Metalution Part 4: Speed, Progression, and Doom

Metalution Part 4: Speed, Progression, and Doom

1971 kicks off year two of heavy metal. It doesn’t see any new bands entering the world of metal, but it does give us some firsts.

Not every song discussed in this section will be embedded here. You are encouraged to check everything out if you are unfamiliar. Black Sabbath’s Master of Reality much like Paranoid before it is a very significant album that any metal head who has not listened to it in full would be living a life of shame for all eternity unless remedied.

More Dabbling from Uriah Heep

Uriah Heep release their second album Salisbury January 12th of 1971. It featured “Bird of Prey which was previously released on the US version of their debut. Along with this one the album has one more Early Heavy Metal song “Time to Live”.

Deep Purple and The Origin of Speed Metal

In July of 1971, Deep Purple released the album Fireball in the US and it was later released in the UK in September. This album opens with the title track “Fireball” and wastes no time kicking into a double bass laden drum intro which remains a steady part of the song. Tempo wise with many songs recorded back in the day that are likely not recorded to a metronome it will likley have some change throughout. I’ve seen guitar tabs written at 220 and 240bpm. Trying to clock it myself with the drum break in the middle and I think it is around 129-130 bpm. This however isn’t as important is you might think when classifying Speed Metal.
Yes, Speed Metal does need to be fast, but more importantly than the tempo is the drumming in this case. Iron Maiden are consistently playing at fast tempos but no one would claim them to be speed metal. Find a version of their songs with a drummer playing double bass and all of a sudden they would. This being the case, speed metal can be defined as Traditional Heavy Metal with steady double bass drumming or double bass bursts. Tempo can be less important for this classification as the drummer could double time their playing to give the illusion of a faster temp where the rest of the band might sound relatively slow with out the drums.
Deep Purple are the first to put fast double bass with the new genre of heavy metal and thus created the first iteration of speed metal. In this case the song “Fireball” would be classified as Early Speed Metal given their use of the hammond organ.

Deep Purple and The First Progressive Metal

Fireball isn’t much of a metal album with only two tracks fitting the classification. After the opening track it isn’t until “Fools” that Deep Purple delve back into metal. As the song opens it sounds far from a metal track but kicks into a heavy verse nearly two minutes into the song. Deep Purple are not known for being a progressive band so the fact that the first song classified as progressive metal is done by Deep Purple is unexpected.
Progressive metal is hard to classify and is never a root style of metal. Any sub-genre of metal can be progressive. Instead of explaining every possible way a song can be considered progressive we can focus on what makes this song progressive. First off the intro itself is nearly two minutes of a light section that could easily fit in any progressive rock song. It is atmospheric and is progressive in the sense that is isn’t a standard rock sound. Around the four minute mark the band cuts into a odd section with a very unorthodox style of playing. Guitars are played in a way that mimic string instruments and is generally doing something very unusual for not just a metal song but any rock song. The word progress is generally defined as advancing or changing. Musically it can be used to define songs that are doing something outside the norm but more specifically in a way pushes the genre beyond its typical limits. This song certainly does that, and is the first Progressive Early Heavy Metal song.

