{"id":1524,"date":"2026-03-23T01:05:00","date_gmt":"2026-03-23T01:05:00","guid":{"rendered":"http:\/\/kkdowning.net\/steelmill\/?post_type=thefuelofthefurnace&p=1524"},"modified":"2026-03-23T04:20:46","modified_gmt":"2026-03-23T04:20:46","slug":"tyrant","status":"publish","type":"post","link":"https:\/\/kkdowning.net\/steelmill\/tyrant\/","title":{"rendered":"The Fuel Of The Furnace Pt. 7: The 50th Anniversary of “Tyrant”"},"content":{"rendered":"\n

\u201cEveryman Shall Fall..\u201d<\/em><\/p>\n\n\n\n

Origins<\/strong><\/p>\n\n\n\n

For their second album for Gull Records Judas Priest<\/strong> knew they were in a crucial position. After \u201cRocka Rolla<\/strong>\u201d it was obvious the band needed to fulfil their true potential if they wanted to move ahead and gain proper foothold in the metal market. Some of the material used for the album was already an established feature in band\u2019s live set, such as legendary \u201cVictim Of Changes<\/strong>\u201d and \u201cDreamer Deceiver<\/strong>.\u201d A bulk of it was apparently written while band was touring the endless circuits of British clubs, hungry to survive and determined to make it.<\/p>\n\n\n\n

\u201cSad Wings Of Destiny<\/strong>\u201d emerged in March 1976 and the difference between it and Priest\u2019s debut album were measured in light years. Although Gull did not promote the band properly nor gave them enough support to produce the album properly, the results were still devastating. While Priest would shape their trademark metallic variety in future releases such as \u201cKilling Machine<\/strong>\u201d and \u201cBritish Steel<\/strong>,\u201d \u201cSad Wings Of Destiny\u201d was a heavy metal album in all purposes. Its production could not hide the sharpness of compositions or the neck-snapping delivery. At the time of course few noticed this, when in fact the term \u201cheavy metal\u201d was still sparsely used.<\/p>\n\n\n\n

Right off from the classic cover depicting an angel apparently fallen from above in the middle of flames spoke a different language, it reflected the dramatic nature of the music. \u201cSad Wings Of Destiny\u201d also marked the beginning of Judas Priest as versatile metal band. While opener \u201cVictim Of Changes\u201d combined metallic fury to progressive elements as did \u201cDreamer Deceiver.\u201d \u201cEpitaph<\/strong>\u201d brought out positive Queen<\/strong> influences. And the album closer \u201cIsland Of Domination<\/strong>\u201d was altogether different beast. In between these Priest rolled out fierce, hard hitting material in the shape of \u201cGenocide<\/strong>,\u201d \u201cThe Ripper<\/strong>\u201d and the song we are talking about here: monstrous \u201cTyrant<\/strong>.\u201d<\/p>\n\n\n\n

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\u201cTyrant\u201d is preceded by Glenn Tipton<\/strong>\u2019s mostly piano-led intro piece \u201cPrelude<\/strong>,\u201d which sets the scene in grandiose fashion. Its melancholic keys then quickly evaporate as \u201cTyrant\u201d kicks in. The song begins with a fast paced guitar riff, catching listener\u2019s attention fully before launching into tight rhythm.<\/p>\n\n\n\n

Rob Halford<\/strong> begins singing and the use of echo and double tracked vocals carry the track forward interestingly. For someone more grown with the live version, the use of doubled vocals on the chorus might seem a bit strange but in reality they work perfectly. The line \u201cTyrant\u201d is delivered with low doom-like voice almost resembling a chant. This is instantly followed by higher range Rob Halford delivering the rest of the chorus lines. Again the clever use of voice in different parts of the track make the listener nod his head approvingly. On the last\u201cfall\u201d<\/em> \u2013 line of the chorus Rob switches keys in the middle of the word, while again a small texture, it adds greatly to overall dramatics of the song.<\/p>\n\n\n\n

