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Heavy metal (or simply metal) is a genre of Du Noyer (2003), p. 96; Weinstein (2000), pp. 11–13. that developed in the late 1960s and early 1970s, largely in the .Weinstein (2000), pp. 14, 118. With roots in , , and , the bands that created heavy metal developed a thick, massive sound, characterized by highly amplified distortion, extended , emphatic beats, and overall loudness. The genre's lyrics and performance styles are sometimes associated with and .Fast (2005), pp. 89–91; Weinstein (2000), pp. 7, 8, 23, 36, 103, 104.

In 1968, three of the genre's most famous pioneers, , and were founded.

(2019). 9780787299699, Kendall/Hunt Pub.. .
Though they came to attract wide audiences, they were often derided by critics. During the mid-1970s, helped spur the genre's evolution by discarding much of its influence;Walser (1993), p. 6."As much as Sabbath started it, Priest were the ones who took it out of the blues and straight into metal." Bowe, Brian J. Judas Priest: Metal Gods. . Motörhead introduced a sensibility and an increasing emphasis on speed. Beginning in the late 1970s, bands in the new wave of British heavy metal such as and followed in a similar vein. Before the end of the decade, heavy metal fans became known as "metalheads" or "".

During the 1980s, became popular with groups such as and Mötley Crüe. Underground scenes produced an array of more aggressive styles: broke into the mainstream with bands such as , , , and Anthrax, while other such as and remain phenomena. Since the mid-1990s popular styles have further expanded the definition of the genre. These include and , the latter of which often incorporates elements of and hip hop.


Characteristics
Heavy metal is traditionally characterized by loud distorted guitars, emphatic rhythms, dense bass-and-drum sound, and vigorous vocals. Heavy metal subgenres variously emphasize, alter, or omit one or more of these attributes. The New York Times critic writes, "In the taxonomy of popular music, heavy metal is a major subspecies of hard-rock—the breed with less syncopation, less blues, more showmanship and more brute force."Pareles, Jon. "Heavy Metal, Weighty Words" The New York Times, July 10, 1988. Retrieved on November 14, 2007. The typical band lineup includes a , a bassist, a , a , and a singer, who may or may not be an instrumentalist. Keyboard instruments are sometimes used to enhance the fullness of the sound.Weinstein (2000), p. 25 's played an overdriven . In 1970, John Paul Jones used a on Led Zeppelin III; by the 1990s, in "almost every subgenre of heavy metal" were used.

The and the sonic power that it projects through amplification has historically been the key element in heavy metal.Weinstein (2000), p. 23 The heavy metal guitar sound comes from a combined use of high volumes and heavy distortion.Walser, Robert (1993). Running with the Devil: Power, Gender, and Madness in Heavy Metal Music. Wesleyan University Press. p. 10. . For classic heavy metal guitar tone, guitarists maintain moderate levels gain at moderate levels, without excessive preamp or pedal distortion, to retain open spaces and air in the music; the guitar amplifier is turned up loud to produce the characteristic "punch and grind". Thrash metal guitar tone has scooped mid-frequencies and tightly compressed sound with lots of bass frequencies. are "an essential element of the heavy metal code ... that underscores the significance of the guitar" to the genre.Weinstein, p. 24 Most heavy metal songs "feature at least one guitar solo",Walser, p. 50 which is "a primary means through which the heavy metal performer expresses virtuosity". Some exceptions are and bands, which tend to omit guitar solos. With rhythm guitar parts, the "heavy crunch sound in heavy metal ... is " the strings with the picking hand and using distortion. "Lesson four- Power chords". Marshall Amps. Palm muting creates a tighter, more precise sound and it emphasizes the low end. Damage Incorporated: Metallica and the Production of Musical Identity. By Glenn Pillsbury. Routledge, 2013

The lead role of the guitar in heavy metal often collides with the traditional "frontman" or role of the vocalist, creating a musical tension as the two "contend for dominance" in a spirit of "affectionate rivalry". Heavy metal "demands the subordination of the voice" to the overall sound of the band. Reflecting metal's roots in the 1960s counterculture, an "explicit display of emotion" is required from the vocals as a sign of authenticity.Weinstein (2000), p. 26 Critic claims that the metal singer's "tone of voice" is more important than the lyrics.Cited in Weinstein (2000), p. 26

The prominent role of the bass is also key to the metal sound, and the interplay of bass and guitar is a central element. The bass guitar provides the low-end sound crucial to making the music "heavy".Weinstein (2000), p. 24 The bass plays a "more important role in heavy metal than in any other genre of rock".Weinstein (2009), p. 24 Metal basslines vary widely in complexity, from holding down a low as a foundation to doubling complex riffs and licks along with the lead or rhythm guitars. Some bands feature the bass as a lead instrument, an approach popularized by Metallica's with his heavy emphasis on bass guitar solos and use of chords while playing bass in the early 1980s. "Cliff Burton's Legendary Career: The King of Metal Bass". Bass Player, February 2005. Retrieved on November 13, 2007. of Motörhead often played overdriven in his bass lines.Wall, Mick. Lemmy: The Definitive Biography. Orion Publishing Group, 2016.

The essence of heavy metal drumming is creating a loud, constant beat for the band using the "trifecta of speed, power, and precision".Dawson, Michael. "Lamb of God's Chris Adler: More than Meets the Eye", August 17, 2006. Modern Drummer Online. Retrieved on November 13, 2007. Heavy metal drumming "requires an exceptional amount of endurance", and drummers have to develop "considerable speed, coordination, and dexterity ... to play the intricate patterns" used in heavy metal.Berry and Gianni (2003), p. 85 A characteristic metal drumming technique is the , which consists of striking a cymbal and then immediately silencing it by grabbing it with the other hand (or, in some cases, the same striking hand), producing a burst of sound. The metal drum setup is generally much larger than those employed in other forms of rock music. Black metal, death metal and some "mainstream metal" bands "all depend upon double-kicks and ".

In live performance, —an "onslaught of sound", in sociologist 's description—is considered vital. In his book Metalheads, psychologist Jeffrey Arnett refers to heavy metal concerts as "the sensory equivalent of war".Arnett (1996), p. 14 Following the lead set by , Cream and , early heavy metal acts such as set new benchmarks for volume. As Blue Cheer's put it, "All we knew was we wanted more power."Walser (1993), p. 9 A 1977 review of a Motörhead concert noted how "excessive volume in particular figured into the band's impact."Paul Sutcliffe quoted in Waksman, Steve. "Metal, Punk, and Motörhead: Generic Crossover in the Heart of the Punk Explosion". Echo: A Music-Centered Journal 6.2 (Fall 2004). Retrieved on November 15, 2007. Weinstein makes the case that in the same way that is the main element of and rhythm is the main focus of , powerful sound, timbre, and volume are the key elements of metal. She argues that the loudness is designed to "sweep the listener into the sound" and to provide a "shot of youthful vitality".

Heavy metal performers tended to be almost exclusively male until at least the mid-1980s apart from exceptions such as . However, by the 2010s women were making more of an impact, and PopMatters' Craig Hayes argues that metal "clearly empowers women".Hayes, Craig. " A Very Dirty Lens: How Can We Listen to Offensive Metal". PopMatters. September 20, 2013. In the sub-genres of symphonic and power metal, there has been a sizable number of bands that have had women as the lead singers; bands such as , , and Within Temptation have featured women as lead singers with men playing instruments.


Musical language

Rhythm and tempo
The rhythm in metal songs is emphatic, with deliberate stresses. Weinstein observes that the wide array of sonic effects available to metal drummers enables the "rhythmic pattern to take on a complexity within its elemental drive and insistency". In many heavy metal songs, the main groove is characterized by short, two-note or three-note rhythmic figures—generally made up of or . These rhythmic figures are usually performed with a attack created by using a technique on the rhythm guitar."Master of Rhythm: The Importance of Tone and Right-hand Technique", Guitar Legends, April 1997, p. 99

Brief, abrupt, and detached are joined into rhythmic phrases with a distinctive, often jerky texture. These phrases are used to create rhythmic accompaniment and melodic figures called , which help to establish thematic hooks. Heavy metal songs also use longer rhythmic figures such as - or dotted quarter note-length chords in slow-tempo . The tempos in early heavy metal music tended to be "slow, even ponderous". By the late 1970s, however, metal bands were employing a wide variety of tempos. In the 2000s decade, metal tempos range from slow ballad tempos (quarter note = 60 beats per minute) to extremely fast tempos (quarter note = 350 beats per minute).


