Here I continue what I started in my last post. Hope you enjoy it. These are the bands that mattered in 1975 when they spoke about “heavy metal”. I guess most people don`t call many of these bands “metal” in 2019.
Rock from `eavy to `umble or
The Sounds A – Z of Heavy Metal
Compiled by Pete Makowski and Geoff Barton
`Eek! `Screech!` Closely followed by a dull `clung!`
Bachman Turner Overdrive
Heavy Duty Rock. It all started when Randy Bachman left top selling Canadian band Guess Who. He wrote their hits (e.g `American Woman`) and eventually decided to try his hand at solo albums and producing. He got together with another ex-Guess Who member Chad Allen and his brother Rob Bachman to record an album `Brave Belt`. Reprise were interested in the product but wanted a band to go on the road and sell it. So C. F. Turner was added on bass to complete a roadworthy line up. Allen dropped out of the band before the release of the Belt`s second album, another Bachman, Timmy, joined on guitar. They recorded their third album and left Reprise to join Mercury, Brave Belt III became Bachman Turner Overdrive. After two moderately successful albums Timmy left to produce and was replaced by Great Vancouver guitarist Blair Thornton. Things began happening and by the time of the release of their third album – `Not Fragile` – they were big business. Their popularity has even spread here (You Ain`t Seen Nothin` Yet`, `Roll Down The Highway`). Their music combines all the excitement of the world`s leading rock bands, packaged neatly into one tight commercial bundle.
Probably one of today`s most popular `commercial` rock and roll bands. They`ve hit the jackpot from the start with their single `Can`t Get Enough Of Your Love` and album `Bad Co` and second time round their album `Straight Shooter` is selling well. Stable mates to those `eavy boys Zeppelin, Bad Co is half of Free, Paul Rodgers (vocals) and Simon Kirke (drums) – the others Paul Kossoff (unemployed) and Andy Fraser (new band just formed) – plus Mick Ralphs (guitar) ex-Mott, and former King Crimson bassist Boz Burrell.
Beck can be as vicious as the heftiest of metallurgists, soft as a pigeon`s tail feather, depending on his mood, or his band, of the moment. Compare `Cause We`ve Ended Now As Lovers` with the savagery of his playing on the likes of `Plynth` (on Cosa Nostra Beck-Ola`) and see what I mean. Neither the Yardbirds (in which Beck replaced Eric Clapton) nor the brilliant Beck Group with Stewart, Wood and Waller was exactly heavy metal, but both were vital influences on the bands that made up the first division, first generation of the emerging muscular metal groups. Beck later joined Beck, Bogert, Appice, and joined the ranks of those who had followed on the lead of the old Beck bands. As usual, the results were sometimes spectacular, sometimes very ordinary. Beck quickly outgrew his desire to out-heavy the opposition, and moved on to more melodic and intricate music.
`Is Bedlam the new Cream` asked one music paper, well not quite, but Bedlam did revive a thrashing rock sound that was reminiscent of the late Sixties into a 70s package – a definite British sound that never quite made it. The band was formed by ex-Jeff Beck drummer Cozy Powell who along with Dave Ball (guitar), his brother Dennis (bass) and singer Frank Aiello produced one album.
Black Oak Arkansas
The blond and bleached Jim Dandy Mangrum and Arkansan cohorts are the epitome of American raunch and roll. The band started about 13 years ago when they acquired their first bits of equipment from local schools, `they just got off probation a couple of years ago. Their success is the result of solid roadwork and an exciting live performance. On record they seem to lack that certain je-ne-sais-quoi. Their new guitarist, 20 year old So` Bean, could put a change to that.
Highly popular, originally black magic, now big league metal band, Sabbath are currently slightly more mature in approach than they were say, with their first three albums. `Warning` a track on their first album produced by Roger Bain is definitely recommended. Had a hit with `Paranoid`. Currently hibernating.
Came out at the same time as Black Sabbath but never quite made it. Their music was in the same genre and they took the whole Black Magic thing one step further by culminating the show with a mock sacrifice featuring chief witch Alex Sanders and his wife. Got a lot of scandal press coverage.
