{"id":5018,"date":"2024-11-24T03:52:00","date_gmt":"2024-11-24T03:52:00","guid":{"rendered":"http:\/\/kkdowning.net\/steelmill\/?post_type=thefuelofthefurnace&p=5018"},"modified":"2026-03-23T04:23:13","modified_gmt":"2026-03-23T04:23:13","slug":"the-fuel-of-the-furnace-pt-14-never-satisfied","status":"publish","type":"post","link":"http:\/\/kkdowning.net\/steelmill\/the-fuel-of-the-furnace-pt-14-never-satisfied\/","title":{"rendered":"The Fuel Of The Furnace pt. 14: The 50th Anniversary of “Never Satisfied”."},"content":{"rendered":"

\u201cPlaces change, faces change \u2026\u201d<\/em><\/p>\n

Origins<\/h2>\n

AS hard as it is to believe Judas Priest<\/strong> have been around now well over 50 years. Despite many hardships and turmoil, they are still touring the world, in many ways more popular than ever. Some called them an old band when \u201cTurbo\u201d<\/strong> was released and that took place over three decades ago. The band\u2019s formidable steps have been well documented, the early live gigs and material having seen them playing essentially blues based hard rock with Black Sabbath<\/strong>-, Wishbone Ash<\/strong>– and occasional Queen<\/strong>-influences thrown in. Most remember them as 1980\u2019s metal machine, but Priest\u2019s 1970\u2019s output contained impressively varied range of material in regards of arrangements, also exploring various different styles. Within five-year timespan they had evolved from bluesy, prog-like origins to full-on heavy metal with impressive dynamics and grit.<\/p>\n

In 1974 biggest hard rock albums were Queen\u2019s \u201cSheer Heart Attack\u201d<\/strong>, Uriah Heep<\/strong>\u2019s \u201cWonderworld\u201d<\/strong> and Deep Purple<\/strong>\u2019s \u201cBurn\u201d<\/strong> & \u201cStormbringer\u201d<\/strong>. All these groups were ruling the airwaves and pulling thousands of fans to every show. Metal was on the rise, although no one still talked about it in those terms. It was hard rock or heavy rock for the common people in 1974. As heavy metal stemmed from blues, this was what majority of rock fans were into at the time, so any new band would usually tread these paths before eventually finding their own style, or simply fizzle out.<\/p>\n

And that year Judas Priest also released their often-neglected debut album \u201cRocka Rolla.\u201d<\/strong> 50 years have passed and whilst Priest continue on and having released their 19th studio album \u201cInvincible Shield\u201d<\/strong>, it is proper time to step back and look at the dawn of heavy metal in 1974. Many point towards Black Sabbath as originators of the scene, which they were but as much with albums like 1971\u2019s \u201cMaster Of Reality\u201d<\/strong> and 1973\u2019s \u201cSabbath Bloody Sabbath\u201d<\/strong> as their legendary \u201cBlack Sabbath\u201d<\/strong> (1970) LP. In 1974 Deep Purple released \u201cBurn\u201d, which was dynamic and heavy unlike anything they had previously unleashed to the rock world. Unlike \u201cBlack Sabbath\u201d it was fast, with title track blazing on all cylinders and tracks like \u201cSail Away\u201d<\/strong> and blues-influenced \u201cMistreated\u201d<\/strong> carrying threatening quality. Of course by the end of the year they had already drifted into another horizon with more funk-influenced \u201cStormbringer\u201d but that\u2019s another story altogether.<\/p>\n

Compared to these milestones, Priest\u2019s debut disappeared from radar faster than the speed of light \u2013 but of course comparison in most ways was unfair to begin with. Gull was hardly the same label as EMI or Atlantic as far as resources and skills were concerned, and Priest simply weren\u2019t ready. They needed that one recording experience under their belt before striking onwards with a vengeance on second album \u201cSad Wings Of Destiny\u201d<\/strong>. Ultimately world domination would follow.<\/p>\n