Harmony
One of the signatures of the genre is the guitar .Walser (1993), p. 2 In technical terms, the power chord is relatively simple: it involves just one main interval, generally the , though an may be added as a doubling of the root. When power chords are played on the lower strings at high volumes and with distortion, additional low frequency sounds are created, which add to the "weight of the sound" and create an effect of "overwhelming power". Although the perfect fifth interval is the most common basis for the power chord,See, e.g., Glossary of Guitar Terms. Mel Bay Publications. Retrieved on November 15, 2007. power chords are also based on different intervals such as the , , , , or ."Shaping Up and Riffing Out: Using Major and Minor Power Chords to Add Colour to Your Parts", Guitar Legends, April 1997, p. 97 Most power chords are also played with a consistent finger arrangement that can be slid easily up and down the .Schonbrun (2006), p. 22


Typical harmonic structures
Heavy metal is usually based on created with three main harmonic traits: modal scale progressions, tritone and chromatic progressions, and the use of . Traditional heavy metal tends to employ modal scales, in particular the and .Walser (1993), p. 46 Harmonically speaking, this means the genre typically incorporates modal chord progressions such as the Aeolian progressions I-♭VI-♭VII, I-♭VII-(♭VI), or I-♭VI-IV-♭VII and Phrygian progressions implying the relation between I and ♭II (I-♭II-I, I-♭II-III, or I-♭II-VII for example). Tense-sounding or relationships are used in a number of metal chord progressions.Marshall, Wolf. "Power Lord—Climbing Chords, Evil Tritones, Giant Callouses", Guitar Legends, April 1997, p. 29Dunn, Sam (2005). "Metal: A Headbanger's Journey". Warner Home Video (2006). Retrieved on March 19, 2007. In addition to using modal harmonic relationships, heavy metal also uses "pentatonic and blues-derived features".

The tritone, an interval spanning three whole tones—such as C to F#—was a forbidden dissonance in medieval ecclesiastical singing, which led monks to call it diabolus in musica—"the devil in music".The first explicit prohibition of that interval seems to occur with the "development of Guido of Arezzo's system which made B flat a note, namely as the 4th degree of the hexachordal on F. From then until the end of Renaissance the tritone, nicknamed the 'diabolus in musica', was regarded as an unstable interval and rejected as a consonance" (Sadie, Stanley 1980. "Tritone", in The New Grove Dictionary of Music and Musicians, 1st ed. MacMillan, pp. 154–155. . See also Arnold, Denis 1983. "Tritone", in The New Oxford Companion to Music, Volume 1: A–J. Oxford University Press. ). During the and in modern classical music composers have used it freely, exploiting the evil connotations with which it is culturally associated.

Heavy metal songs often make extensive use of as a harmonic basis. A pedal point is a sustained tone, typically in the bass range, during which at least one foreign (i.e., dissonant) harmony is sounded in the other parts.Kennedy (1985), "Pedal Point", p. 540 According to Robert Walser, heavy metal harmonic relationships are "often quite complex" and the harmonic analysis done by metal players and teachers is "often very sophisticated". In the study of heavy metal chord structures, it has been concluded that "heavy metal music has proved to be far more complicated" than other music researchers had realized.


Relationship with classical music
Robert Walser stated that, alongside blues and R&B, the "assemblage of disparate musical styles known ... as ' has been a major influence on heavy metal since the genre's earliest days. Also that metal's "most influential musicians have been guitar players who have also studied classical music. Their appropriation and adaptation of classical models sparked the development of a new kind of guitar virtuosity and changes in the harmonic and melodic language of heavy metal."Walser (1993), p. 58

In an article written for Grove Music Online, Walser stated that the "1980s brought on ... the widespread adaptation of chord progressions and virtuosic practices from 18th-century European models, especially Bach and , by influential guitarists such as Ritchie Blackmore, , , Uli Jon Roth, Eddie Van Halen, and ". Kurt Bachmann of Believer has stated that "If done correctly, metal and classical fit quite well together. Classical and metal are probably the two genres that have the most in common when it comes to feel, texture, creativity."Wagner, Wilson, p. 156.

Although a number of metal musicians cite classical composers as inspiration, classical and metal are rooted in different cultural traditions and practices—classical in the tradition, metal in the tradition. As Nicolas Cook and Nicola Dibben note, "Analyses of popular music also sometimes reveal the influence of 'art traditions'. An example is Walser's linkage of heavy metal music with the ideologies and even some of the performance practices of nineteenth-century . However, it would be clearly wrong to claim that traditions such as blues, rock, heavy metal, rap or dance music derive primarily from "art music'."See Cook and Dibben (2001), p. 56


Lyrical themes
According to scholars David Hatch and Stephen Millward, Black Sabbath, and the numerous heavy metal bands that they inspired, have concentrated lyrically "on dark and depressing subject matter to an extent hitherto unprecedented in any form of pop music". They take as an example Sabbath's second album Paranoid (1970), which "included songs dealing with personal trauma—'Paranoid' and 'Fairies Wear Boots' (which described the unsavoury side effects of drug-taking)—as well as those confronting wider issues, such as the self-explanatory '' and 'Hand of Doom'."Hatch and Millward (1989), p. 167 Deriving from the genre's roots in blues music, sex is another important topic—a thread running from Led Zeppelin's suggestive lyrics to the more explicit references of glam metal and nu metal bands.Weinstein (1991), p. 36

The thematic content of heavy metal has long been a target of criticism. According to , "Heavy metal's main subject matter is simple and virtually universal. With grunts, moans and subliterary lyrics, it celebrates ... a party without limits ... The bulk of the music is stylized and formulaic." Music critics have often deemed metal lyrics juvenile and banal, and others

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have objected to what they see as advocacy of and the occult. During the 1980s, the Parents Music Resource Center petitioned the U.S. Congress to regulate the popular music industry due to what the group asserted were objectionable lyrics, particularly those in heavy metal songs.See, e.g., Ewing and McCann (2006), pp. 104–113 Andrew Cope states that claims that heavy metal lyrics are misogynistic are "clearly misguided" as these critics have "overlooked the overwhelming evidence that suggests otherwise".Cope, Andrew L. Black Sabbath and the Rise of Heavy Metal Music. Ashgate Publishing Ltd., 2010. p. 141 Music critic called metal "an expressive mode that it sometimes seems will be with us for as long as ordinary white boys fear girls, pity themselves, and are permitted to rage against a world they'll never beat".

Heavy metal artists have had to defend their lyrics in front of the U.S. Senate and in court. In 1985, frontman was asked to defend his song "Under the Blade" at a U.S. Senate hearing. At the hearing, the alleged that the song was about and ; Snider stated that the song was about his bandmate's throat surgery. In 1986, was sued over the lyrics of his song "". A lawsuit against Osbourne was filed by the parents of John McCollum, a depressed teenager who committed suicide allegedly after listening to Osbourne's song. Osbourne was not found to be responsible for the teen's death. VH1: Behind The Music—Ozzy Osbourne, VH1. Paramount Television, 1998. In 1990, Judas Priest was sued in American court by the parents of two young men who had shot themselves five years earlier, allegedly after hearing the subliminal statement "do it" in the song Better by You, Better than Me, it was featured on the album (1978), the song was also a cover. While the case attracted a great deal of media attention, it was ultimately dismissed. In 1991, UK police seized death metal records from the British record label , in an "unsuccessful attempt to prosecute the label for obscenity".Kahn-Harris, Keith, Extreme Metal: Music and Culture on the Edge, Oxford: Berg, 2007, . p. 28

In some predominantly Muslim countries, heavy metal has been officially denounced as a threat to traditional values. In countries such as Morocco, Egypt, Lebanon, and Malaysia, there have been incidents of heavy metal musicians and fans being arrested and incarcerated. In 1997, the Egyptian police jailed many young metal fans and they were accused of "devil worship" and blasphemy, after police found metal recordings during searches of their homes. In 2013, banned Lamb of God from performing in their country, on the grounds that the "band's lyrics could be interpreted as being religiously insensitive" and blasphemous.Weber, Katherine. "Malaysia Bans 'Lamb of God', Grammy-Nominated Heavy Metal Band, Says Lyrics are Blasphemous". The Christian Post. September 5, 2013. Some people considered heavy metal music to being a leading factor for mental health disorders, and thought that heavy metal fans were more likely to suffer with a poor mental health, but study has proven that this is not true and the fans of this music have a lower or similar percentage of people suffering from poor mental health.


Image and fashion
For many artists and bands, visual imagery plays a large role in heavy metal. In addition to its sound and lyrics, a heavy metal band's image is expressed in album cover art, logos, stage sets, clothing, design of instruments, and .Weinstein (2000), p. 27

Down-the-back long hair is the "most crucial distinguishing feature of metal fashion".Weinstein (2000), p. 129 Originally adopted from the hippie subculture, by the 1980s and 1990s heavy metal hair "symbolised the hate, angst and disenchantment of a generation that seemingly never felt at home", according to journalist Nader Rahman. Long hair gave members of the metal community "the power they needed to rebel against nothing in general".Rahman, Nader. "Hair Today Gone Tomorrow" . Star Weekend Magazine, July 28, 2006. Retrieved on November 20, 2007.

