| Revision as of 01:11, 6 July 2006 view source216.21.150.44 (talk) further cleanup of un-authorized content← Previous edit | Revision as of 10:26, 6 July 2006 view source 217.33.74.20 (talk)No edit summaryNext edit → | ||
| Line 1: | Line 1: | ||
| Lewis Dallard | |||
| {{redirect|Heavy metal}} | |||
| Tom Mooney | |||
| <!-- Note: Due to major debate that springs up from time to time and edits that might compromise the article's integrity, please discuss any major changes to this article on the Talk Page first. -->{{genrebox|name=Heavy metal|color=#bb0022 | |||
| Ramsey Evans | |||
| |bgcolor=white | |||
| NOT TERRY MACDONALD (OR MCGAYBOY) | |||
| |stylistic_origins=], ] and ] | |||
| |cultural_origins=Late 1960s ] | |||
| |instruments=] - ] - ] | |||
| |popularity=Extensively followed by dedicated fans throughout the world. | |||
| |derivatives= | |||
| |subgenrelist=List of heavy metal genres | |||
| |subgenres=] - ] - ] - ] - ] - ] - ] - ] - ]- ] - ] - ] - ] | |||
| |fusiongenres=] - ] - ] - ] - ] - ] - ] - ] - ] - ] | |||
| |regional_scenes=] - ] - ] - ] | |||
| |other_topics=] - ] - ] - ] | |||
| }} | |||
| '''Heavy metal''' is a genre of ] that emerged as a defined musical style in the 1970s, having its roots in ] bands which, between 1967 and 1974, mixed ] and ] to create a hybrid with a thick, heavy, guitar-and-drums-centered sound, characterised by the use of highly-amplified ]. Out of heavy metal various subgenres later evolved, many of which are referred to simply as "metal". As a result, "heavy metal" now has two distinct meanings: either the genre as a whole or what is known as "traditional heavy metal" in the 1970s style, as exemplified by the likes of ], ], ], ], ] and others. | |||
| Heavy metal began gaining popularity in the 1970's and 80's, at which time many of the now existing subgenres first evolved. Heavy metal has a large world-wide following of fans known by terms such as "]s" and "]". | |||
| ==Characteristics== | |||
| Heavy metal is typically characterized by a guitar-dominated sound, strong rhythms and classical, bluesy or symphonic styles. However, heavy metal sub-genres have their own stylistic variations on the original form that often omit many of these characteristics. | |||
| According to Allmusic.com, "Of all rock & roll's myriad forms, heavy metal is the most extreme in terms of volume, machismo, and theatricality. There are numerous stylistic variations on heavy metal's sound, but they are all tied together by a reliance on loud, distorted guitars and simple, pounding rhythms." | |||
| ===Instrumentation=== | |||
| The most commonly used line-up for a metal band is a ], a ], a ], a ], and a singer (who may or may not be an instrumentalist). Keyboards are used in some styles of heavy metal and shunned by others, although as different subgenres develop they have become increasingly popular. The guitar, however, is the key element in heavy metal. Distortion of the guitar sound is used to create a powerful, 'heavy' sound. Some of the original heavy metallers joke--much like punk rockers--that their simplified sound was more the result of limited ability than of innovation. Later, more intricate solos and ]s became a big part of heavy metal music. Guitarists use ], ] and other advanced techniques for rapid playing, and many sub-genres praise ] over simplicity. Also, as technology has developed, new ways of altering the guitar's sound have been adopted. | |||
| Metal vocals vary widely in style. Vocalists' abilities and styles range from the multi-octave operatic vocals of ]'s ] and the singing of ]'s ], to the intentionally gruff vocals of ] from the band ]. | |||
| In terms of the live sound, volume is often considered as important as anything. Following the lead set by ] and ], early Heavy Metal bands set new benchmarks for sound volume during shows. ], guitarist in Heavy Metal pioneers ], is just one of the early Heavy Metal musicians to suffer considerable hearing loss due to their live volume. Detroit rocker ] (who rejects the term "heavy metal" to describe his music) and ] (who once held the distinction of "The World's Loudest Band" in the ]) guitarist ] are nearly deaf. Canada's ] are credited as having the longest and loudest bass drums (six feet long), which some consider proof that size does matter. Heavy Metal's volume fixation was mocked in the ] spoof '']'' by guitarist "]", who revealed that his ] had been modified to "go to eleven." | |||