\"\"<\/a><\/p>\n

Most of \u201cRocka Rolla\u2019s\u201d content was composed well before actual recording took place and many of the songs originated from band\u2019s early seventies Alan Atkins<\/strong> -fronted era. Rob Halford<\/strong> joined the band in early 1973 and brought in his own material which was merged with existing songs and new ones were created from scratch. The final piece of the puzzle came in early 1974 as arriving guitarist Glenn Tipton<\/strong> also got his stamp on two tracks, Glenn came on board right before recording sessions in London started. The band entered studios in June 1974 and by the end of following month, the album was wrapped. This by mid-1970\u2019s standards was a relatively long time, considering Black Sabbath\u2019s debut album was recorded in one day. On the other hand, Priest already with their first LP displayed a sense of sophistication and versatility that would clearly pave the way for future success. Most notably this came forth on songs like \u201cDying To Meet You\u201d<\/strong> and the undeniable melodic taste of the title track.<\/p>\n

\u201cRocka Rolla\u201d -LP was played and recorded entirely live – all musicians playing simultaneously as in a concert, as opposed to the more popular method of each musician’s parts being recorded separately and then mixing them. The album was produced by Rodger Bain,<\/strong> a man who had previously worked with Black Sabbath on their first couple of albums. The members of Judas Priest were in awe as they expected a full professional at work twiddling the knobs. Unfortunately, the result is often not just down to one man, but budget, recording equipment and facilities play a crucial role as well. And with \u201cRocka Rolla\u201d, Priest were given short end of the stick with all these accounts. The album was taped in three different locations, which didn\u2019t help in creating a unified sound picture. In addition, Gull\u2019s budget ran out in record time resulting in hazardous final mix and mastering.<\/p>\n

According to the band there were technical problems in the studio, resulting in poor sound quality and a hiss through the album. The band further claims that the producer had too much control over track selection and omitted their more popular stage classics. These songs were eventually included on their next record. The track “Caviar And Meths”<\/strong> was originally a 14-minute epic penned by Al Atkins, but due to time constraints, only intro was recorded for the LP. The demo that originally got the band their record deal also contained another track by Atkins titled \u201cWhiskey Woman\u201d<\/em>. Luckily this was excluded from the first album as for their second LP \u201cSad Wings Of Destiny\u201d Rob Halford fused it with his own composition \u201cRed Light Lady\u201d<\/em> and the rest as they say is history.<\/p>\n

Despite songs mentioned before showing tremendous potential there were numbers such as instrumental \u201cDeep Freeze\u201d<\/strong>, \u201cWinter\u201d<\/strong> and its sequel \u201cWinter Retreat\u201d<\/strong> plus ploddingly slow opening track \u201cOne For The Road\u201d<\/strong>, which all suffered great deal under powerless production. The first side of \u201cRocka Rolla\u201d with a notable exception to title song is still underwhelming, and one cannot blame many gave up listening at this point. However, by far strongest numbers are on the flip side including at the same time heaviness, dynamics and epic storytelling which would emblem Priest\u2019s 1970\u2019s output.<\/p>\n

Side B opens with song that along with title track is arguably still the most well-known from this record – a slower tune titled \u201cNever Satisfied.\u201d<\/strong> Track was written by K.K. Downing<\/strong> and Alan Atkins and originated from early 1970\u2019s period of the band. It was dark and heavy number with captivating melody and groove. Song has some echoes of \u201cSin After Sin\u2019s\u201d<\/strong> (1977) \u201cRaw Deal\u201d<\/strong> and in that essence is reminiscent of later Priest albums but with band moving towards faster and heavier style already from \u201cSad Wings Of Destiny\u201d onwards, nothing quite like this was ever heard on any other Priest records.<\/p>\n