The classic uniform of heavy metal fans consists of light colored, ripped frayed or torn blue jeans, black T-shirts, boots, and black leather or denim jackets. writes, "T-shirts are generally emblazoned with the logos or other visual representations of favorite metal bands."Weinstein (2000), p. 127 In the 1980s, a range of sources, from punk and to horror films, influenced metal fashion.Pospiszyl, Tomáš. "Heavy Metal". Umelec, January 2001. Retrieved on November 20, 2007. Many metal performers of the 1970s and 1980s used radically shaped and brightly colored instruments to enhance their stage appearance.Thompson (2007), p. 135

Fashion and personal style was especially important for glam metal bands of the era. Performers typically wore long, dyed, hairspray-teased hair (hence the nickname, "hair metal"); makeup such as lipstick and eyeliner; gaudy clothing, including leopard-skin-printed shirts or vests and tight denim, leather, or spandex pants; and accessories such as headbands and jewelry. Pioneered by the heavy metal act in the late 1980s, bands in the Japanese movement known as —which includes many nonmetal groups—emphasize elaborate costumes, hair, and makeup.


Physical gestures
Many metal musicians when performing live engage in , which involves rhythmically beating time with the head, often emphasized by long hair. The , or devil horns, hand gesture was popularized by vocalist Ronnie James Dio while with Black Sabbath and Dio. Although of Kiss claims to have been the first to make the gesture on the 1977 album cover, there is speculation as to who started the phenomenon.Appleford, Steve. "Odyssey of the Devil Horns". MK Magazine, September 9, 2004. Retrieved on March 31, 2007.

Attendees of metal concerts do not dance in the usual sense. It has been argued that this is due to the music's largely male audience and "extreme heterosexualist ideology". Two primary body movements used are headbanging and an arm thrust that is both a sign of appreciation and a rhythmic gesture.Weinstein, p. 130 The performance of is popular among metal fans both at concerts and listening to records at home.Weinstein, p. 95 According to , thrash metal concerts have two elements that are not part of the other metal genres: and , which "were imported from the ". Weinstein states that moshing participants bump and jostle each other as they move in a circle in an area called the "pit" near the stage. Stage divers climb onto the stage with the band and then jump "back into the audience".


Fan subculture
It has been argued that heavy metal has outlasted many other rock genres largely due to the emergence of an intense, exclusionary, strongly masculine subculture.Weinstein, pp. 103, 7, 8, 104 While the metal fan base is largely young, white, male, and blue-collar, the group is "tolerant of those outside its core demographic base who follow its codes of dress, appearance, and behavior".Weinstein, pp. 102, 112 Identification with the subculture is strengthened not only by the group experience of concert-going and shared elements of fashion, but also by contributing to metal magazines and, more recently, websites.Weinstein, pp. 181, 207, 294 Attending live concerts in particular has been called the "holiest of heavy metal communions."Julian Schaap and Pauwke Berkers. "Grunting Alone? Online Gender Inequality in Extreme Metal Music" in Journal of the International Association for the Study of Popular Music. Vol. 4, no. 1 (2014) p. 105

The metal scene has been characterized as a "subculture of alienation", with its own code of authenticity."Three profiles of heavy metal fans: A taste for sensation and a subculture of alienation", Jeffrey Arnett. In Qualitative Sociology; Publisher Springer Netherlands. . Volume 16, Number 4 / December 1993. Pages 423–443. This code puts several demands on performers: they must appear both completely devoted to their music and loyal to the subculture that supports it; they must appear uninterested in mainstream appeal and radio hits; and they must never "".Weinstein, pp. 46, 60, 154, 273 states that for the fans themselves, the code promotes "opposition to established authority, and separateness from the rest of society".Weinstein, p. 166

Musician and filmmaker observes, "Most of the kids who come to my shows seem like really imaginative kids with a lot of creative energy they don't know what to do with" and that metal is "outsider music for outsiders. Nobody wants to be the weird kid; you just somehow end up being the weird kid. It's kind of like that, but with metal you have all the weird kids in one place".Dunn, "Metal: A Headbanger's Journey" B000EGEJIY (2006) Scholars of metal have noted the tendency of fans to classify and reject some performers (and some other fans) as "poseurs" "who pretended to be part of the subculture, but who were deemed to lack authenticity and sincerity".Arnett, Jeffrey Jensen (1996). Metalheads: Heavy Metal Music and Adolescent Alienation.


Etymology
The origin of the term "heavy metal" in a musical context is uncertain. The phrase has been used for centuries in chemistry and metallurgy, where the periodic table organizes elements of both and heavy metals (e.g., uranium). An early use of the term in modern popular culture was by writer William S. Burroughs. His 1962 novel The Soft Machine includes a character known as "Uranian Willy, the Heavy Metal Kid". Burroughs' next novel, (1964), develops the theme, using heavy metal as a metaphor for addictive drugs: "With their diseases and orgasm drugs and their sexless parasite life forms—Heavy Metal People of Uranus wrapped in cool blue mist of vaporized bank notes—And The Insect People of Minraud with metal music".Burroughs, William S. "Nova Express" . New York: Grove Press, 1964. P. 112. Inspired by Burroughs' novels, the term was used in the title of the 1967 album Featuring the Human Host and the Heavy Metal Kids by Hapshash and the Coloured Coat, which has been claimed to be its first use in the context of music.
(2019). 9780859654319, Plexus. .
The phrase was later lifted by , who used the term to describe for their supposed "aluminium style of context and effect", particularly on their album The Notorious Byrd Brothers (1968).

Metal historian describes what the components of the term mean in "": "heavy" is roughly synonymous with "potent" or "profound," and "metal" designates a certain type of mood, grinding and weighted as with metal.Christe (2003), p. 10 The word "heavy" in this sense was a basic element of and later countercultural , and references to "heavy music"—typically slower, more amplified variations of standard pop fare—were already common by the mid-1960s, such as in reference to . 's debut album, released in early 1968, was titled Heavy. The first use of "heavy metal" in a song lyric is in reference to a motorcycle in the Steppenwolf song "Born to Be Wild", also released that year:Walser (1993), p. 8 "I like smoke and lightning/Heavy metal thunder/Racin' with the wind/And the feelin' that I'm under."

The first documented use of the phrase to describe a type of rock music identified to date appears in a review by . In the May 11, 1968, issue of , he wrote about the album A Long Time Comin' by U.S. band : "Nobody who's been listening to —either talking or playing—in the last few years could have expected this. This is the new soul music, the synthesis of white blues and heavy metal rock."Gifford, Barry. Rolling Stone, May 11, 1968, p. 20. In January 1970 Lucian K. Truscott IV reviewing Led Zeppelin II for the described the sound as "heavy" and made comparisons with and . "Riffs". Lucian K. Truscott IV for the . January 22, 1970. "Led Zeppelin, popularly looked on as an English version of Blue Cheer, given to Vanilla Fudgeish heavy-handedness in all that it does, has come out with a good album, 'Led Zeppelin II' (Atlantic SD 8236). Sure, it's 'heavy.' Sure, it's volume-rock at a time when the trend seems to be toward acoustical niceties of country music".

Other early documented uses of the phrase are from reviews by critic . In the November 12, 1970 issue of , he commented on an album put out the previous year by the British band Humble Pie: " Safe as Yesterday Is, their first American release, proved that Humble Pie could be boring in lots of different ways. Here they were a noisy, unmelodic, heavy metal-leaden shit-rock band with the loud and noisy parts beyond doubt. There were a couple of nice songs ... and one monumental pile of refuse". He described the band's latest, self-titled release as "more of the same 27th-rate heavy metal crap".

In a review of Sir Lord Baltimore's Kingdom Come in the May 1971 , Saunders wrote, "Sir Lord Baltimore seems to have down pat most all the best heavy metal tricks in the book". critic is credited with popularizing the term via his early 1970s essays on bands such as Led Zeppelin and Black Sabbath.Weinstein (1991), p. 19 Through the decade, heavy metal was used by certain critics as a virtually automatic putdown. In 1979, lead New York Times popular music critic described what he called "heavy-metal rock" as "brutally aggressive music played mostly for minds clouded by drugs",Rockwell, John. New York Times, February 4, 1979, p. D22 and, in a different article, as "a crude exaggeration of rock basics that appeals to white teenagers".Rockwell, John. New York Times, August 13, 1979, p. C16

Coined by drummer Bill Ward, "downer rock" was one of the earliest terms used to describe this style of music and was applied to acts such as Sabbath and . Classic Rock magazine described the downer rock culture revolving around the use of and the drinking of wine. Later the term would be replaced by "heavy metal".Kevin Holm-Hudson, Progressive Rock Reconsidered, (Routledge, 2002),

Earlier on, as "heavy metal" emerged partially from the heavy psychedelic rock scene, also known as , "acid rock" was often used interchangeably with "heavy metal" and "hard rock". Musicologist Steve Waksman stated that "the distinction between acid rock, hard rock, and heavy metal can at some point never be more than tenuous",Waksman (2001), p. 262 while percussionist John Beck defined "acid rock" as synonymous with hard rock and heavy metal.