| ===Themes=== | |||
| As with much popular music, visuals and images are integral to metal. Album covers and stage shows are almost as important to the presentation of the material as the music itself, although they seldom exceed the actual music in priority. Thus, through heavy metal, many artists collaborate to produce a menu of experiences in each piece—offering a wider range of experiences to the audience. In this respect, heavy metal becomes perhaps more of a diverse art form than any single form dominated by one method of expression. Whereas a painting is experienced visually, a symphony experienced audibly, a heavy metal band's "image" and the common theme that binds all their music is expressed in the artwork on the album, the set of the stage, the tone of the lyrics, and the clothes of the band, in addition to the sound of the music. | |||
| Rock historians tend to find that the influence of Western pop music gives heavy metal its escape-from-reality fantasy side, as an escape from reality through outlandish and fantastic lyrics—while African American blues gives heavy metal its naked reality side, focusing on loss, depression and loneliness{{fact}}. Heavy metal has a relationship with spiritual issues in both symbol and music theory, as heavy metal chords and harmonies emphasize the use of ]''(see: ])''—drawing ironic parallels to harmony changes in Christian ] singing{{fact}}. | |||
| If the audio and thematic components of heavy metal are predominantly blues-influenced reality, then the visual component is predominantly pop-influenced fantasy. The themes of darkness, evil, power and apocalypse are language components for addressing the reality of life's problems. In reaction to the "peace and love" ] culture of the 1960s, heavy metal developed as a ], where light is supplanted by darkness and the happy ending of pop is replaced by the naked reality that things do not always work out in this world. Whilst fans claim that the medium of darkness is not the message, critics have accused the genre of glorifying the negative aspects of reality. | |||
| ]Heavy metal themes are typically more grave than the generally airy pop from the 1950s, 1960s, and 1970s—focusing on war, nuclear annihilation, environmental issues, and political or religious propaganda. ]'s "]", ]'s "Killer of Giants",]'s "]" (as well as their "Peace sells"), ]'s "]" (as well as their "]"), and ]'s "]" are examples of contributions to the discussion of the ]. The commentary on reality sometimes tends to become over-simplified because the poetic vocabulary of metal deals primarily with clear dichotomies of light and dark, hope and despair, or good and evil, which do not leave much room for complex shades of grey. | |||
| ===Classical influence=== | |||
| ]The appropriation of classical music by heavy metal typically includes the influence of ] and ], rather than ] or ]. Though ]/] guitarist ] had been experimenting with musical figurations borrowed from classical music since the early 1970s, ] solo cadenza "Eruption" (released on ] first album in 1978) marks an important moment in the development of virtuosity in metal. Following Van Halen, the "classical" influence in metal guitar during the 1980s looked to the early eigtheenth century for its model of speed and technique; notably, classically inspired guitarist ], whose technical prowess inspired a myriad of neo-classical players. | |||
| The late ] of Western art music was also frequently interpreted through a ] lens. For example, "Mr. Crowley," (1981) by ] and guitarist ], uses both a ]-like ] and ]-inspired guitar solos to create a particular mood for Osbourne's lyrics on the occultist ]. For the introduction to 1982's "Diary of a Madman", Rhoads borrowed heavily from Cuban classical guitar composer ]'s "Etude #6". Like many other metal guitarists in the 1980s Rhoads quite earnestly took up the "learned" study of ] and helped to solidify the minor industry of guitar pedagogy magazines (such as ''Guitar for the Practicing Musician'') that grew during the decade. In most instances, however, metal musicians who borrowed the technique and rhetoric of art music were not attempting to ''be'' classical musicians. | |||