Black Sabbath - Masters of Doom

Black Sabbath released their third album Master of Reality on the 21st of July 1971. Like Paranoid, half of the tracks are classified as Doom Metal, but unlike the previous album the guitar tuning is dropped significantly. Doom Metal does not have to be in lower tuning, but for most most doom bands lower tunings are standard. This album is likely the reason. Doom Metal does one of two things that classifies it as doom. It either sounds evil or ominous, or it sounds sorrowful or melancholy. Both of these sounds are achieved through the use of particular chords or progressions. Lower tunings are not required to do this, but certainly add to the doom feel.
Master of Reality opens with the doomy “Sweet Leaf” before going into a “After Forever”. The ladder is a bit odd with two main riffs one sounding fairly chipper and the other sounding more doom. The two elements basically cancel each other out making it Traditional Heavy Metal, and the first with the label to be at a lower tuning. Interestingly this song would likely be Heavy Rock if not for Tony down picking everything. Likely any other band at the time would have played the slower sections by alternate strumming patterns instead which would change the classification. Sometimes it is not only what is played, but how it is played that determines the classification.
“Embryo” is a guitar piece that sounds like something a sophisticated vampire would listen to. It acts as an intro to “Children of The Grave” which is a hard driving Doom Metal master piece. Completing the doom sandwich, the next track, “Orchid” is a somber and beautiful guitar piece.
"Lord of This World” hits next, pure Doom Metal with a swagger. It is followed by a light “Solitude” which is Ozzy’s lightest and cleanest vocal performance ever recorded. It is followed with one of Tony’s personal favorite Sabbath songs (mine as well), “Into the Void”. It is a hard hitting and driving Doom Metal song that closes out the album.
Even when this album isn’t hitting you with Doom Metal, it still keeps the feel that makes doom metal doom on the non-metal songs with the exception of “After Forever”. Seven out of eight tracks being laced in the doom feel makes this album arguably the first Doom Metal album and without a doubt is the blueprint for the genre if it wasn’t clear enough before.

Uriah Heep and More Progressive Metal

In the fall of the same year as their second album, Uriah Heep released their third Look at Yourself”. This album gives us one more metal song from them and this time it goes progressive. Uriah Heep is often known more as a progressive band, and although Deep Purple beat them to the punch on the first progressive metal, Uriah Heep gives a much more progressive sounding song with “Shadow of Grief”. This song is heavily laced with keys that sound typical for 70’s progressive rock bands. The over all structure of this song is much more like a composition than most songs from the rock/metal genre. It makes use of both temp changes as well as a few time signature changes. The hammond organ keeps this classified as Early Metal so the song is Progressive Early Heavy Metal.

Sir Lord Baltimore - Possible Progressive Metal Originators

Sir Lord Baltimore released their second and self-titled album in 1971, but the release date is unknown. Google gives the date as June 15, but I have not found a single source stating that date or any other. If that date is true then the opening track “Man From Manhattan” would be the fist progressive metal song.
The song has a intro that last a solid 2:30 minutes before jumping into the core of the song. It then jumps into a 3/4 time signature for an odd section. It then goes into a spoke word section before coming back into a reprise of part of the intro before breaking into an enterally new different part followed by another enterally new and different part. This song is like a precursor to the type of compositions of Rush that would come a few years later. This song has just enough metal style playing to barely classify it as metal while breaking none of the rules that would denote it as Hard Rock. Additionally the layering of the backing vocals denotes the song as epic. For this reason the song is classified as Epic Progressive Traditional Heavy Metal.

Sir Lord Baltimore featured two more metal songs “Woman Tamer” and “Caesar LXXI” both being Traditional Heavy Metal, as established by Black Sabbath using no alternate strumming unlike many of the faster songs from their first album. The album had six tracks with the other three songs being Hard Rock or sub-genres (progressive, blues).

What’s Next

With Progressive and Speed added to the core of the genre, and along with Doom, the earliest styles of heavy metal have been established in the first two years of heavy metal. It would be quite some time before any new sub-genres are given root, but through out the next few years many bands would dabble in heavy metal, and importantly there would be the first of bands to truly embrace the style. In the next part we will push further into the future as heavy metal slowly spreads.

Metalution Part 2: The Birth of Heavy Metal

Black Sabbath

To pick the exact birth date of heavy metal would be a difficult task, but on October 16th of 1969 Black Sabbath entered the studio and record their debut album. They simply played their set list which means they were obviously playing these songs live ahead of the recording. Compared to the future global audience, a relatively small number of people would have heard these songs before anyone else in the world.
Prior to the release of their first album one single was released. (Note: a single was released with “The Wizard” on the A-side, metal archives lists this as February but other sources list this as March. with contradictory information I am going to ignore this single for now.) The first single was released on January 9th of 1970 featuring “Evil Woman” a hard blues rock cover of a song from American blues rock band, Crow. Nothing revolutionary happening there but on the B-side was the song “Wicked World”.