(2019). 9781317747680, Routledge. .

Apart from "acid rock", the terms "heavy metal" and "" have often been used interchangeably, particularly in discussing bands of the 1970s, a period when the terms were largely synonymous.Du Noyer (2003), pp. 96, 78 For example, the 1983 Rolling Stone Encyclopedia of Rock & Roll includes this passage: "known for its aggressive blues-based hard-rock style, was the top American heavy-metal band of the mid-Seventies".Pareles and Romanowski (1983), p. 4


History

Antecedents: 1950s to late 1960s
Heavy metal's quintessential guitar style, built around distortion-heavy riffs and power chords, traces its roots to early 1950s such as Joe Hill Louis, Willie Johnson, and particularly ,
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who captured a "grittier, nastier, more ferocious electric guitar sound" on records such as 's "" (1954);Robert Palmer, "Church of the Sonic Guitar", pp. 13–38 in Anthony DeCurtis, Present Tense, Duke University Press, 1992, pp. 24–27. . the late 1950s instrumentals of , particularly "Rumble" (1958);Strong (2004), p. 1693; Buckley (2003), p. 1187 the early 1960s of , including "Let's Go Trippin'" (1961) and "" (1962); and 's version of "" (1963) which made it a standard.Buckley (2003) p. 1144.

However, the genre's direct lineage begins in the mid-1960s. American blues music was a major influence on the early of the era. Bands like The Rolling Stones and developed by recording covers of classic blues songs, often speeding up the . As they experimented with the music, the UK blues-based bands—and the U.S. acts they influenced in turn—developed what would become the hallmarks of heavy metal, in particular, the loud, distorted guitar sound. played a major role in popularising this sound with their 1964 hit "You Really Got Me".Weinstein (1991), p. 18; Walser (1993), p. 9

In addition to The Kinks' , other guitarists such as 's and The Yardbirds' were experimenting with feedback.Wilkerson (2006), p. 19.. Richie Unterberger. . Retrieved August 30, 2011. Where the blues rock drumming style started out largely as simple shuffle beats on small kits, drummers began using a more muscular, complex, and amplified approach to match and be heard against the increasingly loud guitar.Walser (1993), p. 10 Vocalists similarly modified their technique and increased their reliance on amplification, often becoming more stylized and dramatic. In terms of sheer volume, especially in live performance, The Who's "bigger-louder-wall-of-Marshalls" approach was seminal.McMichael (2004), p. 112

The combination of blues rock with and formed much of the original basis for heavy metal.Weinstein (1991), p. 16 The variant or subgenre of psychedelic rock often known as "" was particularly influential on heavy metal; acid rock is often defined as a heavier, louder, or harder variant of psychedelic rock, or the more extreme side of the psychedelic rock genre, frequently containing a loud, improvised, and heavily distorted guitar-centered sound. Acid rock has been described as psychedelic rock at its "rawest and most intense," emphasizing the heavier qualities associated with both the positive and negative extremes of the psychedelic experience rather than only the idyllic side of psychedelia.

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American acid rock such as the 13th Floor Elevators epitomized the frenetic, heavier, darker and more psychotic sound of acid rock, a sound characterized by droning guitar riffs, amplified feedback, and guitar distortion, while the 13th Floor Elevators' sound in particular featured yelping vocals and "occasionally demented" lyrics.
(2019). 9780879306274, Hal Corporation. .
Frank Hoffman notes that: "Psychedelia was sometimes referred to as 'acid rock'. The latter label was applied to a pounding, variant that evolved out of the mid-1960s movement. ... When rock began turning back to softer, roots-oriented sounds in late 1968, acid-rock bands mutated into heavy metal acts."Hoffmann, Frank (ed.) (2004). Encyclopedia of Recorded Sound, Routledge, p. 1725

One of the most influential bands in forging the merger of psychedelic rock and acid rock with the blues rock genre was the British power trio Cream, who derived a massive, heavy sound from riffing between guitarist and bassist , as well as 's double bass drumming.Charlton (2003), pp. 232–33 Their first two LPs, (1966) and (1967), are regarded as essential prototypes for the future style of heavy metal. The Jimi Hendrix Experience's debut album, Are You Experienced (1967), was also highly influential. 's virtuosic technique would be emulated by many metal guitarists and the album's most successful single, "", is identified by some as the first heavy metal hit. , whose first album also came out in 1967, has been called "one of the few American links between psychedelia and what soon became heavy metal", and the band has been cited as an early American heavy metal group.

(2019). 9780879728212, Popular Press. .
On their self-titled debut album, Vanilla Fudge created "loud, heavy, slowed-down arrangements" of contemporary hit songs, blowing these songs up to "epic proportions" and "bathing them in a trippy, distorted haze."

During the late 1960s, many psychedelic singers, such as Arthur Brown, began to create outlandish, theatrical and often performances; which in itself became incredibly influential to many metal acts.Polly Marshall, The God of Hellfire, the Crazy Life and Times of Arthur Brown, , SAF Publishing, 2005, page 175.Polly Marshall, The God of Hellfire, the Crazy Life and Times of Arthur Brown, , SAF Publishing, 2005, page 103. The American psychedelic rock band Coven, who opened for early heavy metal influencers such as Vanilla Fudge and the Yardbirds, portrayed themselves as practitioners of or , using dark— or —imagery in their lyrics, album art, and live performances. Live shows consisted of elaborate, theatrical "." Coven's 1969 debut album, Witchcraft Destroys Minds & Reaps Souls, featured imagery of skulls, , , and worship, and both the album artwork and the band's live performances marked the first appearances in rock music of the sign of the horns, which would later become an important gesture in heavy metal culture. At the same time in England, the band Black Widow were also among the first psychedelic rock bands to use occult and Satanic imagery and lyrics, though both Black Widow and Coven's lyrical and thematic influences on heavy metal were quickly overshadowed by the darker and heavier sounds of .

(2019). 9781936239764, Feral House. .


Origins: late 1960s and early 1970s
Critics disagree over who can be thought of as the first heavy metal band. Most credit either or , with American commentators tending to favour Led Zeppelin and British commentators tending to favour Black Sabbath, though many give equal credit to both. A few commentators—mainly American—argue for other groups including , Steppenwolf or .Weinstein (2000), pp. 14–15. , the third band in what is sometimes considered the "unholy trinity" of heavy metal (Black Sabbath, Led Zeppelin, and Deep Purple), despite being slightly older than Black Sabbath and Led Zeppelin, fluctuated between many rock styles until late 1969 when they took a heavy metal direction.Charlton (2003), p. 241

In 1968, the sound that would become known as heavy metal began to coalesce. That January, the San Francisco band released a cover of 's classic "", from their debut album , that many consider the first true heavy metal recording.McCleary (2004), pp. 240, 506. The same month, Steppenwolf released its self-titled debut album, including "Born to Be Wild", which refers to "heavy metal thunder" in describing a motorcycle. In July, the Jeff Beck Group, whose leader had preceded Page as The Yardbirds' guitarist, released its debut record: Truth featured some of the "most molten, barbed, downright funny noises of all time," breaking ground for generations of metal ax-slingers.Gene Santoro, quoted in Carson (2001), p. 86. In September, Page's new band, , made its live debut in Denmark (billed as The New Yardbirds). ' White Album, released the following month, included "Helter Skelter", then one of the heaviest-sounding songs ever released by a major band.Blake (1997), p. 143 The Pretty Things' S.F. Sorrow, released in December, featured "proto heavy metal" songs such as "Old Man Going" and "I See You".Mason, Stewart. . Allmusic. Retrieved October 17, 2012. 's 1968 song "In-A-Gadda-Da-Vida" is sometimes described as an example of the transition between and heavy metal or the turning point in which acid rock became "heavy metal", and both Iron Butterfly's 1968 album In-A-Gadda-Da-Vida and Blue Cheer's 1968 album Vincebus Eruptum have been described as laying the foundation of heavy metal and greatly influential in the transformation of acid rock into heavy metal.Bukszpan (2003), p. 288.

In this counterculture period MC5, who began as part of the Detroit garage rock scene, developed a raw distorted style that has been seen as a major influence on the future sound of both heavy metal and later punk music.Bukszpan (2003), p. 141.Braunstein and Doyle (2002), p. 133. also began to establish and influence a heavy metal and later punk sound, with songs such as "I Wanna Be Your Dog", featuring pounding and distorted heavy guitar power chord riffs.

