music that is simple in its composition ;) Knowing too much about music theory makes you pick out the details you don't like, instead of just hearing the song as a whole? Maybe. There's no right or wrong when it comes to subjects like this, the only thing that matters is that you enjoy what you enjoy and don't let others decide for you what you should like :)
On Halford's use if very high piercing notes... Painkiller is actually atypical. The only other songs of theirs that are that ultra high all the way through are Screaming for Vengeance and Freewheel Burning. Otherwise, Halford will usually use a variety of notes, and use the ultra high notes at key moments but not constantly. Sometimes he's maybe over used it, but that was maybe during his early years (on Stained Class maybe, even though it's my favourite album) and it's not unusual for singers with a big range and technical skills to icer do it a bit,until they learn to use their abilities best.
Where ends meet: this (Sad Wings of Destiny) is actually (together with Sabbath Bloody Sabbath) Mikael (Opeth mainman) Åkerfeldt's favourite metal album 😊 For me, Priest hits harder with their early blues-rock albums (but then I'm a groove man). Let's see if you'll like the "heavy metal" side better tomorrow (I think the "galloping" is a bit tedious in NWOBHM - still quite like them when in mood though)
Saw them live in 1978 and 1979. The cover of the Joan Baez song "Diamonds and Rust" is one of my favourite numbers. I didn't follow them after the 70s. (And please, I don't need anyone feeling sorry for me for that loss.)
2:33-2:51 in this video, a section which is revived near the end of the song, is the critical moment for me, as it's where the song anticipates the dramatic power of trash metal in the mid-eighties, most notably of the band Metallica. The intensity may not have been there yet, but the roots of inspiration were there for riffs like Fight Fire With Fire and Disposable Heroes. This makes it perhaps one of the most important transitional songs in the evolution of the metal genre, bridging the blues-based hard rock of the early seventies while hinting at what was to come down the road. I also think this song isn't as good as The Ripper, which is the second track on the album, since that condenses as much musical information into under three minutes.
The theme is about looking at how a band changed from their formation to their most recent works. But I understand that Judas Priest has a huge library of works and I could probably devote an entire month to just them.
I'm going to respectfully disagree. There is more music than ever right now and it's constantly evolving in a million different directions. Now I don't know what you're musical journey has been but generally speaking I say, if you aren't hearing anything you like right now then you're not looking hard enough. I thought the same thing as you when I started this project. There were a couple of modern bands that I enjoyed but for the most part my listening habits were stuck in the 2000s. Now I'm finding a bunch of really great stuff.
@@CriticalReactions I like music that is catchy and has a nice melody. I am not really into complex sounds and songs with meanings. People will always remember the simple catchy songs more than the songs that has a lot of words and meanings. Groups like AC DC and other old time bands have stood the test of time, because those songs are simple and catchy and dont need too much thinking about.
I DONT THINK YOU LISTEN CAREFUL THE SONG. YOU CRITICS ARE VERY FUNNY. YOU DIDN'T SAY ANYTHING ABOUT ROB HALFORD AMAZING VOICE AND PERFORMANCE IN TO THE SONG. YOU ONLY TOLKING ABOUT THE STRUCTURE OF THE MUSIC IN THIS PERFECT SONG.FIRST, YOU BETTER LISTEN CAREFUL EVERY ALBUM OF THIS AMAZING GROUP JUDAS PRIEST AND THEN DO YOU COMMENTS WHICH I DON'T THINK WILL BE IMPORTANT. JUDAS PRIEST ARE THE BEST GROUP IN THE WORLD AND NO QUESTION OF THAT. THEY DESERVE EVRY MUSIC AWARDS. AND FINALLY WITH ,OR WITHOUT YOUR COMMENTS NOTHING IS GOING TO CHANGE THE OPINIONS FROM THE FANS OF THE GREAT BAND IN THE WORLD FOR ALL TIMES JUDAS PRIEST...
![Eminem - Somebody Save Me (feat. Jelly Roll) [Official Music Video]](http://i.ytimg.com/vi/Vwa0HenQMi4/mqdefault.jpg)
Judas Priest were an incredibly important band in the history of metal. They were essentially the link between the OG metal bands (Led Zeppelin, Black Sabbath, Deep Purple) and all the metal bands/genres from the 80s on (Iron Maiden, Metallica, Slayer, etc.). As I said in Top 100 Artists list, they essentially combined the heaviness of Sabbath, the speed of Purple, and the experimental complexity of Zeppelin and helped to transition metal from its blues roots towards its own unique genre. Victim of Changes was from their second album, and it was indicative of that change. The album itself is arguably one of the 5 most important/influential metal albums ever. It sounded like nothing else at the time. You can essentially hear all the DNA of future of metal in this song, even though there are still echoes of metal's blues-rock roots too. It really treads that middle ground marvelously. Though I do love this song, I've always found the production on this song (and album in general) to be a bit weak, especially with the guitar mix. The live version on Unleashed in the East is much better, and Halford lets out a blood curdling scream at its climax, even more powerful than the one on this studio track.