| ] The ] encyclopedia claims that "when a text was associated with the music, Bach could write musical equivalents of verbal ideas," ] bands such as ] and ] had already explored this relationship before heavy metal evolved. As heavy metal uses apocalyptic themes and images of power and darkness, the ability to translate verbal ideas into musical ideas that successfully convey the ideas of the words is often seen as critical to heavy metal authenticity and credibility{{fact}}. An example of this is the theme album, '']'', by ] {{fact}}. The cover is of a dramatic Egyptian pyramid scene and many of the songs on the album have subject matter that requires a sound suggestive of life and death, including a song entitled "]," based on the poem by ]. However, the 1977 ] album ] features the twelve-minute "Xanadu," also inspired by Coleridge and predating the ] composition by several years. Bassist ] has also cited progressive rock bands such as ] and ] as influences on his own abilities. | |||
| ==History== | |||
| ===The term "heavy metal"=== | |||
| ]''. The album greatly influenced many heavy metal musicians]] The origin of the term ''heavy metal'' in relation to a form of music is uncertain. The term had been used for centuries in chemistry and metallurgy and is listed as such in the ''Oxford English Dictionary''. An early use of the term in modern popular culture was by counter-culture writer ]. In his 1962 novel, ''The Soft Machine'', he introduces the character "Uranian Willy, the Heavy Metal Kid". His next novel in 1964, ''Nova Express'', develops this theme further, ''heavy metal'' being a metaphor for addictive drugs. | |||
| <blockquote>"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"</blockquote> | |||
| :], (1964). ''Nova Express''. New York: Grove Press. p. 112 | |||
| Given the publication dates of these works it is unlikely that Burroughs had any intent to relate the term to rock music; however, Burroughs' writing may have influenced later usage of the term. | |||
| The first use of the term "heavy metal" in a song lyric is the words "heavy metal thunder" in the ] ] song "Born to be Wild" (Walser 1993, p. 8): | |||
| <blockquote>"I like smoke and lightning<br> | |||
| Heavy metal thunder<br> | |||
| Racin' with the wind<br> | |||
| And the feelin' that I'm under"</blockquote> | |||
| The book, "The History of Heavy Metal," states the name as a take from "hippiespeak," heavy meaning anything with a potent mood, and metal, more specifically designating what the mood would be, grinding and weighted as metal. | |||
| The word "heavy" (meaning serious or profound) had entered ]/] ] some time earlier and references to "heavy music"—typically slower, more amplified variations of standard pop fare—were already common; indeed, ] first started playing ] in 1967, their name explained on an album cover, "Iron- symbolic of something heavy as in sound, Butterfly- light, appealing and versatile...an object that can be used freely in the imagination". Iron Butterfly's 1968 debut album was entitled '']''. The fact that ] (whose moniker came partly in reference to ]'s jest that they would "go down like a lead balloon") incorporated a heavy metal into its name may have sealed the usage of the term. | |||
| In the late 1960s, ] was still a centre of industry and (given the many rock bands that evolved in and around the city, such as Led Zeppelin, ], and Black Sabbath), some people suggest that the term Heavy Metal may have some relation to such activity. Biographies of The Move have claimed that the sound came from their 'heavy' guitar riffs that were popular amongst the 'metal midlands'. | |||
| ], original producer, manager and songwriter for ], claims to have been the first person to apply the term "heavy metal" to rock music in 1970. | |||
| A widespread but disputed hypothesis about the origin of the genre was brought forth by "Chas" Chandler, who was a manager of the Jimi Hendrix Experience in 1969, in an interview on the PBS TV programme "Rock and Roll" in 1995. He states that "...it was a term originated in a New York Times article reviewing a Jimi Hendrix performance," and claims the author described the Jimi Hendrix Experience "...like listening to heavy metal falling from the sky." The precise source of this claim, however, has not been found and its accuracy is disputed. | |||
| The first well-documented usage of the term "heavy metal" referring to a style of music, appears to be the May 1971 issue of ''']''', in a review of Sir Lord Baltimore's ''Kingdom Come''. In this review we are told that "Sir Lord Baltimore seems to have down pat most all the best heavy metal tricks in the book". '''Creem''' critics David Marsh and ] would subsequently use the term frequently in their writings in regards to bands such as Led Zeppelin and Black Sabbath. | |||