(2019). 9780767923194, Broadway Books.
released two of their heaviest and loudest songs to date; "" and "The Nile Song", which was regarded as "one of the heaviest songs the band recorded".Kellman, Andy. . Allmusic. Retrieved October 17, 2012.J. DeRogatis, Turn On Your Mind: Four Decades of Great Psychedelic Rock (Milwaukee, Michigan: Hal Leonard, 2003), , p. 132. 's debut album started with "21st Century Schizoid Man," which was considered heavy metal by several critics.Fricke, David. "King Crimson: The Power To Believe : Music Reviews : Rolling Stone". web.archive.org. Archived from the original .Buckley 2003, p. 477, "Opening with the cataclysmic heavy-metal of '21st Century Schizoid Man', and closing with the cathedral-sized title track,"

In January 1969, Led Zeppelin's self-titled debut album was released and reached number 10 on the Billboard album chart. In July, Zeppelin and a power trio with a Cream-inspired, but cruder sound, Grand Funk Railroad, played the Atlanta Pop Festival. That same month, another Cream-rooted trio led by released Mountain, an album filled with heavy blues rock guitar and roaring vocals. In August, the group—now itself dubbed Mountain—played an hour-long set at the Woodstock Festival, exposing the crowd of 300,000 people to the emerging sound of heavy metal.

(1997). 9780793540426, Hal Leonard Corporation. .
Though often identified now as "hard rock", the band's official debut album, Mountain Climbing (1970), placed 85th on the list of "Top 100 Metal Albums" compiled by in 1989. In November, , with guitarist , put out Forms and Feelings, featuring a pounding, aggressive version of 's "". Grand Funk Railroad's Survival (1971) placed 72nd (Walser 1993, p. 174). Mountain's proto-metal or early heavy metal hit song "Mississippi Queen" from the album Climbing! is especially credited with paving the way for heavy metal and was one of the first heavy guitar songs to receive regular play on radio.
(1984). 9780208019813, Library Professional Publications. .
In September 1969, the Beatles released the album containing the track "I Want You (She's So Heavy)" which has been credited as an early example of or influence on heavy metal or .Classic Rock Magazine, September 2014 In October 1969, British band High Tide debuted with the heavy, proto-metal album Sea Shanties.Neate, Wilson Allmusic Review

Led Zeppelin defined central aspects of the emerging genre, with Page's highly distorted guitar style and singer 's dramatic, wailing vocals.Charlton (2003), p. 239 Other bands, with a more consistently heavy, "purely" metal sound, would prove equally important in codifying the genre. The 1970 releases by ( Black Sabbath and Paranoid) and ( In Rock) were crucial in this regard.

's Black Sabbath had developed a particularly heavy sound in part due to an industrial accident guitarist suffered before cofounding the band. Unable to play normally, Iommi had to tune his guitar down for easier fretting and rely on power chords with their relatively simple fingering.di Perna, Alan. "The History of Hard Rock: The 70's". Guitar World. March 2001. The bleak, industrial, environment of , a city full of noisy and , has itself been credited with influencing Black Sabbath's heavy, chugging, metallic sound and the sound of heavy metal in general. Deep Purple had fluctuated between styles in its early years, but by 1969 vocalist and guitarist Ritchie Blackmore had led the band toward the developing heavy metal style. In 1970, Black Sabbath and Deep Purple scored major UK chart hits with "Paranoid" and "", respectively.Buckley 2003, p. 232, " Black Night', a UK #2 hit in November 1970, stole its riff from Ricky Nelson's 'Summertime'." That same year, two other British bands released debut albums in a heavy metal mode: Uriah Heep with ...Very 'Eavy ...Very 'Umble and UFO with UFO 1. released their self-titled debut album, containing a collection of heavy guitar riffs, gruff style vocals and sadistic and macabre lyrics.Guarisco, Donald A. . . Retrieved February 5, 2012. The influential Budgie brought the new metal sound into a power trio context, creating some of the heaviest music of the time. The occult lyrics and imagery employed by Black Sabbath and Uriah Heep would prove particularly influential; Led Zeppelin also began foregrounding such elements with its fourth album, released in 1971.Fast (2001), pp. 70–71 In 1973, Deep Purple released the song "Smoke on the Water", with the iconic riff that's usually considered as the most recognizable one in "heavy rock" history, as a single of the classic live album Made in Japan.

On the other side of the Atlantic, the trend-setting group was Grand Funk Railroad, described as "the most commercially successful American heavy-metal band from 1970 until they disbanded in 1976, they established the Seventies success formula: continuous touring".Pareles and Romanowski (1983), p. 225 Other influential bands identified with metal emerged in the U.S., such as Sir Lord Baltimore ( Kingdom Come, 1970), Blue Öyster Cult ( Blue Öyster Cult, 1972), ( Aerosmith, 1973) and Kiss ( Kiss, 1974). Sir Lord Baltimore's 1970 debut album and both Humble Pie's debut and self-titled third album were all among the first albums to be described in print as "heavy metal", with As Safe As Yesterday Is being referred to by the term "heavy metal" in a 1970 review in magazine.Saunders, Mike. Rolling Stone November 12, 1970 Various smaller bands from the U.S., U.K, and Continental Europe, including Bang, , , Primeval, , Truth and Janey, Dust, JPT Scare Band, , Cactus, , , Toad, Granicus, Iron Claw, and Yesterday's Children, though lesser known outside of their respective scenes, proved to be greatly influential on the emerging metal movement. In Germany, Scorpions debuted with in 1972. Blackmore, who had emerged as a virtuoso soloist with Deep Purple's highly influential album Machine Head (1972), left the band in 1975 to form Rainbow with Ronnie James Dio, singer and bassist for blues rock band Elf and future vocalist for Black Sabbath and heavy metal band Dio. Rainbow with Ronnie James Dio would expand on the mystical and -based lyrics and themes sometimes found in heavy metal, pioneering both and neoclassical metal. These bands also built audiences via constant touring and increasingly elaborate stage shows.

As described above, there are arguments about whether these and other early bands truly qualify as "heavy metal" or simply as "hard rock". Those closer to the music's blues roots or placing greater emphasis on melody are now commonly ascribed the latter label. AC/DC, which debuted with High Voltage in 1975, is a prime example. The 1983 Rolling Stone encyclopedia entry begins, "Australian heavy-metal band AC/DC".Pareles and Romanowski (1983), p. 1 Rock historian Clinton Walker writes, "Calling AC/DC a heavy metal band in the seventies was as inaccurate as it is today. ... They were a rock 'n' roll band that just happened to be heavy enough for metal".Walker (2001), p. 297 The issue is not only one of shifting definitions, but also a persistent distinction between musical style and audience identification: Ian Christe describes how the band "became the stepping-stone that led huge numbers of hard rock fans into heavy metal perdition".Christe (2003), p. 54

In certain cases, there is little debate. After Black Sabbath, the next major example is Britain's , which debuted with in 1974. In Christe's description,

Black Sabbath's audience was ... left to scavenge for sounds with similar impact. By the mid-1970s, heavy metal aesthetic could be spotted, like a mythical beast, in the moody bass and complex dual guitars of , in the stagecraft of , in the sizzling guitar and showy vocals of Queen, and in the thundering medieval questions of Rainbow. ... Judas Priest arrived to unify and amplify these diverse highlights from hard rock's sonic palette. For the first time, heavy metal became a true genre unto itself.Christe (2003), pp. 19–20

Though Judas Priest did not have a top 40 album in the United States until 1980, for many it was the definitive post-Sabbath heavy metal band; its twin-guitar attack, featuring rapid tempos and a non-, more cleanly metallic sound, was a major influence on later acts. While heavy metal was growing in popularity, most critics were not enamored of the music. Objections were raised to metal's adoption of visual spectacle and other trappings of commercial artifice,Walser (1993), p. 11 but the main offense was its perceived musical and lyrical vacuity: reviewing a Black Sabbath album in the early 1970s, leading critic described it as "dull and decadent ... dim-witted, amoral exploitation."Christgau (1981), p. 49


Mainstream: late 1970s and 1980s
emerged in the mid-1970s as a reaction against contemporary social conditions as well as what was perceived as the overindulgent, overproduced rock music of the time, including heavy metal. Sales of heavy metal records declined sharply in the late 1970s in the face of punk, , and more mainstream rock. With the major labels fixated on punk, many newer British heavy metal bands were inspired by the movement's aggressive, high-energy sound and "lo-fi", do it yourself ethos. Underground metal bands began putting out cheaply recorded releases independently to small, devoted audiences.Christe (2003), pp. 30, 33

Motörhead, founded in 1975, was the first important band to straddle the punk/metal divide. With the explosion of punk in 1977, others followed. British music papers such as the and Sounds took notice, with Sounds writer Geoff Barton christening the movement the "New Wave of British Heavy Metal".Christe (2003), p. 33 NWOBHM bands including , Saxon, and re-energized the heavy metal genre. Following the lead set by Judas Priest and Motörhead, they toughened up the sound, reduced its blues elements, and emphasized increasingly fast tempos.

