Hallowed be thy name guitar pro
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There’s a really melodic harmonised chorus, and I get to do a lot of the back-up vocals. “What’s not to like about The Prisoner!? We start with the sample of the voice, it kicks in with that very simple but super-powerful drum intro and takes off from there. THE PRISONER (The Number Of The Beast, 1982) It’s a great one to throw in because anyone who’s into the lesser-played early tracks really appreciate it.” Some may not be aware now that their roots came from a lot of that early punk era. “Again it has to do with Clive Burr’s energy, and this really shows off the punk-ish influence on early early Maiden. Whenever we finish a song and Wanda starts that amazing bass line, everybody knows what it is and a lot of times you hear a gasp from the audience. We try to balance it out, but there’s just so many great songs to choose from! It changes the direction of the set, and we do want to include more eras than just the early days up to Live After Death. “This one’s got a real nice, different mood to it. THE CLAIRVOYANT (Seventh Son Of A Seventh Son, 1988)
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Coming from the drummer’s perspective, to me Clive Burr is a huge influence and one of the reasons I wanted to start playing, and this is one tune that made me say: ‘I have to learn how to play like that!’ With that kind of explosive energy. “As a drummer, how could you not want to play Genghis Khan? People just drop their jaws when we play it. It’s one of the most anticipated songs, so we kind of have to do it! And the strange thing is, as Bruce always says, ‘you don’t mosh to Maiden’. “This is one we have tried to leave off the set, sometimes, and the audience just won’t accept that, haha! When we’re done, they want us to come back and play it. HALLOWED BE THY NAME (The Number Of The Beast, 1982) People love the interaction with our bass player Wanda in the verses, when they throw their fists in the air at the point that Steve Harris always does. It’s up, it’s down, it’s very beautiful but very strong, it’s got harmonies – it’s got everything! It’s not really a ‘slow song’, but we’re not doing any ballads or anything, and with this one you slow it down a notch before you pick it up again. “There is such a roller-coaster of emotions in this song. And you know, sometimes maybe they don’t think that girls, for whatever reason, might be able to play something that’s a little more non-traditionally arranged and whatnot, so it’s nice to be able to pull it out and watch them eat it up!” “With live playing it’s all about the energy, and this one just has so much energy, and so many breaks again, the audience just love hearing all these early classic ones. It’s such an early classic, very powerful, people get very emotional when the start of that song kicks in, they’ve got their fists in the air! It just goes over really well live.”
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“To me the era that got me interested in Iron Maiden was the first three albums, and this just reminds me of that era. CHILDREN OF THE DAMNED (The Number Of The Beast, 1982)