Probably the closest thing to a critic`s idea of a Heavy Metal band. This powerhouse trio were an American interpretation of the Cream and the Yardbirds? Their weapon was volume, energy and simplicity and in `67 they pioneered a style which has remained with us ever since. Their rendition of Cochran`s `Summertime Blues` was a Heavy Metal anthem, a classic, those bombastic powerchords, throbbing bass blues and battering percussion sent the message home. The original line up featured Paul Whaley (drums), Dick Peterson (bass) and Leigh Stephens (guitar). Stephens left the band to record some solo albums and was replaced by Randy Holden, this also marked the end of the band for most people. They never bettered their first two efforts `Vincibus Eruptium` and `Outside Inside`.
Blue Oyster Cult
Probably the most competent of recent American heavy bands. Undeniably derivative, the B. O`Cult are nevertheless great fun. Surrealist lyrics and Buck Dharma`s sizzling guitar are the two things that strike you immediately. Their current `On Your Feet Or On Your Knees` double album is the best live rock effort for years.
Edgar Broughton Band
From the Midlands, and regarded as outcasts even in their family life, `Them Broughtons` started a rock and roll band. They got famous for benefits and free gigs, for the People`s Music, for endless versions of tunes like `Out Demons Out` and `Freedom`, and they gathered an audience that included some of the most loyal and relentless head-shakers and shoulder-joggers known to the British concert hall. In some ways they were close to the Third World War kind of thing – Preachin` revolution if not violence – and they`ve had their share of busts and court cases. These days they`re more into mime and theatre than the star right heads – down – and – people`s – boogie number but the WEEMEENIT set is still strong and faithful.
“We`re just aiming for that great E chord in the sky”, says the Station`s outspoken guitarist / vocalist Cub Koda. It seems this bombshell trio found it. Their music is raucous punk rock, tight, jam-free. They scored with their teenage anthem `Smoking In The Boys Room` which also sold well here. Henry `H-Bomb` Weck (drums) and Michael Lutz (bass) completed the trio. So far they`ve had two hit albums in the States – `Yeah` and `School Punks`.
Loud three-piece Welsh band, first formed in 1968 when bassist Burke Shelley met one-time drummer Ray Phillips in a record shop. Their first album, released in July 1971, was produced by Roger Bain. Guitarist Tony Bourge pumps out a good bludgeoning riff, their numbers `Breadfan` and `Whisky River` are as good metal as you`ll hear anywhere. Phillips (now in a band called Woman) was replaced by Pete Boot (who has since joined Sweaty Betty) and the band`s current drummer is a guy called Steve Williams. Their fourth album `In For The Kill` just made the album charts last year. Their repertoire also includes numbers with eccentric titles: `Nude Disintegrating Parachutist Woman`, `A Crash Course In Brain Surgery` for example. Great stuff.
Beck, Bogert and Appice without Beck? Cactus were probably what Tim Bogert and Carmine Appice got together to flex their muscles before the formation of BB&A. Featuring Rusty Day (vocals), Jim McCarthy (guitar), they released three albums in this form between 1970 and 1972 then split. Another Cactus without the original core of the band (ie Appice and Bogert) appeared on the scene, which seemed a pointless excercise.
Out of the blues boom came a thousand bands, each one aping the city blues of America and few of them making big waves. Foghat were one (see below) and the Climax Chicago Blues Band, with the influences inherent in the name, were another. They played a lot here around 69/70, didn`t get very far, and eventually made a more than respectable living in America – easing off the blues pedal and doing that boogie-metal thing a bit more. Hence they dropped the `Blues Band` tag. It`s a familiar story.