Excellent 👏🏼
"Victim Of Changes" is actually two songs combined into one. There was track "Whiskey Woman", and "Red Light Lady". Those songs were wrote before members of the band formed Judas Priest.
For an up-tempo version of this song, try the live version on Unleashed in the East. It's fantastic.
100%
KK is playing the first guitar solo, he was and still is a whammy bar maniac and i love that😎🤘 His solos are wild, and that is his main signature. Heavy metal guitar solos can be both very structural or completly over the top, so you can’t measure it with how instruments are played in classical pieces. This is rock’n roll, man😉
Judas Priest, one of the pioneers of heavy metal.
Sometimes it really helps to pay attention to the lyrics. That way its easier to understand what emotions the song is trying to express. Loss of direction, frustration, anxiety, emptiness, anger and sadness are phases in this song. It's dripping of emotions.
I'm going to experiment with reading lyrics while listening to a song on Friday's track (it's a lyrics video) we'll see how that goes.
In a three album run, starting with this one, Judas Priest exorcised the blues from hard rock. The result is Stained Class, which I think is the first true metal album.
One of the best song of all times. Rob was the best Metal Singer, next to RJD. And the Guitar duo Downing/Tipton is the best duo of all times!
One of the greatest compositions ever!
Personally, this song came out ~10 years before I was born, so I also wasn't around when it was released. However, I grew up with my dad playing drums to classic rock radio, so in a way I grew up with blues-rock and a lot of the music of the 70s and 80s. It wasn't until my teens that I discovered metal (Iron Maiden was my introduction). Judas Priest was one of my early metal discoveries too, and I think what I loved about them (and this song) is precisely that they were that middle ground between blues-based hard rock and the future of metal. To my ears at the time it felt both comfortable and familiar (the blues-rock element), but also new and exciting. As a burgeoning guitarists these were fun songs to play too, with lots of interesting lead lines and riffs. They offered just enough challenge to be interesting, but not so much as to be frustrating (like a lot of the more advanced metal of the 80s like Megadeth; not to mention prog metal).
I also always loved Halford's voice, especially the high-pitched scream. That type of vocal (not as extreme, but similar) was really common in 70s/80s rock. I think it all started with Robert Plant of Zeppelin who had a pretty high voice, and Zeppelin were so influential that later bands kept pushing that further. Halford took it about as far as it could go, and a lot of 80s metal bands were hugely influenced by his vocals. Ironically, modern metal eventually trended towards the other extreme, with voices being as low and guttural as possible, often with a lot of distortion (ala death metal). I can understand how/why it can come off as cheesy, particularly given that power metal is arguably the metal genre most directly influenced by the style that's still going. I don't think it was cheesy for the time, though.
For this song in particular I've always been a sucker for songs that build to great climaxes. I think they do it much better on the live version, but the way they go into that soft, quiet, quasi-psychedelic section that slowly builds until that main riff crashes back in with Halford's belt blaring over it has always struck me as incredibly powerful. Of course, it's a rather simple thing to go from quiet to loud--Pixies/Nirvana made an entire genre out of it--but dynamic changes this extreme weren't as common in 70s, at least not outside of prog (and prog's climaxes tended to be different than Victim of Changes, which feels like a volcanic eruption comparatively).
Somehow I get the feeling you wouldn't like doom metal :) Sometimes keeping the song simple, composition wise, is the right thing to do. This song is even better live, and there you don't have the varied guitar sounds the studio version has. But it just works, brilliantly.
There are times you just have to shut off the analytical part of your brain and just feel the music instead. There's so much music in my collection that is just plain and simple boring, composition wise, but the feeling, the attitude in the performance really grips you and lift the music to another level. Perhaps it's a benefit of not being a musician, being able to also appreciate music that is simple in its composition ;) Knowing too much about music theory makes you pick out the details you don't like, instead of just hearing the song as a whole? Maybe.