“Wicked World” and The Birth of Early Heavy Metal

“Wicked World” is the first song ever released that would be properly categorized as metal. In this case more specifically Early Heavy Metal. Early Heavy Metal at its core is metal but is flavored by elements of older styles. Along with the elements of earlier styles, Early Heavy Metal may also make use of instruments that fall out of use in later metal (examples: harmonica, tambourine, hammond organ.) Early Heavy Metal can be seen as both a style and a period of metal. This doesn’t mean that a more modern band can’t play Early Heavy Metal. Generally such bands do so inspired by the earlier bands and their sound.
“Wicked World” opens with a jazzy swing rhythm on the hi-hats and and an equally jazzy section with a blues feel as both genres influenced Tony who is the writer of Sabbath’s songs. The core of the song uses distorted guitar with driving chords and chugging, but distinctive from blues rock bands these main sections are not played with any standard swing beat.
It is difficult to know when a new genre begins because any stylistic uniqueness could become a genre if it is distinct enough and then copied or replicated by others. It would be hard to say that Black Sabbath was doing anything resembling a new genre until others began to play similarly. With out a continuation of the stylistic characteristics first established by Black Sabbath their sound would otherwise merely be their own flavor of heavy rock which already existed.

The First Metal Album and Doom Metal Song
(Black Sabbath and “Black Sabbath)

Friday the 13th, February of 1970 the self titled album from Black Sabbath was the first heavy metal album containing the first recorded heavy metal songs. It was released in the United States later on June 1st. The versions are slightly different so we will go over the original version first.
The album opened with a song that was striking for its time or any time with the title track “Black Sabbath”. This song is not just a metal song, but more so the first ever Doom Metal song. Besides the normal elements of heavy metal, this song goes further with the use of tritonal note progressions and a general ominous feeling of doom that separates it from the standard metal track that at such time had yet to even been established. Helping with the feel of the song it can’t be understated how important to it Ozzy’s eerie vice combined with Geezer’s dark lyrics added to the song.

“The Wizard”

Following the earth shaking opening, the second track gets bluesy with Ozzy starting “The Wizard” with the harmonica. Until the main riff kicks in for the verse this song might be mistaken for any other blues track, but shifts into a heaviness unlike any blues rock before it. “The Wizard” like the previously discussed “Wicked World” is metal at its core, but this time with an even more blues flavoring.

“Behind The Wall of Sleep”

After this point, the album versions are slightly different. The US release combines the remainder of the A-side tracks into one where as the original marks the next song as “Behind the Wall of Sleep”. This song has a opening that is more rock sounding with an alternate picked riff with a bluesy feel which repeats later in the song, but the core of the song holds a chorus riff using a sliding power chord that would classify as driving metal chords. Using the dominance rule discussed in the previous section the intro section would be ignored favoring this song as metal, but given the bluesy rock nature of the intro it will mark this song as Early Heavy Metal like the previous couple of songs.

“N.I.B.”

Following the bass solo titled “Bassically” on the US version, the album breaks into one of Black Sabbath’s most iconic songs “N.I.B.” This song is a metal master piece and the first one to really show off the trademark riffing style of Tony used in so many others to come as well as really setting a standard for one of the primary riffing styles of the genre. Much of metal is dominated by riffs that are powerful yet have are melodic and “N.I.B.” is as great of an example of this as any. The use of the tambourine in this song is something that doesn’t get carried over in the future neither by Sabbath or other bands. It’s use here denotes “N.I.B.” as Early Heavy Metal.

“Sleeping Villiage”

Flipping over to the other side of the record, the album goes into previously discussed songs “Evil Woman” on the original version or “Wicked World” on the US version. Following this is “Sleeping Village” which starts very lightly but progresses to a very heavy riff, the whole song sprinkled with short licks throughout and an upbeat solo section for good measure. This one is another Early Heavy Metal song, like the last one a tambourine is played throughout the song. Even more odd but adding a unique flavor is a jaw harp being played in the first part of the song.

A Hard Blues Rock Closing to First Metal Album

Ending the album, Black Sabbath closes with “The Warning”, a cover from The Ansley Dunbar Retaliation. It is a hard blues rock close to the first every metal album. At the time I doubt anyone had any idea how important this album would be. In their debut album, Black Sabbath established Early Heavy Metal with multiple songs in that style and shook the world with the first every Doom Metal song “Black Sabbath”. The album originated an entire genre of music as well as two sub-genres within, pretty good for a first recording.