\"Rocka<\/a>
Rocka Rolla, 1974 Gull Records<\/figcaption><\/figure>\n

The song\u2019s pace is almost hypnotic and whilst sound is deeply rooted in seventies and dry production tries its best to rip the tune off its impact, there remains a sense of palpable power and threat in main guitar riff. Tempo is kept on a leash, although song seems to strangely rebel against this wanting to quicken its pace throughout the section.<\/p>\n

It begins with one guitar playing the main riff and another hammering out power chords. After ten second mark, second guitar joins in on the riff which picks up speed at this point. Drums aid this change with some interesting fills. There also seems to be a clear echo in the sound, whether this is something the band aimed at remains debatable, but it certainly adds to the haunting atmosphere.<\/p>\n

Right from the beginning one can notice bass being upfront somewhat untypically for Priest remembering their latter-day arrangements. Ian Hill<\/strong>\u2019s bass line seems to follow guitars closely adding interesting depth and heaviness. There even seems to be a bass fill of sorts appearing at 0:08 as second guitar steps in and track takes full swing. Bass keeps popping up later in the track as well, notably at 2:12 and through the guitar solo.<\/p>\n

Guitar riff is given two full rounds before vocals begin to tell the tale. Tension builds and yet it\u2019s stretched out in a way that listener experiences a touch of uneasiness. The desolate vibe continues with opening lines \u201cWhere do we go from here, there must be something near\u201d<\/em> which musically sounds both of its time and then again slightly ahead of it. Of course fans in hindsight can reflect on multiple albums that followed and say it is easy to see the path Priest were about to step on, with even the dusty production and humble sounding guitars not being able to hide the subtleties in arrangement. In this section it is mostly how the music pulls you in with singer\u2019s dramatic take on the lyrics and carries on storytelling, that is instantly recognisable as something Judas Priest excelled in.<\/p>\n

Halford sings in lower register, sounding almost menacing, keeping somewhat unusual atmosphere present while still retaining clear touch of the era. His voice on the album carries almost operatic quality, no doubt originating from his theatre background. This ironically would resurface clearly 34 years later with Priest\u2019s \u201cNostradamus<\/strong>\u201d-opus. On \u201cNever Satisfied\u201d there is a grittier approach in vocal style compared to some of the more epic material. This is even more evident on \u201cCheater.\u201d<\/strong><\/p>\n

At 1:12 riffs pick up with second round coming in and another guitar line sweeps in at higher key. During second verse Halford makes an entrance singing \u201cchanging dreams, changing schemes\u201d<\/em> sounding almost angry and in deep desolation. Unfortunately, here his vocals are too low in the mix, robbing away some of the building tension. Rob shouts \u201csatisfied!\u201d<\/em> with menace leading the way towards lead break. It is introduced with another slightly different riff before and underneath, drums offering fills in between each round. However, this break is identical every time making it slightly tedious to listen to and distracts from solo somewhat.<\/p>\n

Guitar solo by K.K. features his trademark style with plenty of whammy bar action. The intensity of the track at this stage is to be commended as solo is also notably restrained in length clocking at 0:40 approximately. Here as well the mix is strange with drums bursting out much louder than lead guitar. Regardless this solo is good and sets up the final part of the number nicely. Many Priest songs introduced lead breaks as characters of their own and here too guitar seems to echo protagonist\u2019s confusion as notes swirl around drums in chaotic fashion. There is an interesting effect sweeping by at 2:49 which rounds off solo with extra intensity.<\/p>\n

Third round of the track kicks off with great sounding drum fills by John Hinch<\/strong>, whose straight forward and admittedly softer rock style would be replaced by more metal sounding players on forthcoming albums. Glenn described Hinch as “musically inadequate\u201d and while that most certainly might have been the case regarding the direction the band would take on upcoming material, on \u201cRocka Rolla\u201d his work is mostly on decent level, delivering what\u2019s needed for the songs and still offering interesting fills throughout. \u201cNever Satisfied\u201d does have places where drums should hit in with more force, but on the other hand, towards the end of the tune, breaks become essential driver for the story.<\/p>\n