Shockrock. The name was enough to confuse people. When Alice Cooper (alias Vincent Furnier) and his Detroit cronies (Glen Buxton, guitar, Michael Bruce, guitar, Dennis Dunaway, bass and Neal Smith, drums) appeared on the scene, no one was ready. They were so unpopular that their mass dejection inspired Frank Zappa to sign them onto his label – Straight. They released two albums, `Pretties For You` and `Easy Action` in `69, and they bombed miserably. It wasn`t until the band moved to Warners that they got the visuals of their act and the music together, this resulted with the classic `Love It To Death` album in `71, followed by US hit single `I`m Eighteen` which was proclaimed a contemporary to `My Generation`. Their show progressed from mere hangings to simulated mutilations as the years progressed, their music became more theatrical. They scored in this country with `School`s Out` in `72, followed by `Elected`. The band peaked with `Billion Dollar Babies` in `73 and retired from touring, and a year later they released `Muscle Of Love` which was the first album to receive mass appraisal on a musical level by the press. Again they remained static for a year, Cooper has returned with Lou Reed`s former band backing him and a new album and show (`Welcome To My Nightmare`). The rest of the original band, whose future with Cooper is still not definite, are in the process of recording solo ventures. Cooper`s antics have lost their initial controversial appeal. Although it`s equally theatrical, somehow it seems oddly normal in this day and age.
They came along at just the right time, they were (almost) the first, and they were magnificent. Three musicians from jazz, rock and R&B backgrounds who called themselves, and were, the Cream – the first genuine `supergroup`. In 1966 they came wailing out of nowhere with Jack Bruce howling `I Feel Free` and Eric Clapton doing things on the fretboard that most people figured was sleight of hand, while Ginger Baker`s restrained thunder provided an indespensable bottom. All of a sudden those twelve bar clichès were as viable as yesterday`s papers, and everyone craned their necks to see how long Cream could fly. It was 1966 the dawn of Flower-Power, `Revolver` had warped a good few minds and paved the way for further psychedelic excess, San Francisco was the new Liverpool, and Dylan had disappeared, for the time being at least. An audience and a generation of performers had grown through pop and wanted something more challenging. Cream gave it them in no uncertain terms. At the critical moment when pop was beginning to take itself seriously and call itself rock, along came three musical colossi, as it then seemed, who asserted without need of proof that you could play rock with all the passion and technical skill of any other music, and still create riotous excitement. Hendrix as an instrumentalist and Pete Townshend, for a while, were the only other people even in the running. Clapton, a blues purist until Hendrix opened his ears to flash and pyrotechnics, blossomed in Cream: on the old blues classics he wrought wondrous changes, and on Brown and Bruce`s originals he positively went into orbit. Bruce had a fluid lyrical bass style and a voice like a chilling gale. Baker, in the best performances he has given before or since, could even make a cowbell speak. `Fresh Cream` their first album, and the electrifying impact of their live performances revolutionised rock. They set the trend for extended soloing, which is fully explored in the live half of their double album `Wheels Of Fire`. A second album `Disraeli Gears` had appeared meanwhile containing classics such as the haunting `Strange Brew` and `Tales Of Brave Ulysses`. Tours of Britain and America followed and unanimous critical and commercial success. Then in 1969 always plagued by internal dissent, they broke up; Clapton to go to the abortive Blind Faith and then solo. Baker also to Blind Faith, then his ill-fated Airforce, and Africa for a long while before returning with the Baker-Gurvitz Army: Jack Bruce to various jazz outfits, and solo work again with poet Pete Brown`s lyrics, before a brief spell with Mountain`s Leslie West and Corky Laing, and now of course his new group with Carla Bley and Mick Taylor. For a while the Cream mantle fell upon Mountain who ploughed the Cream furrow until it was a highway. But Mountain were not alone; Cream made changes in rock that ensured it would never be the same again.
I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!
This number of Sounds also contains articles/interviews with these people: Frank Zappa, Gladys Knight, Women In Rock, Betty Wright, Steve Harley, Peter Frampton, Labelle, Peter Skellern, Ray Davies, Larry Uttal, Chris Spedding, Anne Murray, Sweet Sensation, Bernard Purdie, Mike Harding, Ronnie Lane, Yes.
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