Progressive Aggressive

Essays on Heavy Metal #3 – The Prog and Punk Connection

Cream, The Yardbirds, Jimi Hendrix, Led Zeppelin… No one contests the blues roots of heavy metal. It was the arrival of the blues in rock and roll Britain that inspired many young British musicians to play blues in a rock band format, and as guitarists experimented more with guitar playing techniques and the fuzz box became prevalent, the music got louder and heavier, which in turn meant that drummers and vocalists had to be louder, too. When the American heavy metal scene really took off in 1969, bands like Grand Funk Railroad, Bloodrock and Sir Lord Baltimore were also following a blues format, having been inspired by their British predecessors. Of course, the blues in rock had already been a trend in the States as many garage rock bands of the mid-sixties had caught on to the British scene and began doing covers of British bands’ covers of African American blues.

But even while heavy metal’s roots are deep in the blues, the genre also shares a lot in common with two very different genres of rock: progressive rock and punk rock.

The Aggressive Side

Some would say that one of the earliest blue prints for a heavy metal song would be “You Really Got Me” by The Kinks. Couple that with “All Day and All of the Night” and we can see how these two songs serve as templates for heavy metal. Both feature distorted guitar riffs, hard-hitting percussion, wild lead guitar solos, and vocals that build in intensity as the music rises toward the chorus. It’s no surprise to see “You Really Got Me” was covered in 1972 by Canadian heavy rockers Thundermug and again in 1978 by Van Halen, who gave the song a new shot at the charts.

However, there are those who point out the simplicity and raw aggressive nature of the songs to be more akin to punk rock. Indeed, in writing “You Really Got Me”, The Kinks had taken inspiration from the American garage rock scene, particularly the hit “Louis Louis”. The Wikipedia article on the song says, “Ray Davies has stated that he wrote the group’s first hit ‘You Really Got Me’ while trying to work out the chords of ‘Louis Louis’”. As the American garage rock scene expanded, many bands would go on to inspire future punk rock bands. The Shadows of Knight, MC5, The Music Machine, The Sonics, The Seeds and many other bands employed fuzz tone and pushed many of their songs in a more aggressive and energetic direction, and because of the relative simplicity of the songs, they were easily picked up by future punk rock bands who had a great distaste for the technical complexity of progressive rock or the doom and despair of ponderous heavy metal tunes. That punk and metal share a common origin can been seen in lists of proto-metal albums from 1969/70 which frequently include MC5 and The Stooges, two bands whose take on aggressive guitar rock are closer to punk than metal.

When punk rock arose in New York and London in the mid-seventies, it threatened to make both metal and prog redundant. Heavy metal was supposed on the verge of death in 1978, and even as new artists such as Van Halen brought a new sound and new life to the genre, battles between punk and metal fans ensued as author Steve Waksman describes in his book, “This Ain’t the Summer of Love: Conflict and Crossover in Heavy Metal and Punk.” Waksman expounds on a reader letter exchange battle in a music magazine where metalheads and punk rockers each denounce the other’s music preference, try to prove, among many other things, whose music style best represents masculinity with one punker decrying Van Halen front man David Lee Roth as no match for Joey Ramone.

In spite of the fan disputes, heavy metal and punk musicians were to borrow from each other, the first example being the integrated punk sound in many New Wave of British Heavy Metal bands and soon after in both American thrash metal and British grindcore. In the eighties, bands in both genres would crossover and back. As heavy metal continued to splinter into subgenres in the nineties, many such “core” styles (metalcore, deathcore, mathcore, etc.) would emerge, where “core” meant the combining of hardcore punk with a metal approach.

The Progressive Side

On the opposite side of the spectrum, we find progressive rock. Known for extravagant and lengthy compositions inspired by classical and jazz music, progressive rock blossomed in the early seventies around the same time as the first wave of heavy metal. Prog can trace its roots back to the mid-sixties with bands like Frank Zappa and the Mothers of Invention, The Beatles, and The Beach Boys who were making use of the studio to create music to be enjoyed on record first as opposed to the usual approach of recording songs that the groups already were performing live. By using the studio to create songs, artists had the freedom to experiment with and devise studio techniques for achieving realizing their musical conceptions. Sounds effects, exotic instruments, backwards recordings, modification of instrument sounds, and many other things became possible, thus opening up doors for a new approach to composing popular music.

During the peak psychedelic years of 67/68, longer compositions and the use of fuzz tone became part of the nascent prog scene arsenal. Looking at bands that are considered proto-prog, it’s not surprising to see proto-metal bands on the same list. Iron Butterfly and Vanilla Fudge both played heavy rock with guitar distortion but also wrote songs that expanded the standard rock song format into new dimensions.

It was, however, King Crimson, whose 1969 breakout song “21st Century Schizoid Man” would break the doors open for prog rock. Interestingly, while this song and King Crimson are considered pinnacles of prog rock excellence, the song has also been covered by hard rock and metal bands like April Wine and Voivod, and King Crimson easily hold a place on proto-metal and heavy seventies lists.