The First Metal Dabblers

Following the release of Black Sabbath two more bands would release heavy metal songs in June of 1970. These bands would never wholly embrace the metal sound in the way Sabbath or future bands would but several albums from both would have metal songs, some of which very important.

Deep Purple - Deep Purple In Rock

Deep Purple released their fourth album Deep Purple In Rock June 5th, of 1970. Of that seven track album, 3 songs would branch into a heavier sound and be their first metal songs. Because of their use of the hammond organ, all metal songs played by Deep Purple would be tagged as early metal

“Speed King”

“Speed King” opened the album fast and heavy. In the middle section they break in to a psychedelic sounding jam. They were no strangers to the psychedelic sound on earlier albums, but the heaviness of this song was something new for them.

“Bloodsucker”

Following, the second track keeps the heavy sound continuing their first foray into Early Heavy Metal

“Hard Lovin’ Man”

After the second track the album is filled with hard rock / psychedelic hard rock but ends with another Early Heavy Metal track. “Hard Lovin’ Man” opens with the first galloping guitar rhythm in heavy metal. Where the guitar is distinctively heavy metal, the psychedelic feel is strong from the hammond.

Uriah Heep - …Very ‘Eavy … Very ‘Umble

Uriah Heep evolve more and more into the progressive rock sound, but starting out they were among the select few to give the world some it’s first taste of Early Heavy Metal. They released …Very ‘Eavy … Very ‘Umble the 13th of June, 1970.

“Gypsy”

Uriah Heep opens their debut album with the heavy hammond organ laced Early Heavy Metal “Gypsy”

“Walking In Your Shadow”

“Walking In Your Shadow” is the second track on the album and although very reminiscent of a band like Cream, this song is distinctively Early Heavy Metal.

“Bird of Prey”

Bird of Prey was a killer track released August of 1970 on the US version of the album and later released on their second album the next year. It is an Early Heavy Metal song with some incredible vocal layering sounding fresh no matter what year you hear it. The opening riff is fast and exciting as much today as it must have been at the time people first heard it. It is a song that is deserving of far more attention than what it likely receives.

More to Come

In this section we witnessed the birth of Early Heavy Metal as well as the first Metal album, first Doom metal song, and the first to follow in its wake. In our next section we will witness the first Traditional Heavy Metal song as well as the first Epic Metal.

Metal Family Trees

As part of Metology (the study of metal), the influences of the bands named here can be found on the metal family tree.

Metalution Part 1: The Elements of Heavy Metal

Welcome to the fist entry into Metalution which will track the evolution of heavy metal, part of the systematic study of heavy metal music known being dubbed as Metology. This section may be updated from time to time as needed to better convey the knowledge here.

Before There Was Heavy Metal

The techniques and style that make up heavy metal existed before the birth of metal, but not until heavy metal were these elements combined together.  These elements are important, but equally important are certain musical aspects disregarded by heavy metal musicians.  Certain ways of playing were abandoned creating a generally heavier style of music.

The Trinity of Heavy Metal Guitar Playing

Heavy metal guitar has three main styles of rhythmic picking, at least one of which is required for any song to be classified as heavy metal (although there will be exceptions to the rule discussed later).

Chugging

Chugging  is the rhythmical picking of a single palm muted string, or chord.  (This can also be used with pedal point which will be explained)

An example of chugging prior to the birth of heavy metal can be found in the verses for Seppenwolf’s “Born To Be Wild”

Driving Metal Chords

Driving Metal Chords are the the use of chords, commonly power chords or other dyads or triads, but excludes large open chords.

At 1:36 (this particular live version) of Jimi Hendrix’s “Fire” he will go into the bridge which could be categorized as driving metal chords. Note that although whole and half note progressions are commonly used in early heavy metal, more complicated rhythms making up countless classic riffs which can all be considered driving metal chords.

String Riding

String riding is the rhythmic picking of a single string, or the use of pedal point which is when a root note alternates with other notes typically used as a melody.  Unlike chugging, string riding is not palm muted, otherwise it functions similarly.