By 1980, the NWOBHM had broken into the mainstream, as albums by Iron Maiden and Saxon, as well as Motörhead, reached the British top 10. Though less commercially successful, other NWOBHM bands such as Venom and Diamond Head would have a significant influence on metal's development.Weinstein (1991), p. 44 In 1981, Motörhead became the first of this new breed of metal bands to top the UK charts with the live album No Sleep 'til Hammersmith.

The first generation of metal bands was ceding the limelight. Deep Purple had broken up soon after Blackmore's departure in 1975, and Led Zeppelin broke up following drummer 's death in 1980. Black Sabbath plagued with infighting and substance abuse, while facing fierce competition with their opening band, the band .Popoff (2011), Black Sabbath FAQ: All That's Left to Know on the First Name in Metal P. 130Christe (2003), p. 25 Eddie Van Halen established himself as one of the leading metal guitarists of the era. His solo on "Eruption", from the band's self-titled 1978 album, is considered a milestone.Christe (2003), p. 51 Eddie Van Halen's sound even crossed over into pop music when his guitar solo was featured on the track "" by (a U.S. number 1 in February 1983)."Van Halen – Van Halen." Encyclopedia of Popular Music, 4th ed. Ed. Colin Larkin. Oxford Music Online. Oxford University Press. Web. October 4, 2015.

Inspired by Van Halen's success, a metal scene began to develop in Southern California during the late 1970s. Based on the clubs of L.A.'s , bands such as , , Mötley Crüe, and W.A.S.P. were influenced by traditional heavy metal of the earlier 1970s.Rivadavia, Eduardo. . AllMusic. Retrieved on March 25, 2007; Neely, Kim "Ratt". Rolling Stone. Retrieved on April 3, 2007; Barry Weber & Greg Prato. . AllMusic. Retrieved on April 3, 2007; Dolas, Yiannis. "Blackie Lawless Interview" . Rockpages. Retrieved on April 3, 2007. These acts incorporated the theatrics (and sometimes makeup) of or "hair metal" such as and Kiss.Christe (2003), pp. 55–57 Glam metal bands were often visually distinguished by long, overworked hair styles accompanied by wardrobes which were sometimes considered cross-gender. The lyrics of these bands characteristically emphasized and wild behavior, including lyrics which involved sexual expletives and the use of narcotics.

In the wake of the new wave of British heavy metal and Judas Priest's breakthrough British Steel (1980), heavy metal became increasingly popular in the early 1980s. Many metal artists benefited from the exposure they received on , which began airing in 1981—sales often soared if a band's videos screened on the channel.Christe (2003), p. 79 Def Leppard's videos for Pyromania (1983) made them superstars in America and Quiet Riot became the first domestic heavy metal band to top the Billboard chart with (1983). One of the seminal events in metal's growing popularity was the 1983 in California, where the "heavy metal day" featuring Ozzy Osbourne, Van Halen, Scorpions, Mötley Crüe, Judas Priest, and others drew the largest audiences of the three-day event.Weinstein (1991), p. 45

Between 1983 and 1984, heavy metal went from an 8 percent to a 20 percent share of all recordings sold in the U.S.Walser (1993), p. 12 Several major professional magazines devoted to the genre were launched, including Kerrang! (in 1981) and (in 1984), as well as a host of fan journals. In 1985, Billboard declared, "Metal has broadened its audience base. Metal music is no longer the exclusive domain of male teenagers. The metal audience has become older (college-aged), younger (pre-teen), and more female".Walser (1993), pp. 12–13, 182 n. 35

By the mid-1980s, glam metal was a dominant presence on the U.S. charts, , and the arena concert circuit. New bands such as L.A.'s Warrant and acts from the East Coast like Poison and Cinderella became major draws, while Mötley Crüe and Ratt remained very popular. Bridging the stylistic gap between hard rock and glam metal, 's became enormously successful with its third album, Slippery When Wet (1986). The similarly styled Swedish band Europe became international stars with The Final Countdown (1986). Its title track hit number 1 in 25 countries. In 1987, MTV launched a show, Headbanger's Ball, devoted exclusively to heavy metal videos. However, the metal audience had begun to factionalize, with those in many underground metal scenes favoring more extreme sounds and disparaging the popular style as "light metal" or "hair metal".Walser (1993), p. 14; Christe (2003), p. 170

One band that reached diverse audiences was Guns N' Roses. In contrast to their glam metal contemporaries in L.A., they were seen as much more raw and dangerous. With the release of their chart-topping Appetite for Destruction (1987), they "recharged and almost single-handedly sustained the Sunset Strip sleaze system for several years".Christe (2003), p. 165 The following year, Jane's Addiction emerged from the same L.A. hard-rock club scene with its major label debut, Nothing's Shocking. Reviewing the album, Rolling Stone declared, "as much as any band in existence, Jane's Addiction is the true heir to Led Zeppelin". The group was one of the first to be identified with the "alternative metal" trend that would come to the fore in the next decade. Meanwhile, new bands such as New York's Winger and New Jersey's Skid Row sustained the popularity of the glam metal style.Covach, John. "Heavy Metal, Rap, and the Rise of Alternative Rock (1982–1992)". What's That Sound? An Introduction to Rock and its History (W. W. Norton). Retrieved on November 16, 2007.


Other heavy metal genres: 1980s, 1990s, and 2000s
Many subgenres of heavy metal developed outside of the commercial mainstream during the 1980sWeinstein (1991), p. 21 such as . Several attempts have been made to map the complex world of underground metal, most notably by the editors of , as well as critic . Sharpe-Young's multivolume metal encyclopedia separates the underground into five major categories: , , , , and the related subgenres of and .Sharpe-Young (2007), p. 2

In 1990, a review in Rolling Stone suggested retiring the term "heavy metal" as the genre was "ridiculously vague". The article stated that the term only fueled "misperceptions of rock & roll bigots who still assume that five bands as different as , Extreme, Anthrax, Danzig and Mother Love Bone" sound the same.


Thrash metal
Thrash metal emerged in the early 1980s under the influence of and the new wave of British heavy metal,. Allmusic. Retrieved on March 3, 2007. particularly songs in the revved-up style known as . The movement began in the United States, with Bay Area thrash metal being the leading scene. The sound developed by thrash groups was faster and more aggressive than that of the original metal bands and their glam metal successors. Low-register guitar riffs are typically overlaid with leads. Lyrics often express views or deal with using visceral, gory language. Thrash has been described as a form of "urban blight music" and "a palefaced cousin of rap".Moynihan, Søderlind (1998), p. 26

The subgenre was popularized by the "Big Four of Thrash": , Anthrax, , and .Walser (1993), p.14 Three German bands, , Sodom, and Destruction, played a central role in bringing the style to Europe. Others, including San Francisco Bay Area's Testament and Exodus, New Jersey's Overkill, and Brazil's and Sarcófago, also had a significant impact. Although thrash began as an underground movement, and remained largely that for almost a decade, the leading bands of the scene began to reach a wider audience. Metallica brought the sound into the top 40 of the Billboard album chart in 1986 with Master of Puppets, the genre's first platinum record.Nicholls (1997), p. 378 Two years later, the band's ...And Justice for All hit number 6, while Megadeth and Anthrax also had top 40 records on the American charts.; ; . Billboard.com. Retrieved on April 7, 2007.

Though less commercially successful than the rest of the Big Four, Slayer released one of the genre's definitive records: Reign in Blood (1986) was credited for incorporating heavier guitar , and for including explicit depictions of death, suffering, violence and occult into thrash metal's lyricism.Phillipov (2012), p. 15, 16 Slayer attracted a following among far-right skinheads, and accusations of promoting violence and themes have dogged the band.Moynihan, Søderlind (1998), p. 30; O'Neil (2001), p. 164 Even though Slayer did not receive substantial media exposure, their music played a key role in the development of .Harrison (2011), p. 61

In the early 1990s, thrash achieved breakout success, challenging and redefining the metal mainstream.Walser (1993), p. 15 Metallica's self-titled 1991 album topped the Billboard chart, as the band established international following.Harrison (2011), p. 60 Megadeth's Countdown to Extinction (1992) debuted at number two, Anthrax and Slayer cracked the top 10, and albums by regional bands such as Testament and Sepultura entered the top 100.;


Death metal
Thrash soon began to evolve and split into more extreme metal genres. "Slayer's music was directly responsible for the rise of death metal," according to MTV News. The Greatest Metal Bands of All Time—Slayer . MTVNews.com. Retrieved on February 27, 2008. The NWOBHM band Venom was also an important progenitor. The death metal movement in both North America and Europe adopted and emphasized the elements of and employed by such acts. Florida's Death, San Francisco Bay Area's Possessed, and Ohio's are recognized as seminal bands in the style. Both groups have been credited with inspiring the subgenre's name, the latter via its 1984 demo Death Metal and the song "Death Metal", from its 1985 debut album Seven Churches (1985). In the late 1980s and early 1990s, Swedish death metal became notable and melodic forms of death metal were created.Ekeroth, Daniel (2011).