James M. Curtis writes this about metal and prog in his book “Rock Eras: Interpretations of Music and Society, 1954-1984”:

“Heavy metal also has significant affinities with art rock. Both styles came from England and peacefully coexisted at first. In 1970, Black Sabbath and Yes were sharing the same bill at venues like Cardiff Arts Centre Project. In the British Context, it seemed perfectly reasonable for Deep Purple to put out a record called Concerto for Group and Orchestra. After all, their lead guitarist Ritchie Blackmore had had classical training; he once said that he used a Bach chord progression on the ‘Highway Star’ solo on Machine Head.”

Deep Purple are an excellent example of the connection between heavy metal and progressive rock. The band’s first three albums followed a Vanilla Fudge approach of combining a loud heavy rock guitar playing style with plenty of stunning leads with a Hammond organ (whose player, Jon Lord, was also classically trained and went on to compose several classical-type albums) and rearranging popular songs into more extravagant pieces. It would also be of extreme importance to note that the famous riff in Black Sabbath’s eponymous song was inspired by a part in “Mars: God of War” (4:25) in Holst’s The Planets (note that the opening seems to have also inspired Andromeda and Diamond Head).

There were other bands influencing metal as well. Brian Harrington and Malcolm Dume, authors of Encyclopedia Metallica, write “The Nice played a major part in the development of the pomp-school of heavy metal and certainly (Keith) Emmerson’s influence was enormous.” His costumes and his attacks on his organ set examples of how to create an exciting stage performance.

Other bands like Yes and Genesis, though exemplary prog rock bands, included heavy metal elements. Listen to “Heart of the Sunrise” by Yes or some of the heavier parts of Genesis songs such as what crops up in “The Musical Box” (3:40 to 4:48) and you will hear the rumblings of heavy metal. In fact, Eddie Van Halen’s famous finger tapping technique was inspired by Steve Hackett’s finger tapping solos on songs like “Supper’s Ready” (8:10 to 8:25) and “The Fountain of Salmacis” (3:23 to 3:45). Hackett says he came up with the technique while trying to figure out how to play certain successions of notes that are easily played on a keyboard.

Furthering the connection between prog and metal, we see other British bands like T.2. and High Tide setting fine examples of early heavy metal while at the same time writing expanded and technically complex compositions, with T.2. leaning more to the jazz side and High Tide, featuring a lead violinist and including pseudo-Baroque passages, being more of the classically inspired. Necromandus were also a band that solidly straddled the line between heavy metal and progressive rock.

As heavy metal’s initial popularity began to wane after 1972/73, groups like Bloodrock and High Tide (after breaking up once) began exploring progressive rock more. Then in 1975, a band that would perfectly marry heavy rock with prog came out of Canada. The power trio Rush began developing their signature seventies style from their second album and by the time their fourth album, the monumental 2112 came out, the band had made prog in heavy rock fashionable. Their next two albums saw them experimenting with longer and complex compositions while maintaining the distorted guitars and technical lead playing. Sometimes considered the fathers of progressive metal, Rush would go on to inspire numerous metal bands of the future, perhaps the most notable of which is Dream Theater.

By the time the New Wave of British Heavy Metal broke loose, several artists delivered heavy metal with prog tendencies. One of the best examples is Iron Maiden’s debut album. Founding member bassist Steve Harris admits that prog rock had been his first love, and some of the songs on the debut album include expanded instrumental parts featuring tempo and time signature changes, rhythm changes, and a sense of melody.

Inspired by Iron Maiden, three new American metal bands would foster in the development of the progressive metal subgenre: Queensryche, Fates Warning, and Crimson Glory. Add to that the technical work of Watchtower and progressive metal had finally achieved a perfect marriage between progressive rock and heavy metal.

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The Decade Metal Died Twice

Essays on heavy metal, #2 – How heavy metal nearly died in the 1970’s

“I submit that there was no such thing as heavy metal after the year 1972.”

These are the words of the famous American music critic, Lester Bangs, which he wrote in 1977 in response to the punk explosion. Bangs saw little reason for heavy metal, what was left of it in 1977 anyway, to survive. Having already become a reputable critic in the late sixties, Bangs frequently used the words “metal” and “heavy metal” in his reviews to describe the sound or musical intelligence of particular artists, and even though he may not have been the one to append it to a particular style of rock music, he frequently used the term. Bangs recognized that bands like Grand Funk and Black Sabbath had a distinct sound and message. The sound was nothing he particularly cared for. About Grand Funk, he wrote, “Grand Funk were only good when they sounded like shit…” and of Black Sabbath he famously said, “…just like Cream! But worse“.