There's no right or wrong when it comes to subjects like this, the only thing that matters is that you enjoy what you enjoy and don't let others decide for you what you should like :)
The live version is unreal
On Halford's use if very high piercing notes... Painkiller is actually atypical. The only other songs of theirs that are that ultra high all the way through are Screaming for Vengeance and Freewheel Burning. Otherwise, Halford will usually use a variety of notes, and use the ultra high notes at key moments but not constantly. Sometimes he's maybe over used it, but that was maybe during his early years (on Stained Class maybe, even though it's my favourite album) and it's not unusual for singers with a big range and technical skills to icer do it a bit,until they learn to use their abilities best.
Where ends meet: this (Sad Wings of Destiny) is actually (together with Sabbath Bloody Sabbath) Mikael (Opeth mainman) Åkerfeldt's favourite metal album 😊
For me, Priest hits harder with their early blues-rock albums (but then I'm a groove man). Let's see if you'll like the "heavy metal" side better tomorrow (I think the "galloping" is a bit tedious in NWOBHM - still quite like them when in mood though)
Saw them live in 1978 and 1979. The cover of the Joan Baez song "Diamonds and Rust" is one of my favourite numbers. I didn't follow them after the 70s. (And please, I don't need anyone feeling sorry for me for that loss.)
I"d say you caught the in the right time 😊
Sorry for your loss.
2:33-2:51 in this video, a section which is revived near the end of the song, is the critical moment for me, as it's where the song anticipates the dramatic power of trash metal in the mid-eighties, most notably of the band Metallica. The intensity may not have been there yet, but the roots of inspiration were there for riffs like Fight Fire With Fire and Disposable Heroes. This makes it perhaps one of the most important transitional songs in the evolution of the metal genre, bridging the blues-based hard rock of the early seventies while hinting at what was to come down the road. I also think this song isn't as good as The Ripper, which is the second track on the album, since that condenses as much musical information into under three minutes.
Why go from a 1976 album to a 2018 One without checking out the best stuff the band has ever produced in the middle?
The theme is about looking at how a band changed from their formation to their most recent works. But I understand that Judas Priest has a huge library of works and I could probably devote an entire month to just them.
Takes me back to the 70s
The 1979 live album Unleashed In The East version is far superior to the original one. Better than all versions actually
2 guitarist one in one ear one it the other.
You cant beat old time rock.
Theres nothing now.
I'm going to respectfully disagree. There is more music than ever right now and it's constantly evolving in a million different directions. Now I don't know what you're musical journey has been but generally speaking I say, if you aren't hearing anything you like right now then you're not looking hard enough. I thought the same thing as you when I started this project. There were a couple of modern bands that I enjoyed but for the most part my listening habits were stuck in the 2000s. Now I'm finding a bunch of really great stuff.
@@CriticalReactions I like music that is catchy and has a nice melody. I am not really into complex sounds and songs with meanings. People will always remember the simple catchy songs more than the songs that has a lot of words and meanings.
Groups like AC DC and other old time bands have stood the test of time, because those songs are simple and catchy and dont need too much thinking about.
@@Nuron666 Go listen to pop then. "Simple and catchy"
If you want som action,react to same song,but LIVE from Simenola Hard Rock Arena..
If all you are looking at in a song like this is time signature and the “lack” of variation, then you have already missed the point.
react to utopia ost the British one
Thanks. Could you react on Drab Majesty - 39 by Design
Cheesy? Come on man!
I DONT THINK YOU LISTEN CAREFUL THE SONG. YOU CRITICS ARE VERY FUNNY. YOU DIDN'T SAY ANYTHING ABOUT ROB HALFORD AMAZING VOICE AND PERFORMANCE IN TO THE SONG. YOU ONLY TOLKING ABOUT THE STRUCTURE OF THE MUSIC IN THIS PERFECT SONG.FIRST, YOU BETTER LISTEN CAREFUL EVERY ALBUM OF THIS AMAZING GROUP JUDAS PRIEST AND THEN DO YOU COMMENTS WHICH I DON'T THINK WILL BE IMPORTANT. JUDAS PRIEST ARE THE BEST GROUP IN THE WORLD AND NO QUESTION OF THAT. THEY DESERVE EVRY MUSIC AWARDS. AND FINALLY WITH ,OR WITHOUT YOUR COMMENTS NOTHING IS GOING TO CHANGE THE OPINIONS FROM THE FANS OF THE GREAT BAND IN THE WORLD FOR ALL TIMES JUDAS PRIEST...
Get a new keyboard bro
what u composed?
Right? 😆
ruclips.net/channel/UCfgjbcj83NOVh-gbnUJ81fQ