Death metal utilizes the speed and aggression of both thrash and hardcore, fused with lyrics preoccupied with violence and .Moynihan, Søderlind (1998), p. 27 Death metal vocals are typically bleak, involving guttural "", high-pitched screaming, the "death rasp",Van Schaik, Mark. "Extreme Metal Drumming" Slagwerkkrant, March/April 2000. Retrieved on November 15, 2007. and other uncommon techniques.. . Retrieved on February 27, 2007. Complementing the deep, aggressive vocal style are downtuned, heavily distorted guitars and extremely fast percussion, often with rapid drumming and "wall of sound"–style . Frequent tempo and changes and are also typical.

(2019). 9781845203993, .

Death metal, like thrash metal, generally rejects the theatrics of earlier metal styles, opting instead for an everyday look of ripped jeans and plain leather jackets.Moynihan, Søderlind (1998), p. 28 One major exception to this rule was Deicide's , who branded an inverted cross on his forehead and wore armor on stage. adopted imagery. These two bands, along with Death and Obituary, were leaders of the major death metal scene that emerged in Florida in the mid-1980s. In the UK, the related style of , led by bands such as and Extreme Noise Terror, emerged from the movement.


Black metal
The first wave of black metal emerged in Europe in the early and mid-1980s, led by the United Kingdom's Venom, Denmark's , Switzerland's and , and Sweden's Bathory. By the late 1980s, Norwegian bands such as Mayhem and were heading a second wave.Christe (2003), p. 270 Black metal varies considerably in style and production quality, although most bands emphasize shrieked and growled vocals, highly distorted guitars frequently played with rapid , a dark atmosphere and intentionally lo-fi production, with ambient noise and background hiss.Jurek, Thom. . Allmusic. Retrieved on November 15, 2007

Satanic themes are common in black metal, though many bands take inspiration from ancient , promoting a return to supposed pre-Christian values.Moynihan, Søderlind (1998), p. 212 Numerous black metal bands also "experiment with sounds from all possible forms of metal, folk, classical music, electronica and avant-garde". drummer explains, "It had something to do with production, lyrics, the way they dressed and a commitment to making ugly, raw, grim stuff. There wasn't a generic sound."Campion, Chris. "In the Face of Death". The Observer (UK), February 20, 2005. Retrieved on April 4, 2007.

Although bands such as Sarcófago had been donning , by 1990, Mayhem was regularly wearing ; many other black metal acts also adopted the look. Bathory inspired the and movements and Immortal brought blast beats to the fore. Some bands in the Scandinavian black metal scene became associated with considerable violence in the early 1990s,Christe (2003), p. 276 with Mayhem and Burzum linked to church burnings. Growing commercial hype around death metal generated a backlash; beginning in Norway, much of the Scandinavian metal underground shifted to support a black metal scene that resisted being co-opted by the commercial metal industry.Moynihan, Søderlind (1998), pp. 31–32

By 1992, black metal scenes had begun to emerge in areas outside Scandinavia, including Germany, France, and Poland.Moynihan, Søderlind (1998), pp. 271, 321, 326 The 1993 murder of Mayhem's by Burzum's provoked intensive media coverage. Around 1996, when many in the scene felt the genre was stagnating,Vikernes, Varg. "A Burzum Story: Part VI—The Music". Burzum.org, July 2005; retrieved on April 4, 2007. several key bands, including Burzum and Finland's Beherit, moved toward an style, while symphonic black metal was explored by Sweden's Tiamat and Switzerland's Samael.. Allmusic. Retrieved on April 9, 2007. In the late 1990s and early 2000s decade, Norway's brought black metal closer to the mainstream,Tepedelen, Adem. "Dimmu Borgir's 'Death Cult'" (Archived at Wayback on October 31, 2007). Rolling Stone, November 7, 2003. Retrieved on September 10, 2007. as did Cradle of Filth.Bennett, J. "Dimmu Borgir". Decibel, June 2007. Retrieved on September 10, 2007.


Power metal
During the late 1980s, the power metal scene came together largely in reaction to the harshness of death and black metal.. Allmusic. Retrieved on March 20, 2007. Though a relatively underground style in North America, it enjoys wide popularity in Europe, Japan, and South America. Power metal focuses on upbeat, epic melodies and themes that "appeal to the listener's sense of valor and loveliness".Christe (2003), p. 372 The prototype for the sound was established in the mid-to-late 1980s by Germany's , which combined the power riffs, melodic approach, and high-pitched, "clean" singing style of bands like Judas Priest and Iron Maiden with thrash's speed and energy, "crystallizing the sonic ingredients of what is now known as power metal".. Allmusic. Retrieved on April 8, 2007.

Traditional power metal bands like Sweden's , England's , and America's have a sound clearly indebted to the classic NWOBHM style.See, e.g., Reesman, Bryan. . Allmusic; Henderson, Alex. . Allmusic. Both retrieved on November 11, 2007. Many power metal bands such as America's , Finnish groups , and , Italy's Rhapsody of Fire, and Russia's Catharsis feature a keyboard-based "symphonic" sound, sometimes employing orchestras and opera singers. Power metal has built a strong fanbase in Japan and South America, where bands like Brazil's Angra and Argentina's are popular.

(2019). 9781901447132, Cherry Red Books Ltd..

Closely related to power metal is progressive metal, which adopts the complex compositional approach of bands like Rush and . This style emerged in the United States in the early and mid-1980s, with innovators such as Queensrÿche, , and . The mix of the progressive and power metal sounds is typified by New Jersey's , whose guitarist is among the most recognized of latter-day shredders.. Allmusic. Retrieved on March 20, 2007.


Doom metal
Emerging in the mid-1980s with such bands as California's Saint Vitus, Maryland's , Chicago's Trouble, and Sweden's Candlemass, the doom metal movement rejected other metal styles' emphasis on speed, slowing its music to a crawl. Doom metal traces its roots to the lyrical themes and musical approach of early Black Sabbath.Christe (2003), p. 345 The have also been a significant influence on doom metal and a number of its subgenres.Begrand, Adrien. "Blood and Thunder: The Profits of Doom". February 15, 2006. popmatters.com. Retrieved on April 8, 2007. Doom emphasizes melody, melancholy tempos, and a sepulchral mood relative to many other varieties of metal.Wray, John. "Heady Metal". New York Times, May 28, 2006. Retrieved on March 21, 2007.

The 1991 release of Forest of Equilibrium, the debut album by UK band Cathedral, helped spark a new wave of doom metal. During the same period, the doom-death fusion style of British bands Paradise Lost, My Dying Bride, and Anathema gave rise to European gothic metal,Sharpe-Young (2007), pp. 246, 275; see also Stéphane Leguay, "Metal Gothique" in Carnets Noirs, éditions E-dite, 3e édition, 2006, . with its signature dual-vocalist arrangements, exemplified by Norway's Theatre of Tragedy and Tristania. New York's Type O Negative introduced an American take on the style.Sharpe-Young (2007), p. 275

In the United States, , mixing doom and hardcore, emerged in the late 1980s— and Crowbar were leaders in a major Louisiana sludge scene. Early in the next decade, California's and Sleep, inspired by the earlier doom metal bands, spearheaded the rise of ,Christe (2003), p. 347 while Seattle's Earth helped develop the subgenre.Jackowiak, Jason. "Hex: Or Printing in the Infernal Method" . Splendid Magazine, September 2005. Retrieved on March 21, 2007. The late 1990s saw new bands form such as the Los Angeles–based , with a classic stoner/doom sound, and Sunn O))), which crosses lines between doom, drone, and metal—the New York Times has compared their sound to an "Indian in the middle of an earthquake".


1990s and early 2000s subgenres and fusions
The era of heavy metal's mainstream dominance in North America came to an end in the early 1990s with the emergence of Nirvana and other bands, signaling the popular breakthrough of .Christe (2003), pp. 304–6; Weinstein (1991), p. 278 Grunge acts were influenced by the heavy metal sound, but rejected the excesses of the more popular metal bands, such as their "flashy and virtuosic solos" and "appearance-driven" orientation.

Glam metal fell out of favor due not only to the success of grunge,Christe (2003), p. 231 but also because of the growing popularity of the more aggressive sound typified by Metallica and the post-thrash of and White Zombie.Birchmeier, Jason. . Allmusic.com. Retrieved on March 19, 2007. In 1991, the band released their album Metallica, also known as The Black Album, which moved the band's sound out of the genre and into standard heavy metal.