The pre-solo riff theme resurfaces at 3:47 with guitar sound again much better (and louder) here. Lead guitar again adds to riff with sharp-like quality. At 4:10 and towards the end riffs start to gradually slow down. Song seems like it\u2019s running out of batteries, drums are almost nervous here with fills all over place but somehow fitting for song\u2019s unique structure. Much of the compositions at this time were created via jamming but here Priest already seem to be both in the verge of chaos and in total control of their arrangement.<\/p>\n

The songs comes to a halt with Rob sighing almost moribund and quiet \u201cwe are never..\u201d<\/em> before screaming full-on \u201csatisfied!\u201d<\/em> with music fading out behind. The effect is quite astounding and generally different than anything else out there at the time. It\u2019s a glimpse of Judas Priest\u2019s style of dramatics in arrangements that would really flourish on following album \u201cSad Wings Of Destiny.\u201d<\/p>\n

Sentiment of the songs in \u201cRocka Rolla\u201d listened again 2018 make one appreciate the level of musicianship and the almost natural effortlessness Judas Priest possessed already at this stage. Halford\u2019s vocals also seem to wake the listener as the song snaps onto a next level, there is a great sense of drama involved. While Alan Atkins\u2019 lyrics and some of the sounds have aged rather badly, the dynamics that make Judas Priest great are there to be found on each track including \u201cNever Satisfied\u201d.<\/p>\n

The next song and one of the first Tipton\/Downing\/Halford -compositions \u201cRun Of The Mill\u201d<\/strong> begins after a short moment of silence. It is again a very different animal, sounding almost progressive in nature recalling the 1970\u2019s giants albeit in much more direct and threatening fashion. The end of the album with this song and especially \u201cDying To Meet You\u201d seem to further highlight the grimness of \u201cNever Satisfied\u201d and bleak, straightforward message it portrays. In light of this it is understandable a 14-minute \u201cCaviar And Meths\u201d was cut short as it simply would have been too much.<\/p>\n

Theme of \u201cNever Satisfied\u201d at first glance seems to reflect melancholic nature of time, and the essence of mankind. Over the years this sentiment has changed very little. The race of men has never been content to settle for what they have. They strive for more, yet never find peace of mind they are looking for. It is also about living in the moment, as rock bands a lot of time seemed to be doing in the 1970\u2019s and 1980\u2019s.<\/p>\n

\u201cThere\u2019s nowhere else to go, this could be our last show\u201d<\/em> – singer is obviously referencing his group as one entity, talking about himself and then switching on to more abstract views of the world. At the time Priest were in their early twenties, but as they now approach their final touring days, statement seems to carry even more weight.<\/p>\n

Although Rob Halford didn\u2019t write the lyrics, he lives the song out changing his delivery throughout with almost every line, really bringing out the character of the story. Like previously mentioned, his voice carries a certain depth and operatic quality not heard until \u201cNostradamus\u201din 2008. In the beginning the person telling the tale is depressed but starts showing more and more anger and frustration as the song progresses. His last words seem to emphase the loneliness and desperation of the man at never ending crossroads. The path he chooses is bound to lead him another dead end. As seemingly the same character would sing in 1981: \u201cchange, change, it\u2019s all rearranging\u201d<\/em> and again in 2014: \u201clost in this confusion, it\u2019s the sign of the times\u201d<\/em>.<\/p>\n

In 1974 he carries on with \u201cplaces change, faces change,\u201d<\/em> and then seemingly as a reaction to these changing schemes before protagonist almost spits out \u201cnever!\u201d<\/em> – somehow contradicting himself. He knows change is inevitable but is unwilling to accept it and move along with the stream. This most likely has echoes of group\u2019s Birmingham industrial background offering its population bleak prospects. Similar themes would resonate later on songs like \u201cStained Class\u201d<\/strong>, \u201cBreaking The Law\u201d,<\/strong> \u201cGrinder\u201d<\/strong> and \u201cTurning Circles\u201d.<\/strong> It was also the end of Vietnam war and politically challenging time, reflecting an individual lost in the big machinery. Whether we are talking about industry or government, the fall-out is the same.<\/p>\n