| ''Heavy metal'' may have been used as a jibe initially by a number of music critics but was quickly adopted by its adherents. Other, already-established bands, such as ], who had origins in pop or ], immediately took on the heavy metal mantle, adding distortion and additional amplification in a more aggressive approach. | |||
| ===Origins (1960s and early 1970s)=== | |||
| ] | |||
| ] ] was highly popular and influential among the early ] rockers; bands like ] and ] had recorded covers of many classic blues songs, sometimes speeding up the ] and using ] where the original used ]. (Similar adaptations of blues and other ] had formed the basis of the earliest rock and roll, notably that of ]). | |||
| Such powered-up blues music was encouraged by the ] and artistic experimentation that arose when musicians started to exploit the opportunities of the electrically amplified guitar to produce a louder and more ] sound. Where blues-rock drumming styles had been largely simple ]s on small drum kits, drummers began using a more muscular, complex, and amplified approach to match and be heard with the increasingly loud guitar sounds; similarly vocalists modified their technique and increased their reliance on amplification, often becoming more stylised and dramatic in the process. Simultaneous advances in amplification and recording technology made it possible to successfully capture the power of this heavier approach on record. | |||
| ] The earliest music commonly identified as heavy metal came out of the ] area of the ] in the late 1960s when bands such as Led Zeppelin and Black Sabbath applied an overtly non-traditional approach to blues standards and created new music often based on blues scales and arrangements. These bands were highly influenced by ] ] musicians including Jimi Hendrix, who had pioneered amplified and processed blues-rock guitar and acted as a bridge between black American music and white European rockers. | |||
| Other oft-cited influences include ], who had slowed down and psychedelicised pop tunes, as well as earlier British rockers such as ] and ], who had created an opening for heavy metal styles by introducing ]s and more aggressive percussion to the rock genre. Another key influence was ], who exemplified the ] format that would become a staple of heavy metal. | |||
| By late 1968, heavy blues sounds were becoming common—many fans and scholars point to ]'s 1968 cover of ]'s hit "]" as the first true heavy-metal song. Beatles scholars cite in particular the songs "]" from '']'' and the single version of "]" (1968), which set new standards for distortion and aggressive sound on a pop album. ]' band ] released an aggressive heavy guitar version of ]'s '']'' in November 1968. The ] Group's album ''Truth'' (late 1968) was an important and influential rock album released just before Led Zeppelin's first ], leading some (especially British blues fans) to argue that ''Truth'' was the first heavy metal album. The Yardbirds' 1968 single, "Think About It," should also be mentioned, as that employed a similar sound to that which ] would employ with Led Zeppelin. | |||
| Also, ] band ]'s "21st Century Schizoid Man" from their debut album, ] (1969), featured most of the thematic, compositional, and musical characteristics of heavy metal—a very heavily distorted guitar tone and discordant soloing by ] with lyrics that focused on what is wrong about what the 21st century human would be, a dark mood and ]'s vocals were passed through a distortion box. | |||
| However, it was the release of ''Led Zeppelin'' in 1969 that brought worldwide notice of the formation of a new genre. The first heavy metal bands—Led Zeppelin, Deep Purple, ], ], and Black Sabbath, among a few—are often now called ] bands by the modern metal community rather than heavy metal, especially those bands whose sound was more similar to traditional rock music. In general, the terms ''heavy metal'' and ''hard rock'' are often used interchangeably, in particular when discussing the 1970s. Indeed, many such bands are not considered "heavy metal bands" per se, but rather as having contributed individual songs or works that contributed to the genre. Few would consider ] a heavy metal band in any real sense, for example, but few would dispute that their song ] was an early Heavy Metal song. | |||