(2013). 9780760344828 .
The album was certified 16× Platinum by the RIAA. A few new, unambiguously metal bands had commercial success during the first half of the decade—Pantera's Far Beyond Driven topped the Billboard chart in 1994—but, "In the dull eyes of the mainstream, metal was dead".Christe (2003), p. 305 Some bands tried to adapt to the new musical landscape. Metallica revamped its image: the band members cut their hair and, in 1996, headlined the alternative musical festival founded by Jane's Addiction singer . While this prompted a backlash among some long-time fans,Christe (2003), p. 312 Metallica remained one of the most successful bands in the world into the new century.Christe (2003), p. 322

Like Jane's Addiction, many of the most popular early 1990s groups with roots in heavy metal fall under the umbrella term "alternative metal". Bands in Seattle's grunge scene such as , credited as making a "place for heavy metal in alternative rock", and Alice in Chains were at the center of the alternative metal movement. The label was applied to a wide spectrum of other acts that fused metal with different styles: Faith No More combined their alternative rock sound with punk, , metal, and hip hop; Primus joined elements of funk, punk, , and experimental music; Tool mixed metal and ; bands such as , Ministry and Nine Inch Nails began incorporating metal into their , and vice versa, respectively; and Marilyn Manson went down a similar route, while also employing shock effects of the sort popularized by Alice Cooper. Alternative metal artists, though they did not represent a cohesive scene, were united by their willingness to experiment with the metal genre and their rejection of glam metal aesthetics (with the stagecraft of Marilyn Manson and White Zombie—also identified with alt-metal—significant, if partial, exceptions). Alternative metal's mix of styles and sounds represented "the colorful results of metal opening up to face the outside world."Christe (2003), p. 224

In the mid- and late 1990s came a new wave of U.S. metal groups inspired by the alternative metal bands and their mix of genres.Christe (2003), pp. 324–25 Dubbed "nu metal", bands such as Slipknot, , , , P.O.D., and Disturbed incorporated elements ranging from to hip hop, often including DJs and -style vocals. The mix demonstrated that "pancultural metal could pay off".Christe (2003), p. 329 Nu metal gained mainstream success through heavy MTV rotation and Ozzy Osbourne's 1996 introduction of , which led the media to talk of a resurgence of heavy metal.Christe (2003), p. 324 In 1999, Billboard noted that there were more than 500 specialty metal radio shows in the United States, nearly three times as many as ten years before.Christe (2003), p. 344 While nu metal was widely popular, traditional metal fans did not fully embrace the style.Christe (2003), p. 328 By early 2003, the movement's popularity was on the wane, though several nu metal acts such as Korn or Limp Bizkit retained substantial followings.


Recent styles: mid–late 2000s and 2010s
, a hybrid of extreme metal and ,Weinstein (2000), p. 288; Christe (2003), p. 372 emerged as a commercial force in the mid-2000s decade. Through the 1980s and 1990s, metalcore was mostly an underground phenomenon;I. Christe, Sound of the Beast: The Complete Headbanging History of Heavy Metal (London: , 2003), , p. 184. pioneering bands include ,Mudrian, Albert (2000). Choosing Death: The Improbable History of Death Metal and Grindcore. Feral House. . p. 222–223Ian Glasper, Terrorizer no. 171, June 2008, p. 78, "here the term (metalcore) is used in its original context, referencing the likes of Strife, Earth Crisis, and Integrity ..." other prominent bands include Converge, Ross Haenfler, Straight Edge: Clean-living Youth, Hardcore Punk, and Social Change, Rutgers University Press. , p. 87–88. and Shai Hulud.Mason, Stewart. "Shai Hulud". Allmusic. Retrieved February 17, 2012. "A positively themed metalcore band with some and leanings, the influential Shai Hulud have maintained a strong band identity since their original formation in the mid-'90s". By 2004, melodic metalcore—influenced as well by melodic death metal—was popular enough that Killswitch Engage's The End of Heartache and 's The War Within debuted at numbers 21 and 20, respectively, on the Billboard album chart.

Evolving even further from metalcore comes , a more rhythmically complicated and progressive style brought to light by bands such as The Dillinger Escape Plan, Converge, and Protest the Hero.Kevin Stewart-Panko, "The Decade in Noisecore", Terrorizer no. 75, Feb 2000, p. 22–23. Mathcore's main defining quality is the use of odd time signatures, and has been described to possess rhythmic comparability to ."Contemporary grindcore bands such as The Dillinger Escape Plan ... have developed avant-garde versions of the genre incorporating frequent time signature changes and complex sounds that at times recall free jazz." Keith Kahn-Harris (2007) Extreme Metal, , , p. 4.

Heavy metal remained popular in the 2000s, particularly in continental Europe. By the new millennium Scandinavia had emerged as one of the areas producing innovative and successful bands, while Belgium, The Netherlands and especially Germany were the most significant markets.K. Kahn-Harris, Extreme Metal: Music and Culture on the Edge (Oxford: Berg, 2007), , pp. 86 and 116. Metal music is more favorably embraced in Scandinavia and Northern Europe than other regions due to social and political openness in these regions. Established continental metal bands that placed multiple albums in the top 20 of the German charts between 2003 and 2008, including Finnish band Children of Bodom, Norwegian act Dimmu Borgir, Germany's and Sweden's HammerFall.

In the 2000s, an extreme metal fusion genre known as emerged. Deathcore incorporates elements of , and . Alex Henderson: "What is deathcore? ... it's essentially metalcore ... Drawing on both death metal and hardcore ..." lambgoat.com "This is deathcore. This is what happens when death metal and hardcore, along with healthy doses of other heavy music styles, are so smoothly blended ..." Deathcore features characteristics such as death metal , hardcore punk breakdowns, death growling, "pig squeal"-sounding vocals, and screaming. Deathcore bands include Whitechapel, , and Carnifex.)

The term "retro-metal" has been used to describe bands such as Texas-based , California's High on Fire, Sweden's Witchcraft, and Australia's . Wolfmother. Rolling Stone, April 18, 2006. Retrieved on March 31, 2007. The Sword's Age of Winters (2006) drew heavily on the work of Black Sabbath and Pentagram, Witchcraft added elements of and psychedelic rock, and Wolfmother's self-titled 2005 debut album had "-ish organs" and "-worthy chordal ". Mastodon, which plays in a progressive/sludge style, has inspired claims of a metal revival in the United States, dubbed by some critics the "New Wave of American Heavy Metal".Sharpe-Young, Garry, New Wave of American Heavy Metal (link).

By the early 2010s, metalcore was evolving to more frequently incorporate synthesizers and elements from genres beyond rock and metal. The album Reckless & Relentless by British band Asking Alexandria (which sold 31,000 copies in its first week), and The Devil Wears Prada's 2011 album (which sold 32,400 in its first week) reached up to number 9 and 10, respectively, on the Billboard 200 chart. In 2013, British band Bring Me the Horizon released their fourth studio album Sempiternal to critical acclaim. The album debuted at number 3 on the UK Album Chart and at number 1 in Australia. The album sold 27,522 copies in the US, and charted at number 11 on the US Billboard Chart, making it their highest charting release in America until their follow-up album That's the Spirit debuted at no. 2 in 2015.

Also in the 2010s, a metal style called "" developed as a spinoff of standard progressive metal. (June 26, 2011) (July 23, 2011) Djent music uses rhythmic and technical complexity, heavily distorted, guitar chords, syncopated "Djent, the metal geek's microgenre". The Guardian. March 3, 2011 and alongside soloing. Another typical characteristic is the use of extended range seven, eight, and nine-string guitars. Djent bands include Periphery, Tesseract (March 16, 2011) and Textures. (October 3, 2011)


Women in heavy metal
The history of women in heavy metal can be traced back as far as the 1970s when the band Vixen was formed in 1973. Another hard rock band that featured all-female members, , would be founded in 1975. And while The Runaways may have been lost to time, two former members would rise to fame in solo careers, those being and , who would have successful rock careers. In 1978, with the rise of the new wave of British heavy metal, the band would be founded, who are best known for their collaboration with Motörhead in 1980 under the pseudonym . In 1996, Finnish band was founded and has featured women as vocalists. This would lead to more women fronting heavy metal bands such as , Within Temptation, , and Epica among others.

Women have had an important role behind the scenes, such as Gaby Hoffmann and . In 1981, Hoffmann would help acquire his first record deal. Hoffmann also became the manager of Accept in 1981 and wrote songs under the pseudonym of "Deaffy" for many of band's studio albums. In the band's newer albums, vocalist stated that Hoffmann still had some influence in songwriting. Osbourne, the wife and manager of , would found the music festival and manage several bands, included Motörhead, , The Smashing Pumpkins, Electric Light Orchestra, Lita Ford and Queen.


See also
  • Heavy metal genres
  • List of heavy metal bands
  • List of heavy metal festivals
  • Timeline of heavy metal music


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External links
  • for heavy metal

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