{"id":1506,"date":"2020-09-03T10:18:08","date_gmt":"2020-09-03T10:18:08","guid":{"rendered":"http:\/\/kkdowning.net\/steelmill\/?post_type=thefuelofthefurnace&p=1506"},"modified":"2024-09-06T09:36:41","modified_gmt":"2024-09-06T09:36:41","slug":"one-shot-at-glory","status":"publish","type":"post","link":"http:\/\/kkdowning.net\/steelmill\/one-shot-at-glory\/","title":{"rendered":"The Fuel Of The Furnace pt. 3: The 30th Anniversary of “One Shot At Glory”"},"content":{"rendered":"

[three_fourth]<\/p>\n

\u201dLet Me Hear The Battle Cry, Calling On The Wind\u2026\u201d<\/em><\/p>\n

Origins<\/strong><\/h2>\n

“Painkiller\u201d<\/strong> \u2013 possibly the fiercest and in its time one of the heaviest albums Judas Priest<\/strong> had ever released, has amazingly reached its 30th anniversary. Furthermore it was the album that introduced their current drummer Scott Travis, <\/strong>formerly in US- speed metal rockers Racer X<\/strong>.<\/p>\n

For this record, Priest also had their first change in the production department since 1978, as Chris Tsangarides<\/strong> stepped in replacing long time producer Tom Allom<\/strong>. Tsangarides was not a completely new wheel in the Priest machine either, he had worked as co-engineer on \u201cSad Wings Of Destiny\u201d<\/strong> 14 years earlier.<\/p>\n

The album was recorded in early 1990, but eventually delayed for few months because of the ongoing court case in Reno. The judge ruling in Priest\u2019s favour, the road was now clear for the band to blast back with another metal milestone. They did just that in September 1990 when \u201cPainkiller\u201d was unleashed to the world. The arrival of thrash and speed metal few years back had pushed a lot of the older acts into corner, some exited the stage completely, others swallowed their pride and moved from arenas to clubs and onto a smaller label in order to continue making music. Judas Priest in the meantime faced the challenge head-on and released an album that rivalled any of the speed metal bands in its power and conviction.<\/p>\n

Scott Travis had definitely pushed the band to a more harder direction, and while their last album \u201cRam It Down\u201d<\/strong> had been heavier and faster effort compared to much discussed \u201cTurbo,\u201d<\/strong> \u201cPainkiller\u201d was Judas Priest at its most hard hitting so far. The record was received exceptionally well world wide, press hailing it as one of their greatest albums and a return to form after two more commercial efforts. While long term fans may not have seen such a drastic change, (the song writing had remained on high level through \u201cTurbo\u201d and Ram It Down\u201d) \u201cPainkiller\u201d was without a doubt a new checkpoint in a career approaching a 20 year-mark.<\/p>\n

Yet while \u201cPainkiller\u201d was without a doubt a new exciting chapter in the band\u2019s history, Priest had certainly not forgotten their long-standing fans and offered plenty of satisfaction for them as well within the record\u2019s grooves. At first glance it did seem like Priest had totally reinvented themselves and usually the rapid-fire title track and \u201cMetal Meltdown\u201d<\/strong> are pointed out as examples of this. Certainly those songs see the band again charging into completely new territories. But the second to last track on the album, \u201cBattle Hymn\u201d<\/strong> right from the beginning, who else could it be but Judas Priest? Traces of this instrumental can be tracked right back to \u201cThe Hellion\u201d<\/strong> from \u201cScreaming For Vengeance\u201d<\/strong> and \u201cOne Shot At Glory\u201d<\/strong> which majestically follows it, is \u2013 quite simply \u2013 classic Judas Priest.<\/p>\n

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Judas Priest (Photo by Aaron Rapoport\/Corbis via Getty Images)<\/figcaption><\/figure>\n

\u201cBattle Hymn\u201d begins with a cracking sound similar to someone opening a door and then the doubled guitar harmony backed with keyboards appears. The intro lasts barely 40 seconds but as it slowly ends, the impact of the killer riff that follows is enormous.<\/p>\n

Song kicks off with Scott driving it along, his drumming is excellent throughout and nice change of pace after the double-bass playing already heard on several tracks before. Glenn Tipton<\/strong> plays a short entry lick before Rob Halford<\/strong> starts singing, first with his impressive mid-range, sinister voice and later from the \u201clet me feel the spirits soar\u201d<\/em> on moving to a higher register and alternating between mid- and high vocals from thereon.<\/p>\n