It’s a commonly accepted notion that heavy metal music was born in 1969/70HEAVY-METAL-1966-1984-Lester-Bangs-Paul-Suter_slika_O_43121529martinpopoff_yeoldmetal_68-72_1024x1024, with some arguing that it was actually a little before that and others claiming the exact birth

date to be February 13th, 1970, when Black Sabbath released its eponymous debut. Emerging from the British R&B scene and the American garage rock scene, brought to life by heavy, distorted electric guitars, pounding rhythm sections and powerhouse vocals, and supercharged in the post-psychedelic sixties, heavy metal was truly born around the turn of the decade, partly as rebuttal against the flower power love and peace movements of the sixties whose idealistic world never materialized as war, political corruption, environmental destruction, criminal incarceration and punishment, substance abuse, mental illness, and general human treachery proved to be the truths of a world ruled by Satan. The distorted guitar sounds had already been called “metal” several times in the sixties and the seriousness of the lyrical subjects were certainly heavy. But it was at last in the early seventies that the words were put together to suggest a certain genre and not just a sound.

Author Gene Sculatti wrote in the pages of Bomp fanzine, “By stipping back hard rock to its primal blues roots… one interesting stylistic stream was discovered and,  for about 18 months, worked energetically: Heavy Metal”. Just try a YouTube search for early seventies heavy metal and begin exploring. So many bands, whose legacies of obscure releases and shelved demos are preserved on the Internet thanks to record collectors, were trying their hands at gritty, rumbling, loud music. This 1976 article on Robert Plant in People weekly claims that the “Age of Heavy Metal” lasted approximately from 1969 to 1971 and the musical style has “faded from fashion”. Heavy metal died in 1971/72.

This is not entirely inaccurate. In 1970/71, we can find dozens of examples of bands worldwide recording heavy, buzzing and grinding riffs, often backed by a thunderous Hammond organ, and a general appreciation for very loud music and lyrics that make the hippy flowers wilt in despair. Dust members claim that no one was playing as loud as they were in 69/70 and Lester Bangs likened Black Sabbath’s guitars to battering rams.

It is interesting to consider that the very appellation of “heavy metal” may have caused the fad to fade. It was used originally as a derogatory term, notes Black Sabbath’s Terry Butler; the band’s music was described as the sound of heavy metal falling from the sky, a simile previously applied to the music of the Jimi Hendrix Experience. Many musicians felt their music was being called “clumsy” and “lumbering”. Robert Plant continues to point out that Led Zeppelin were more than just about “leadbelly” music.

It’s possible that in reaction to “heavy metal’s” association with dull, juggernaut-like, graceless music that in 1972, there was a change in the wind. Many bands like Deep Purple, Bloodrock, Grand Funk, and Bang were beginning to modify their sound. More organ but not as heavy, or add piano instead of having organ. Guitar distortion more controlled and more use of less distorted or clean guitars and more obvious jazzy or bluesy parts. Some bands switched to a progressive style, some added more folk influences and acoustic tracks, others went for more melody and a radio-friendly, mainstream style. Still others broke up entirely.

Some bands soldiered on but to little avail. Sudden Death never saw their demo album released until the nineties; Necromandus and Iron Maiden (of Essex) suffered a similar fate. Supernaut, too. Canada’s Twitch tried to push the envelope but at a time when it was unfashionable. Any bands who tried to keep the gravity of their music – both in heaviness and severity of subject matter – found themselves lacking fans as guitar rock began to split between the nascent punk rock sound and AOR. A new breed of bands who sang about fast women, fast times, and a life of rock and roll and who largely relied on the pentatonic scale instead of experimenting with the chromatic scale and classical influences were taking the centre stage: Aerosmith, Ted Nugent(’s Amboy Dukes), KISS, Nazareth, Thin Lizzy, Sweet, April Wine, Bachman Turner Overdrive, etc. The dark, heavy side of metal went underground with bands like Pentagram, Bedemon, Desirèe and Cold Feet, and survived only in occasional moments of release like Nazareth’s “Miss Misery” and Aerosmith’s “Nobody’s Fault”. Black Sabbath was the only big name band that truly refused to change their ways.

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It’s all metal, baby… in 1974

Ironically, as the hard rock acts (as they are mostly recognized today) became the new black, the term “heavy metal” was applied to them. By the late seventies, heavy metal was a commonly flouted moniker for loud and heavy guitar music and applied to a good number of bands.

Yet as the punk movement grew and disco also came into vogue, heavy metal was in trouble. Like its more cultured cousin, progressive rock, heavy metal was being threatened by extinction. Or at least that was what the music press was suggesting. By 1978, it seemed that heavy metal was on the verge of death.

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Is Heavy Metal Dead in 1978?

Of course, heavy metal was not dying at all. It was undergoing a metamorphosis that was first suggested by Judas Priest and Rainbow in 1976. By 1977, British heavy metal bands were forming with the seeds for a new take on metal already germinating. And in 1979/80, the dam burst and a whole new generation of heavy metal enthusiasts flooded forth, not only delivering a revamped and more intense version of heavy metal to the world, but also inspiring the forth-coming thrash metal movement in the United States.

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Back from the Dead – Heavy Metal