The guitar and vocal answer\/call right here at end of chorus are early examples of Priest\u2019s storytelling power. Instruments are supporting Halford\u2019s \u201ceveryman shall fall\u201d<\/em> with series of chord changes and move the gear up a notch for another round of verses.<\/p>\n\n\n\n

The guitar riff that follows second verse and chorus before higher bridge takes over is a clear example of Priest influencing early power metal bands and preceding NWOBHM. It is basically the sound of \u201ckerrang\u201d in its purest and earliest form. The solo section is brief but resounding with wickedness and majestic emotion, check out fierce licks at 2:09 \u2013 2:15. There was nothing like this on \u201cRocka Rolla\u201d \u2013 yet it very much set the stage for future Priest releases. <\/p>\n\n\n\n

Guitar solo is followed by chorus and another riff spinning off into classic twin guitar harmony. Thus it begins and it is here, we now become witnesses to the birth of greatest guitar duo of all time. All credit to \u201cRocka Rolla\u2019s\u201d bluesy approach, but on \u201cSad Wings Of Destiny\u201d K.K. Downing<\/strong> and Glenn Tipton truly found their common ground. Harmonies which dominate \u201cTyrant\u201d (and indeed are all over the album) were quite unheard at the time. Sure bands like Wishbone Ash <\/strong>and Thin Lizzy<\/strong> were doing some great stuff with two guitars but it was also different type of music. Furthermore songs such as \u201cTyrant\u201d began presenting guitars as separate characters in the story, if you listen to notes that are played they answer to lead vocals moving the song forward. Especially the harmony parts at 3:12 and 3:20 clearly are the oppressed few weeping, at least that\u2019s the way it has almost always sounded to me. And some parts of it are looking at the story from Tyrant\u2019s perspective as well.<\/p>\n\n\n\n

Bridge follows again with melancholic and angelic Halford in duet, the effect is astounding. It probably was meant to establish full nation mourning and that it certainly does, but over the years the emotions it generates in a listener have moved way beyond that. The song in its purest form transcends you to another place, evokes a fighting spirit and gives one hope to survive, whatever hardships they are facing. Even if the song basically is about suppression and individuality crushing under it, the seeds it sows are exactly the opposite. Every single Judas Priest album contains similar moments. There are very few bands who can accomplish this and Priest were well into it on their second album. Amazing.<\/p>\n\n\n\n

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Another subtle colouring appears at 3.50, listen to short guitar lick before final verse and chorus kick in. As many people correctly praise the live ending of this track, one should also pay attention to the original studio version where Rob\u2019s final scream lasts astonishing 11 seconds! Longer than any of the available live recordings. This is one of Judas Priest\u2019s and thus of whole heavy metal\u2019s finest moments, the soaring voice concluding itself and the song in such a devastating finesse, it is impossible to imagine any hope for Tyrant\u2019s victims. They fall into the abyss along with the final chord. No wonder the next song \u201cGenocide\u201d begins almost immediately and is equally bleak in its message.<\/p>\n\n\n\n

The lyrical richness in this song is absolutely one of the secrets of its enduring appeal. This, combined with Rob Halford\u2019s dramatic delivery and music\u2019s soaring power, we are dealing with one of the absolute classics in early heavy metal genre. Oppression of an unknown entity, rising against tyranny and strength of individual are themes heavily explored through Judas Priest\u2019s history. In fact later on the whole \u201cBritish Steel\u201d album is practically a concept work of man\u2019s individual power, self-awareness and fight against society\u2019s rules. The same themes that began in \u201cTyrant\u201d would later resurface in songs like \u201cSteeler<\/a><\/strong>,\u201d \u201cSome Heads Are Gonna Roll<\/strong>,\u201d \u201cBloodstone<\/strong>,\u201d and \u201cBetween The Hammer And The Anvil<\/strong>.\u201d<\/p>\n\n\n\n

The song \u201cTyrant\u201d speaks of an entity who has the people tightly in his grip, however whether it is a single person is never made clear and one could imagine this particular tyrant also being a government or a religious group. The chant-like voice in the chorus might suggest this. One of Priest\u2019s enduring strengths was containing enough flexibility in their lyrics to make it suitable for various interpretations.<\/p>\n\n\n\n