| ===Classic Heavy Metal (Late 1970s and early 1980s)=== | |||
| ] ]] The late 1970s and early 1980s history of heavy metal music is highly debated among music historians. Bands like ] achieved moderate mainstream success and the ] ] scene began finding pop audiences—especially in the 1980s. Others ignore or downplay the importance of these bands, instead focusing on the arrival of classical influences—which can be heard in the work of ] and ] and such like. Others still highlight the late-70s cross-fertilization of heavy metal with fast-paced, youthful ] (e.g. ]), culminating in the ] around the year 1980, led by bands like ] and ]. These two in particular became very popular in the Heavy Metal movement. | |||
| Some followers, including Heavy Metal musicians of prominent groups, believe that the foundations of the definite style and sound of pure heavy metal were laid down by ] band ] with three of their early albums: ''Sad Wings Of Destiny'' (1976), ''Sin After Sin'' (1977), and ''Stained Class'' (1978). | |||
| ] are also sometimes cited as pioneering a sort of pure heavy metal and one could also make this claim about the later albums of ] such as '']'' and '']'', but these bands are generally considered to be hard rock bands. Beginning with Judas Priest, metal bands quickly began to look beyond the almost exclusive use of the blues scale to incorporate ] modes into their solos. This has since spread throughout many ] and along with an overriding sense of musicianship are the main contributions ] and ] (via progressive rock) have made to the genre. | |||
| The explosion of guitar virtuosity (pioneered by Jimi Hendrix a musical generation earlier) was brought to the fore by Eddie Van Halen—many consider his 1978 solo "]" ('']'', 1978) a milestone. ] (formerly of Deep Purple), ] (with pioneers ], and ]) and ] went on to solidify this explosion of virtuoso guitar work, and in some cases, classical guitars and nylon-stringed guitars were played at heavy metal concerts. Classical icons such as ] also became associated with the heavy metal stars as peers in a newly diverse guitar fraternity where conservative and aggressive guitarists could come together to "trade licks." | |||
| This explosion would cool down in the music of ] (who himself had a tenure at lead vocals with ]) and continue to settle towards Judas Priest and Iron Maiden, who may be the final and complete consummation of "pure" heavy metal in the lineage of the "grandfathers"—Jimi Hendrix, Led Zeppelin, Deep Purple, and Black Sabbath. | |||
| ===Mainstream Dominance (1980s)=== | |||
| ] The most popular subgenre of heavy metal emerged in the United States, coming from ] bands of the ] the epicentre for this explosion was mostly in the ] from ]. | |||
| The first wave of Glam metal included the likes of ], ], ], ] and ]. Early Glam metal groups took influence from heavy metal acts such as ], ] and ], incorporating guitar solos into the majority of their songs. Bands such as ] and ] expanded on the foundations laid by ] and ] in regards to stage show, often venturing into ] territory. | |||
| In one form or another Glam metal would dominate the mainstream airwaves from the early 1980s until around ] when the ] movement from ] became popular. At times the likes of ], ] and ] experimented with Glam metal stylings in their music. | |||
| The genres caused a divide in the evolving metal community of the 1980s, largely due to the glam metal bands image, especially that of the more feminine looking bands such as ] and ], a common misconception was that glam metal bands were not technically proficient musicians; even though this movement included some of the most critically acclaimed musicians in hard rock of their era such as ] (], ]), ] (]), ] (]), ], (]) and ] (David Lee Roth, ]).''(see also: ])'' | |||
| ===Underground Metal (1980s, 1990s, and 2000s)=== | |||
| ] | |||
| Many ] developed during the 1980s. In a move away from metal's hard rock roots, a genre that took influences from ] emerged—]. The genre's sound was more aggressive, louder and faster than the original metal bands or their ] contempories of the time. | |||
| This subgenre was pioneered by the ']', ], ], ], and ], with bands like San Francisco's ], New Jersey's ] and Brazil's ] also making an impact. With the exception of ], who sold consistantly in the millions and even appeared on the ] chart at #6 with "]" during the 1980s, Thrash was more underground in terms of sales and media coverage, compared to more popular subgenres. During the ], sales of Thrash improved, particually that of the "big four". | |||
