Origins<\/strong><\/p>\n When one lists the most influential heavy metal albums of the 1970\u2019s, Judas Priest<\/strong>\u2019s \u201cStained Class\u201d<\/strong> cannot be excluded from the list. And yes, we are talking about heavy metal, a very fragile term in that day and age. In 1978 it was still virtually non-existent, with such benchmark bands as Black Sabbath,<\/strong> Blue \u00d6yster Cult<\/strong> and Led Zeppelin<\/strong> drifting off to other waters and the arrival of NWOBHM still couple of years off. Originally Priest\u2019s 1978 release might not have been revered as much as it is today, but in the 2010\u2019s it is recognized for the introduction of screaming guitars and the early influences on speed metal in tracks such as the one we are examining here: \u201cExciter.\u201d<\/strong><\/p>\n Amidst busy touring schedule in October 1977 Judas Priest entered the Chipping Norton Studios in London with producer Dennis MacKay.<\/strong> After completing the final masters in the following month, the record company executives were still left demanding for a suitable single. Admittedly none of the recorded material was exactly commercially viable so the band re-entered the recording facilities, this time in also London-based Utopia Studios. Unfortunately MacKay was no longer available having committed himself to another project so Priest utilised Utopia resident James Guthrie\u2019s<\/strong> (Pink Floyd,<\/strong> later Queensr\u00ffche<\/strong>) services for the track.<\/p>\n Just like \u201cSin After Sin\u2019s<\/strong>\u201d \u201cDiamonds And Rust,\u201d<\/strong> the band opted for an obscure cover number, this time by Spooky Tooth<\/strong>. \u201cBetter By You, Better Than Me<\/strong>\u201d was originally written by Gary Wright<\/strong> and recorded for Spooky Tooth\u2019s 1969\u2019s album \u201cSpooky Two\u201c.<\/strong> Whilst no one could deny the song\u2019s commercial potential, it failed to chart. However, with the songs parent LP notable was Priest\u2019s first chart entry in the US. \u201cStained Class\u201d barely missed the top 100 with a #104 peak position. The band didn\u2019t let the chart success or lack of it deter them and shot straight out on the road with powerful live show and relentless attitude.<\/p>\n As an entity eventually \u201cStained Class\u201d won the critics over and is regarded as one of the all-time classic heavy metal albums from the 1970\u2019s. Time always flies too quickly and the record actually now enjoys its 40th anniversary. Back when it was released in 1978, punk was the word on everyone\u2019s lips in Great Britain. Some have stated during that year only two heavy metal bands released any records at all; Priest with \u201cStained Class\u201d and \u201cKilling Machine\u201d<\/strong> and UFO with \u201cObsession\u201d<\/strong> and seminal \u201cStrangers In The Night.\u201d<\/strong> But the NWOBHM was only couple of years away; Priest kept forging ahead and solidified their homeland reputation with \u201cStained Class.\u201d The album was the first to actually chart in the USA. Even more remarkable was its success in Japan, which resulted in Priest\u2019s first visit of many to the land of the rising sun in the spring of 1978. Priest were also in a transitional mode moving from 1970\u2019s flamboyant image towards more harder, leather and studs based look. At the time of \u201cStained Class\u2019\u201d release, this wasn\u2019t yet fully realised and on the band\u2019s first Japanese tour, Rob Halford<\/strong>\u00a0was still opting for silk and satin.<\/p>\n The LP and the opening cut \u201cExciter\u201d begin with fast and furious drum salvo, before main guitar riff takes over. This makes excellent impression and first off the gate presenting band\u2019s new drummer Les Binks<\/strong>. Binks had debuted with Priest on the \u201cSin After Sin\u201d- tour previous year and \u201cStained Class\u201d was his first studio record with the band.<\/p>\n Binks played double bass drums on the track, which nowadays is very common but in 1978 this was almost unheard of. Drum sound is excellent here, perfectly enhancing the speed and precision of the arrangement. Throughout the song, Binks delivers numerous fills and breaks which truly impress and also separates \u201cStained Class\u201d from past decade\u2019s more usual rhythm technique. The difference is clear even with Priest\u2019s previous album and Simon Phillips\u2019<\/strong> equally powerful but perhaps more sophisticated playing style. Good contrast is \u201cCall For The Priest\u201d<\/strong> from \u201cSin After Sin.\u201d Phillips\u2019 drumming is skilful and drives the song along, but the sound on \u201cStained Class\u201d and especially Binks\u2019 drums are instantly heavier and rely more on forceful fills.<\/p>\n The opening guitar riff on \u201cExciter\u201d has a distinctive sound, which is rooted in the 1970\u2019s but still manages to sound bold, brash and exciting when compared to any metal song released today. The riff supplements at 0:54 for example also make an innovative mark. Rhythm is tight and sharp reminding us again of previous album\u2019s faster songs like \u201cSinner\u201d<\/a> and \u201cCall For The Priest.