Towards the end there is a palpable sense of despair or fatality in accepting what is inevitable, yet the tale concludes with \u201cno more tether\u201d<\/em> implying that while we are never satisfied, there are no boundaries in what we can achieve. It is a rather cunning way to end the song.<\/p>\n

Gull felt \u201cNever Satisfied\u201d carried enough commercial potential, for it to be pressed on the B-side of band\u2019s debut single. This along with title track \u201cRocka Rolla\u201d was released few weeks before the actual album hit the shops. Single didn\u2019t fare well in charts and although the band did perform \u201cRocka Rolla\u201d on The Old Grey Whistle Test program in 1975, the record disappeared without a trace. \u201cNever Satisfied\u201d for many years was neglected as an album track that time simply forgot.<\/p>\n

\"Rocka<\/a>
Rocka Rolla \/ Never Satisfied, France, 1974<\/figcaption><\/figure>\n

\u201cNever Satisfied\u201d live<\/h2>\n

\u201cRocka Rolla\u201d as often with debut records of the time, was heavily waded through during Priest\u2019s live shows in early-to mid-seventies. The lack of audio and visual proof from the era means we are speculating here, but the band has stated they played virtually everything from their debut album added with some other compositions of the time, including early take of \u201cVictim Of Changes\u201d<\/strong> and bonus cut \u201cMother Sun\u201d<\/strong>. Seeing as group recorded first version of Joan Baez<\/strong>\u2019s \u201cDiamonds And Rust\u201d<\/strong> around this time, it is possible this was a visitor in set lists of the time as well. Even before \u201cSad Wings Of Destiny\u2019s\u201d release the earliest known bootleg from London, Priest played the upcoming record almost all the way through with only tittle track \u201cRocka Rolla\u201d and K.K.\u2019s solo showcase \u201cDeep Freeze\u201d featured from debut.<\/p>\n

After moving to bigger label CBS and by the time Priest were supporting \u201cSin After Sin\u201d all songs from debut album had disappeared from the set. The band had evolved into a whole different entity where light and shade plus muscular heaviness of \u201cSinner\u201d<\/strong><\/a>, \u201cStarbreaker\u201d,<\/strong> \u201cVictim Of Changes\u201d, \u201cThe Ripper\u201d<\/strong> and \u201cTyrant\u201d<\/strong><\/a> took over. These songs were the future and compositions like \u201cNever Satisfied\u201d were labelled as being part of the past. This remained the case for decades to come.<\/p>\n

The song re-appeared almost 30 years later during Rob Halford\u2019s final solo tour before re-joining Priest. After 2002\u2019s \u201cCrucible\u201d<\/strong> Halford toured sporadically and early 2003 saw him making a trip to Japan for few dates. Set list was shaken and stirred considerably for this engagement. Rob was opening the shows with fierce rendition of \u201cPainkiller\u201d<\/strong> and included some definite rarities from older Priest catalogue, with \u201cNever Satisfied\u201d being particularly surprising pick to the set.<\/p>\n

An official live version recorded in Anaheim after Japan dates, appeared in 2010 on the \u201cLive In Anaheim\u201d<\/strong> -album and DVD release. As one would expect Halford\u2019s 2003 take on \u201cNever Satisfied\u201d is considerably heavier and since Rob\u2019s voice had changed considerably during previous 30 years, he puts in more forceful performance. Roy Z\u2019<\/strong>s solo is lengthier, but otherwise the arrangement doesn\u2019t stray too much from original cut. Halford would return to the song again for his 2010 solo dates following the release of “Made Of Metal”<\/strong> -album.<\/p>\n