The Rolling Stone’s “Paint it Black” makes use of string riding in two different manners demonstrated here both with pedal point at 0:39, and with trill picking a single string at 1:04. Rhythmically both manners can be much more complicated.

The Rule of Heaviness

Obviously it’s called heavy metal so it must be heavy, but heavy is a relative term.  Comparing a 70’s heavy metal song to a modern death metal song, the “heaviness” would be vastly different.  For our purposes, heaviness will simply mean a heavily distorted guitar is required.  The heavy metal level of distortion was a new and prominent part of what are commonly referred to as acid rock bands of the late 60’s.   (I will call this style heavy rock or heavy hard rock and also note that Tony Iommi has referred to Black Sabbath a heavy rock band). This level of distorted guitar outside of a broken amp or something simply wasn’t part of music until the end of the 60’s

Blue Cheer’s “Summertime Blues” is sometimes cited as the first heavy metal song because of it thick distorted sound for the time. Other “acid rock” bands had a similar sound but for reasons that will be addressed, this song is not heavy metal and instead Heavy Rock (Note a heavy rock band is a rock or hard rock band with the heavier distortion of heavy metal but stylistically play in a rock style)

The no no’s of Heavy Metal

Strumming and Big Chords

Alternate strumming patterns are standard for any guitar playing outside of heavy metal.  When Black Sabbath emerged, Tony Iommi was not using alternate strumming patterns and instead used down picking exclusively for the first few albums.  In later albums he would use this otherwise standard way of playing guitar from time to time and doing so would designate those songs in the rock rather than metal genre.  This however was not until after establishing his down stroke picking style which became the foundation for much of heavy metal guitar playing.

The Who’s “My Generation”, although not exclusively down picked is predominantly down picked. Without being palm muted, this would be considered driving metal chords although the heavier distortion is lacking. With that said, for their time they were on the harder side of rock music. Predating the Who, The Kinks released “You Really Got Me”. Along with songs like “My Generation” they had driving chords and were more distorted than what was previously mainstream rock. These bands were still lacking the heaviness of the “acid rock” bands, but used alternate strumming to a lesser degree.

Led Zeppelin’s “Whole Lotta Love” is a good example of a hard rock band using riffs that would otherwise be considered metal if not for other aspects of the song. The opening/verse riff could easily be in a heavy metal riff, but the chorus uses alternate strumming which is stranded in hard rock but generally a heavy metal no no.

Another great example of alternate strumming is the opening of AC/DC’s “High Voltage”. It is a simple burst of an alternately strummed chord. This simple strummed burst is iconic in hard rock and the consistent use of such a burst would often disqualify hard or heavy rock songs from being metal.

The second no no, open chords sound big and are often used in hard rock, but good luck finding their use in heavy metal.  Such chords sound big, but  they sound far less heavy as your standard power chords or other smaller chords. Further with the use of heavier distortions the subtleties of an open chord become a bit lost in the distortion and generally sounds less clear than smaller chords.  The use of such chords without some exceptions designate a rock genre.

Again a great example of big non-metal chords can be found with Hard Rock icons AC/DC with “Highway to Hell” as the example. Note the use of open chords with these particular chords using all six strings of the guitar including open notes.

(In general AC/DC is the most quintessential hard rock band. Everything from their strumming patterns to use of big chords with mildly distorted guitars are pure hard rock. With little to no exceptions do they make use of any heavy metal style of playing or level of heaviness derived from any distortion or tone combination.)

The Speed Exception

By taking an otherwise hard rock song and speeding it up it can become metal.  Because of the faster tempos, the strumming rule gets thrown out.  This exception became standard use during the New Wave of British Heavy Metal, but occurs much earlier.  Nearly all the metal songs of Sir Lord Baltimore make use of this exception and they are cited as the first band to be referred to as heavy metal.  They essentially sound like a more raw Led Zeppelin with a general tempo boost.  To make a clear cut-off line, 145 bpm seems to be a good standard to use when deciding if this exception applies. (Edit note: 145 bpm is somewhat arbitrary, slightly slower tempos might be considered depending on the over all feel and style of the song.)

