Judas Priest You've Got Another Thing Comin' Bass Cover with Notes & Tab

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Song: You’ve Got Another Thing Comin’
Artist: Judas Priest
Album: Screaming for Vengeance (1982)
Original Bass Player: Ian Hill
Bass: Fender Precision Steve Harris Signature Model,
Strings: RotoSound Swing Bass-Strings 66 Roundwound Stainless Steel (.040, .060, .080, 0.100)
Software: Guitar Rig 5
Audio: Focusrite Scarlett 2i2
Video Editor: Corel Video Studio Ultimate X9.5
Mixer: Phonic AM240
Camera: Canon VIXIA HF R700
Headphones: Behringer HPM1000
Standard Tuning

"You've Got Another Thing Comin'" is a song by British heavy metal band Judas Priest. It was originally released on their 1982 album Screaming for Vengeance and released as a single later that year. In May 2006, VH1 ranked it fifth on their list of the 40 Greatest Metal Songs. It became one of Judas Priest's signature songs along with "Electric Eye" and "Breaking the Law", and a staple of the band's live performances. "You've Got Another Thing Comin" was first performed on the opening concert of the Vengeance World Tour at the Stabler Center in Bethlehem, Pennsylvania, on 26 August 1982 and had been played a total of 673 times through the 2012 Epitaph Tour.

The song reached No. 67 on the Billboard Hot 100 charts, making it Judas Priest's only charting song in the United States. The song is written in the key of F-sharp minor.

Guitarist K.K. Downing on the song:

“You’ve Got Another Thing Comin’” was, without doubt, the song that broke Judas Priest in America. By the summer of 1982, it wasn’t just getting heavy rotation in our stronghold areas of St. Louis and San Antonio. That song was everywhere. You couldn’t turn on a rock radio station anywhere in North America without hearing it. Bizarrely, it almost didn’t make it onto the album Screaming for Vengeance. It was only when we’d reached Florida for the final mixing of the album that the pieces of a track that we’d had lying around without ever committing to fully finally fell into our laps. And when it did, the song’s appeal seemed like the most obvious thing ever. “How did we miss it?” Tom Allom said. “I don’t know. But you could just imagine putting this on, getting in the car with the sun shining, and then blasting down a freeway,” Rob replied: “That’s it!” we all agreed. “It’s got all the elements of a driving song. ”We hadn’t been aware of that intangible ingredient when we wrote it, of course. But there’s no doubt that it had the kind of beat and tempo that, even if you were driving and going just thirty miles per hour when you heard that duh-duh-duh-duh intro, you’d be simply compelled to accelerate. On top of that, it gave you a happy, carefree feeling that was just so undeniable. Better still, everything about America at that time seemed to revolve around the ethos of “get in the car, turn up the stereo, and drive.” It was the ideal song for the time.

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