| In the early and mid 1980s, thrash began to split further into death metal (a term probably originating from ]'s song "Death Metal", off their '']'' album), led by ] and ], and black metal (a term coined by ], with an album called '']'', who themselves lacked most integral characteristics of the genre, such as the buzz-saw vocals) and Denmark's ] who are often considered the originators of the ] coupled with Satanic and Pagan themes, in which ] (generally considered one of the first black metal acts although they later involved more Viking themes) and ] were key bands early on. | |||
| From the 80s and into the 90s ], especially in ], evolved in an opposite direction from death metal and thrash. Keeping the anti-commercial mentality and intensity of ] but focusing on upbeat and epic themes and melodies. Power metal usually involves high pitched 'clean singing' similar to that of ] vocalists such as ] and ], as opposed to ]. | |||
| ], a fusion of the progressive stylings of bands like ], ] and heavy metal began in the '80s, too, behind innovators like ] and later ] and ], who enjoyed substantial mainstream acceptance and success in the glam metal era. | |||
| ===Alternative Metal/Nu Metal (1990s and 2000s)=== | |||
| ] poster (1998). Ozzy Osbourne, Megadeth, System of a Down, Tool, Motörhead appeared among others.]] | |||
| The era of metal dominating the mainsteam came to an end with the emergence of ] and other ] bands that signaled the popular breakthrough of ]. | |||
| With this breakthrough, bands active since the 80s began to become more widely known and achieve mainstream attention. In particular, bands that had fused ] and ] styles began to gain momentum and formed the fusion genre called ]. This included a wide variety of acts, including the grunge-based band ], the ]-influenced ], the ]-infused ], and groups influenced by a wide variety of other alternative genres. ] infused their alternative rock with ], ], ] and metal, ] continued ]'s progression from punk, through ] (with ]) and into metal, ] began incorporating metal into their ], and ] combined elements of ], funk, punk, ] and ]. | |||
| As alternative metal achieved wider mainstream success, more notable bands from the genre, including ], ], ], ] and ], influenced a new wave of rock bands. These bands were not the preceding fusion of alternative rock and heavy metal, but a new genre derived from it, and came to be known as ]. ], ], ], ], and ] are among the most prominent nu metal bands. Nu metal, through heavy ] rotation and the 1996 formation of ]'s ] metal ], gained even more mainstream success, headed by Linkin Park with 35 million albums sold. Much debate has arisen over the genre's massive success and whether or not it is metal in a conventional sense. Fans of ], which itself is debated by purists as to whether it is metal or not in the conventional sense, often levy these criticisms against nu metal. In recent years, Ozzfest has had many ] bands playing at the festival and has helped the genre gain much popularity. Some see this style as nu metal's successor, whilst others believe that it will become popular and fashionable in the same way as nu metal. | |||
| The 90s also saw a revival of early heavy metal styles. Slower, eerier metal became ever more prominent, as more bands left commonplace influences like ]'s NWOBHM, ]'s thrash and ]'s early death metal for the bluesy, deep sound of the original heavy metal groups like ]. The most prominent group of this first-wave metal revival was arguably ], who claimed influence by ] and even the later work of ]. This led to a surge in the popularity of ], as well as a resurgence of interest in early heavy metal bands. | |||
| ==Cultural impact== | |||
| The loud, confrontational aspects of heavy metal have led to friction between fans and mainstream society in many countries. Due to the hedonistic nature public perception thinks of as being promoted by the music and its occasional anti-religious sentiments, some heavy metal as a sub-culture has come under attack in many Christian and Islamic countries where wearing a black T-shirt can be an arrestable offense. In ], for example, all ] albums, past, present and future were banned in 2001.<sup></sup> In Europe and America, the fan base for heavy metal consists primarily of white males in their teens and 20s—many of whom are attracted to heavy metal's overtly anti-social yet fantastical lyrics and extreme volume and tempos. Hence, the stereotype of the adolescent ] venting his rebellious urges by listening to loud, morbid music emerged. This image has been highlighted in popular culture with such television shows and movies as "]" and "]." Heavy metal's bombastic excesses, exemplified by glam metal, have often been parodied, most famously in the film '']'' (see also the phenomenon of the ]). | |||