No more Rock ’n’ Roll

The Rock ‘n’ Roll style was in part defined by shuffle rhythms and blues progressions.  These are abandoned by heavy metal (excluding some possible future exceptions that may be expanded on).  The use of either would generally designate a song something other than metal. The speed exception can be applied to shuffle or swing rhythms (there will be examples of this in later sections), but there is no speed exception to the chord progression as rock 'n’ roll was often fast already. Despite the yelling of “Rock ‘n’ Roll” by those such as Ozzy, Heavy Metal makes very little use these rock ‘n’ roll characteristics, otherwise it wouldn’t be heavy metal.

Note the chord progression of “Jonny B Goode” by Chuck Berry, although I could have picked nearly any rock in roll song and found the same or similar 12 bar blues progression. This sort of progression is rock ‘n’ roll, blues, or occasionally country, but not used in early or traditional heavy metal.

Again the same sort of progression but with the distorted guitar of nearly 20 years later added to change Rock ‘n’ Roll into Hard Rock with Led Zeppelin’s “Rock and Roll”. Note that despite the tempo being well above 145 bpm at 170 bpm it is still undisputedly rock.

if you thought I was done with AC/DC examples, think again. This time AC/DC’s “Ride On” (one of their few non hard rock songs) is a great example of blues rock making use of a shuffle or swing rhythm. Such rhythm would designate blues rock as with this song, or if in a song with more distorted guitar or quicker temp, hard blues rock. The main take away here is that these type of rhythms would likely designate an otherwise heavy metal song as a rock genre unless at or above the 145 bpm mark.

In 1975 Montrose covered the rock ‘n’ roll song of Eddie Cochran “Twenty Flight Rock” giving it a more modern feel with chugging sections that could be considered heavy metal if not for following the rock ‘n’ roll chord progression. Such a song would instead be considered Hard Blues Rock.

Demonstrated here with Rainbow’s “Starstruck”, despite what otherwise may be considered a metal playing style and a decent amount of distortion, this song is not metal due to the bluesy swing beat. In this case the song would be categorized as Hard Blues Rock.

Song Domination Exceptions

Our last important thing to note when categorizing a song is that classification should be bassed on the sections dominating the song.  Essentially the main sections of a song are what should be judged to designate genre.  This means there can be sections to a metal song that might break the rules of metal.  Hard Rock songs similarly might have heavy metal sections while overall not being metal.  Intros and outros as well as backing sections under solos are sections that generally should be excluded when categorizing a song.  Bridges or interludes that are unrepeated are also sections where that a song may stray from its core sound.  These sections can sometimes be used to designate subgenres. Generally these sections in any song of any genre would be ignored when when determining the core musical genre of the song.

Although I write with a presumed authority on the subject matter of heavy metal, I will confess that this example here is among the most difficult songs I’ve classified and in part led to the domination rule. If there is a riff that has both the style and heaviness to be classified as heavy metal prior to what I recognize as the first heavy metal song, it exists within Led Zeppelin’s “Dazed and Confused”. Yes it should be noted that they outright ripped this song off from Jake Holms, however the riff in question is unique to the Zeppelin version, that is until Black Sabbath’s “Paranoid” which begins with a strikingly similar riff. Ultimately, this song should be classified as Psychedelic Hard Rock because of the dominance rule. Simply, the riff (first played at 1:12) is repeated a few times through out the song but is a minor interlude between long sections that are non-metal. Secondly the solo section meets the speed exception noted earlier, however with this rule, solo sections are generally exempt when categorizing a song. There are many otherwise heavy metal songs that would be disqualified due to backing guitar under a solo using alternate strumming. In fairness it is applied to keep those songs categorized as metal and songs like “Dazed and Confused” as rock

Summery

In summery this outlines the primary elements of metal, particularly in the early days, as well as primary elements that would disqualify a song from being considered metal. Examples of such elements were given using songs predating the birth of metal as well as some examples of non-metal characteristics from some heavy metal contemporaries. The next entry looking at the evolution of metal will kick off at the birth of heavy metal.