Pre-chorus is again sung higher, the band slamming power chords behind him. The driving riff returns for the chorus, Halford sings with a more restrained, majestic feeling here but note the backing vocals (Rob simply doing a short \u201cah\u201d in higher register) here during the \u201cone shot at glory\u201d<\/em> part. Before this the \u201cremember, remember\u201d<\/em> from the pre-chorus is carried onto a higher level and remain in the background while Rob continues on with the chorus. A perfect example of creating a powerful effect through backing vocals without just doubling the main voice.<\/p>\n

The guitar melody begins while Rob finishes the chorus, now the double bass drumming takes over from here on. Second verse begins with K.K. Downing<\/strong>\u2019s entry lick, his guitar seems to be screaming in pain, especially at 1:43-44. In the second verse Rob\u2019s vocals are amazing during the higher parts, take a listen as he sings \u201cI still see the banners fly\u201d<\/em> and alternates his falsetto-like voice three times during the short sentence! It manages to paint a bleak picture on the grace and glory of troops marching into war.<\/p>\n

The pre-chorus this time around adds keyboards (notice how they build tension step by step and Scott does a fill right before the band launches to a chorus) and they add colouring to the main chorus as well.<\/p>\n

Guitar theme returns and is extended with harmonies, again tension is slowly created and listener drawn into the song. The riff immediately following (from 3:25 onwards) drives on powerfully, it varies from the main riff slightly and I must admit sounds even better. This guitar riff (with numerous variations) is the core in which many traditional metal bands nowadays base their songs to. Of course back in 1990 there were already groups like Running Wild<\/strong> who persisted but only ten years later it was almost the sound of mainstream.<\/p>\n

Guitar solos are up next. Until this day fans debate on the fiercest and greatest solo on \u201cPainkiller\u201d. They make their case for Glenn Tipton\u2019s melodic and dramatically cold lead on \u201cA Touch Of Evil\u201d<\/strong> or title track\u2019s aggressive, annihilating solos. Yet for this writer the two main solos on \u201cOne Shot At Glory\u201d represent the finest examples of Priest\u2019s unrelenting axe power in 1990. Like the song itself, everything that has gone on before, still remains. But there\u2019s also a new kind of heavier sharpness to the licks Downing and Tipton play here, during the next minute or so it almost seems like the song is about to charge off into a completely different direction pulled by the piercing guitars, before the more familiar harmonies pull it back and send it off towards the final verses.<\/p>\n

Guitar duel in \u201cOne Shot At Glory\u201d is one of the greatest ever recorded, and another sure-fire example of Glenn and K.K\u2019s distinct personal styles, Ian Hill<\/strong> and Scott Travis also provide excellent backing during the lead break, straight ahead drumming is the key here. After roughly 30-second spots from each, guitarists join together on the harmony (drums switch on to double-bass mode again) scanning across the war zone with a short lick signalling the end of middle part and the first riff brings the song back to a full circle.<\/p>\n

Pre-chorus returns and chorus is done twice. There\u2019s another fill by Scott (5:19) which sounds like cannonballs hitting the target. Listen how Rob sings that final part and effortlessly slips into a higher note at 6:01, while Glenn\u2019s brilliant outro solo immediately begins at the same time. Rob screams \u201cone shot at glori-ii-aah!\u201d<\/em> and also pay attention how the music behind him switches gear as well. This is another thing that from the beginning separated Priest from other heavy metal bands. The dynamics of the music always follow the vocals closely, a listener will hear the breathtaking screams of Halford while the effect is largely enhanced, sometimes even created by guitars, bass and drums behind it. As this is most of the time not noticed during the first playback, it is great to go back and find these moments within the songs.<\/p>\n

The track comes to a closure fittingly (note the change in drum mode once again) with Halford singing \u201cI still hear the battle cry, I still see the banners fly.\u201d<\/em> He sounds like the angel of death bringing salvation (in some form or another) to the soldiers left in the battlefield – the echoes of the character in \u201cPainkiller\u201d are clearly heard here. The poignancy of it is felt even more clearly when one considers it would be the last vocal sung by Rob Halford on a Judas Priest album for nearly 15 years. The song ends quickly with sounds of purgatory taking over after the attack, wind throws the ashes around and all that\u2019s left are the bodies of the dead. The fade-out is quick, as was death luckily for these men.<\/p>\n