| Many heavy metal stylings have made their way into everyday use; for instance, the "]" hand sign popularized by Ronnie James Dio has become a common sight at many rock concerts. During the 1970s and 1980s, flirtation with ] themes by artists such as Black Sabbath, Iron Maiden, ], Mercyful Fate, Led Zeppelin, Mötley Crüe, Ozzy Osbourne, and ], led to accusations of "]" influences in heavy metal by ] ]. One popular contention during that period was that heavy metal albums featured hidden messages urging listeners to worship the ] or to commit suicide (see ] and ] and ]). | |||
| Lesser known, is the impact of heavy metal's complex musical structures on the ] classical music style of ] music, pioneered by ], ], ], and later, American composer ]. | |||
| ===Eurovision=== | |||
| On ] a heavy metal band won the first place, for the first time in the contest's history. That band is ] with the song "Hard Rock Hallelujah" from ]. This was an unexpected turn in the long tradition of Eurovision, which had been known for repeatedly giving the first prize to ballads and pop every year. Even odder is the fact that this was the first time Finland won, the best position so far being 6th. Finland has participated in every Eurovision contest so far. | |||
| ==Related styles== | |||
| ], mentioned earlier, is closely related to heavy metal (and often the terms overlap in usage), but it does not always match the description of what purists consider the definition of heavy metal. While still guitar-driven in nature and usually riff-based, its themes and execution differ from that of the major heavy metal bands listed earlier in this article. This is perhaps best examplified by The Who in the late-1960s and early-1970s, as well as other 1970s and 1980s bands like ] who have had a large influence on heavy metal music, ], ], ], ], and ]. | |||
| ], a short-lived era in the early 1970s, relied on heavy, crunchy guitars, anthemic songs, and a theatrical image. ], ], and ] are among the more popular standard examples of this sub-genre. | |||
| Some cross-influence has occurred between ], ] and heavy metal. Punk rock was influential on the ] movement. Another example is ]; the band's leader ], spent time in punk band ] and attempted to teach ] how to play bass guitar. | |||
| Alternative rock, particularly grunge, sometimes took influence from heavy metal. Some grunge bands such as ] and ] were marketed as metal before alternative became a viable commercial force. | |||
| ==Heavy metal dance== | |||
| Although some heavy metal fans would disagree with the term "dance," there are certain body movements that are nearly universal in the metal culture, including ], ], and various hand gestures such as ]. ], ], and ] are also practiced, though air guitar practices are less popular today. | |||
| ==See also== | |||
| {{commonscat|Metal (Music)}} | |||
| * ] | |||
| * ] | |||
| * ] | |||
| ==Sources== | |||
| <div class="references-small"> | |||
| *] (2003). ''Sound of the Beast: The Complete Headbanging History of Heavy Metal''. HarperCollins. ISBN 0380811278. | |||
| *] (1993). ''Running with the Devil: Fuck Power, Gender, and Madness in Heavy Metal Music''. Wesleyan University Press. ISBN 0819562602. | |||
| *] (1991). ''Heavy Metal: A Cultural Sociology''. Lexington. ISBN 0669218375. Revised edition: (2000) ''Heavy Metal: The Music and its Culture''. DaCapo. ISBN 0306809702. | |||
| </div> | |||
| ==External links== | |||
| * | |||
| {{heavymetal}} | |||
| {{featured article}} | |||
| ] | |||
| ] | |||
| ] | |||
| ] | |||
| ] | |||
| ] | |||
| ] | |||
| ] | |||
| ] | |||
| ] | |||
| ] | |||
| ] | |||
| ] | |||
| ] | |||
| ] | |||
| ] | |||
| ] | |||
| ] | |||
| ] | |||
| ] | |||
| ] | |||
| ] | |||
| ] | |||
| ] | |||
| ] | |||
| ] | |||
| ] | |||
| ] | |||
| ] | |||
| ] | |||
| ] | |||
| ] | |||
| ] | |||
| ] | |||
Revision as of 10:26, 6 July 2006
Lewis Dallard Tom Mooney Ramsey Evans NOT TERRY MACDONALD (OR MCGAYBOY)