Until the second verse of the song it is Tyrant who speaks to his people, or in this case more likely slaves. His contempt towards them is clearly felt in the line \u201cyou spineless things who belly down to slither.\u201d<\/em> He holds their lives in his hands and snaps his fingers to end them. He also notices rather arrogantly that his servants will follow him till the end of the world just to be near him. This provokes another thought regarding songs origin, it could also be organized religions. \u201cfreedom choked in dread we live<\/em>\u201d was certainly part of life in dark middle ages when catholic church basically set all rules for people to follow.<\/p>\n\n\n\n

Regardless of his nature, Tyrant\u2019s legions are faithful to him until death, yet he will still kill them just to prove his upper hand. There is no hope for those summoned, and the suppressed \u201cshall perish and scream as they are sought\u201d<\/em> brings home the message clearly. After this point, the final chorus brings doom upon everyone, Rob sounds almost moribund in his final \u201cconqueror of all!\u201d<\/em><\/p>\n\n\n\n

Speaking about the lyrical content of \u201cSad Wings Of Destiny\u201d in 1976, Rob Halford shed some light on \u201cTyrant\u2019s\u201d background:<\/p>\n\n\n\n

“I wouldn’t say that there’s no fantasy at all in our lyrics. Our lyrics are firmly bound to the present, but there’s still a certain freedom in their organization which enables the listeners to include their own fantasy, their own experience, their environment. For example, I wrote a song with the title ‘Tyrant’. In this piece I expressed my aversion towards any form of control, that is very concrete, but still the lyrics are chosen in such a way that the listener is able to find his own frustrations of this problem interpreted within this framework…”<\/em><\/p>\n\n\n\n

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Tyrant, Rocka Rolla \/ Genocide, 12inch white vinyl, 1983<\/figcaption><\/figure>\n\n\n\n

\u201cTyrant\u201d Live<\/strong><\/p>\n\n\n\n

As almost all of \u201cSad Wings Of Destiny\u201d had been debuted live even before album\u2019s release, \u201cTyrant\u201d got its deserved spot at the end of Priest\u2019s set almost immediately. It is worth noting that on some of the original album pressings it was incorrectly marked as the opening track after \u201cPrelude.\u201d Many would claim it\u2019s true power came through best as a show closer. And they would be right.<\/p>\n\n\n\n

The live renditions especially after 1977 were naturally faster and heavier than original studio version as most Priest songs were at that point. Rob replaced doubled vocals with grittier, more aggressive delivery not saving on any of the high parts either. Verses also ran considerably faster thus slightly decreasing studio cut\u2019s tight pronunciation. Guitars thundered in sharp as steel fashion and drummer Les Binks <\/strong>greatly improved on Alan Moore<\/strong>\u2019s straight forward drum part adding some subtle fills and generally lifting the tempo to another level. As the song closed Priest live set, an extended ending was added with some powerful guitar solos tagged in the end. Even with the extension, the track barely lasted 5 minutes so it was over almost as quick as it began \u2013 just like all best encore closers are.<\/p>\n\n\n\n

The most famous live version of \u201cTyrant\u201d is unquestionably the one featured at the tail end of \u201cUnleashed In The East<\/a><\/strong>.\u201d This magnificent live release is dealt more excessively elsewhere <\/a><\/strong>in these very pages, but for now let\u2019s just say \u201cTyrant\u201d came alive in such a spectacular way on the live album, this was most likely not perceived even possible at the time of \u201cSad Wings Of Destiny.\u201d The years of hard road work, a band hungry to make it and several other factors contributed to this. <\/p>\n\n\n\n

Although after all one shouldn\u2019t really compare the two versions. While \u201cSad Wings Of Destiny\u201d was all about its songs, \u201cUnleashed In The East\u201d was about the concept and in that context \u201cTyrant\u201d had never sounded so ferocious nor would it ever again. A classic show closer. On this version listen to the guitar harmony part and note the awesome work of Ian Hill <\/strong>during this section, the bass also sounds incredible due to Tom Allom\u2019s fabulous production.<\/p>\n\n\n\n

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