\u201d Two verses and two choruses take us into 1:20 on the song. Rob adds \u201cHere he comes now, fall to your knees and repent if you please\u201d<\/em> as the music comes to a full stop behind him. Pay attention how Binks\u2019 cymbal hit is left ringing almost until the song resumes. The arrangement is classic Priest in its switching of gears countless times as the song progresses.<\/p>\n The sole guitar solo follows unusually early in a song, considering it contains four verses. Played by Glenn Tipton,<\/strong> it is essentially a run-through of melodic lines. Guitar sound during the lead is awesome, and offers an interesting counterpoint to main riff. As often with Priest songs; guitar actually sings another verse here. This particular solo is fairly long one, lasting almost 30 seconds and features two themes. Higher sung bridge follows with guitar playing the riff in higher key. Drums are amazing throughout – fills, cymbal hits and change in pace follow each other keeping the arrangement in order and providing a constant sense of threat. Music is kept charging forward with seemingly quickening grip.<\/p>\n We quickly move into third proper verse with more fills and drum work heralding its arrival. Same riff enhancements carry the track forward and the 2:55 there\u2019s a loud effect, either played by keyboard or guitar. Very notable segment of \u201cExciter\u201d and indeed whole \u201cStained Class\u201d is the accompanying musical enhancements around the core of guitars, bass and drums. The sound effects Priest had used ever since \u201cRocka Rolla\u201d<\/strong> started to pop up more regularly on \u201cSin After Sin\u201d and \u201cStained Class.\u201d They never steal the attention from the proper song writing but are there rather just to enhance the arrangement and add to song\u2019s message and musical force. There\u2019s a lot going on underneath \u201cExciter,\u201d with numerous sonic additions usually at key points marking a change in rhythm or the end of a verse.<\/p>\n What also separates Priest from rest of the pack is the full-on theatrics displayed by their lead singer. Through a part like \u201cfall to your knees and repent if you please\u201d<\/em> Rob again is writing and performing in full character with sneer and contempt in both his lyrics and singing clearly at display. This was very evident throughout his late 1970\u2019s and early 1980\u2019s performances. He also seems to sing each and every chorus just a slightly higher than the previous one.<\/p>\n When Rob sings \u201cyou never see him but you will taste the fire upon your tongue\u201d<\/em> in comes excellent vocal harmony mid-way through the line with more Halfords singing back-ups and a change in the furious tempo of the song giving it added effectiveness. The classic guitar harmony starts at 3:37 first preceded by a single guitar build-up which also connects different parts of harmony as it progresses. This lead break is one of the most revered in heavy metal genre and justly so. It is a benchmark for double guitar leads, only preceded by the likes of Kiss<\/strong>\u2019 \u201cDetroit Rock City.\u201d<\/strong> and odd number by Thin Lizzy<\/strong> and Wishbone Ash.<\/strong> It proved two lead guitars could really do more than one \u2013 it also introduced us to power metal some 10 years before the genre took on a full flight. And again listen how drums lead the charge underneath.<\/p>\n Tempo slows down a notch and during the part \u201cexciter comes for everyone\u201d<\/em> another guitar effect most likely by K.K. Downing<\/strong>\u00a0is heard at 4:16. This effect creates an image of Exciter descending rapidly from the sky with a sound of fire and wind all around him. The fourth verse arrives with change in pace underneath the frontlines of guitars and vocals. \u201cOnly when there\u2019s order, will his job be done\u201d<\/em> Rob drives in the ending with a full on theatre mode and the music behind him jolts like a power surge of electricity has gone through it.<\/p>\n The bridge is repeated and the fifth verse is also a repeat of the first one. Instead of chorus, we only get repeats of the first chorus line and songs grinds to halt. At 4:50 slightly longer guitar effect signals this and the fact that Exciter is now closer than ever. We as fans are totally used to it by now, but looking at the arrangement, this is quite unusual way of bringing the track to a closure. Rob flies off the gate with three final \u201cstand by for Exciter!\u201d<\/em> screams \u2013 each one higher than the last and the last syllable lasting five seconds. This really became a benchmark for future heavy metal vocalists who wanted scream high, loud and long. And amazingly Halford could \u2013 not only replicate, but actually improve on the studio recording when the song was done live on the subsequent tour. Binks\u2019 drum blasts at the end of the song are aided with cymbal hits, and final furious fill before chords come crashing down and again cymbals are left ringing just slightly before second track \u201cWhite Heat, Red Hot\u201d<\/strong> begins.<\/p>\n![\"ExciterJapan\"](\"http:\/\/kkdowning.net\/steelmill\/wp-content\/uploads\/2014\/07\/ExciterJapan.jpg\")
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