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War with it\u2019s reasons and repercussions has been one of the most used topics in heavy metal. Specific moments in history have been brought into the songs, and the psyche of the soldiers has been discussed in great detail. The war songs always resonate with people as of course most of the countries have gone through a time of conflict. The greatest war songs in metal and rock field such as Magnum\u2019s \u201cLes Morts Dansant,<\/strong>\u201d Running Wild\u2019s \u201cWar And Peace\u201d<\/strong> and Black Sabbath\u2019s \u201cWar Pigs\u201d<\/strong> all speak for the masses and the poor who always get pushed into battle. And of course already back in 1969 Edwin Starr<\/strong> was singing \u201cWar! What is it good for? Absolutely nothing.\u201d<\/em><\/p>\n

In Judas Priest\u2019s case \u201cOne Shot At Glory\u201d was one of their first purely war themed songs, although especially their 1970\u2019s albums contained several songs with references to war. \u201cOne Shot At Glory\u201d took a personal view on the triumph national leaders were often aiming at in starting a war. Many soldiers apparently did so as well, it represented a chance to have their moment in the sun, and many were totally oblivious to the horrors that were awaiting them.<\/p>\n

\u201cLet me feel the spirits soar\u201d<\/em> was the sentiment many based their certain victory to. God was on their side and would help their country to destroy the enemy.<\/p>\n

\u201cThis day will last forever, deep in the hearts of men\u201d<\/em> \u2013 it would, one way or another. \u201ccourage and victory, remember, remember\u201d –<\/em> Soldiers were marched onto battle with promises of a shot to glory, yet many times they returned in body bags.<\/p>\n

On the second verse, songs protagonist states proudly that he\u2019s \u201cfighting on with dignity, amidst the blood and steel.\u201d<\/em> He also states that \u201cthe battle\u2019s always won.\u201d<\/em><\/p>\n

Many saw dying gloriously in war as the ultimate victory, in here showing the true power most dangerous leaders of the world always possess; talent to captivate people.<\/p>\n

The final words of the song are \u201cI still hear the battle cry, I still see the banners fly.\u201d<\/em> This can be interpreted in two ways, on the other hand it draws a bigger picture; wars are going on all the time around the world. And it speaks of one person, a soldier returning home from the battle, in good health maybe but forever scarred inside. He will hear and see the sounds of war probably for the rest of his life. And no doubt at some point he wants to scream like Rob does in the end. They had their shot at glory but it came with a price.<\/p>\n

As with most of their records, Priest inserted heavy dose of \u201cPainkiller\u201d into their set-list for new tour. No less than six of its nine proper songs were given airing, one of the emissions was unfortunately \u201cOne Shot At Glory\u201d which was perhaps seen as too lengthy number. In addition it is a demanding to song for a vocalist to sing and on the Painkiller-tour 1990-1991 Rob Halford certainly had his work cut out for him.<\/p>\n

Legacy<\/strong><\/h2>\n

While many correctly praise Judas Priest\u2019s earlier efforts as cornerstones of the heavy metal genre, it is important to point out how much influence \u201cPainkiller\u201d has had on several successful metal bands in this millennium. The waves caused by the record in 1990 are still hitting the shores especially in Europe. During the last 15 years it has become almost common to find metal albums lifting few riffs or melodies straight off \u201cPainkiller. \u201c A great tribute to the power of Judas Priest if there ever was one.<\/p>\n

\u201cOne Shot At Glory\u201d can even be seen as the epitome of war songs later on used on several power metal albums. While traditional metal had another upsurge in popularity starting from late 1990\u2019s, group\u2019s like Gamma Ray<\/strong> and Primal Fear<\/strong> were hugely influenced by tracks on \u201cPainkiller.\u201d For reference listen to Gamma Ray\u2019s \u201cHeart Of The Unicorn\u201d<\/strong> (\u201cNo World Order\u201d 2001) or Primal Fear\u2019s \u201cAngel In Black\u201d<\/strong> and \u201cKiss Of Death\u201d<\/strong> (\u201cNuclear Fire\u201d 2001) These are all great songs and wear their influence happily on their sleeve, yet one has to wonder whether those tracks have the same effect in the metal field 10 or 20 years from now.<\/p>\n

30 years after its release, \u201cOne Shot At Glory\u201d now sounds nothing less than timeless \u2013 as it did when it originally closed \u201cPainkiller\u201d in magnificent fashion.<\/p>\n