Heavy metal music before 1970

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Since the dawn of rock music in the 1950s and continuing through the 1960s, various artists pushed the boundaries of the genre to emphasize speed, aggression, volume, theatricality, and other elements that became staples of the heavy metal style. In the late 1960s, this experimentation coalesced into various rock subgenres like hard rock, acid rock, psychedelic rock, power pop, shock rock, boogie rock, garage rock, and blues rock which were all influential in the development of heavy metal. These albums would later be retroactively categorised as proto-metal, and proto-heavy metal.

Contents

The origins of heavy metal in the late 1950s and 1960s were characterized by the gradual intensification of blues-rock, utilizing high-volume amplification, distortion, and aggressive rhythms. Key proto-metal pioneers, including Link Wray, Cream, and Blue Cheer [1]

Early Foundations: The "Frantic" 1950s

Around 1950, the genres of jump blues, boogie-woogie, rockabilly, and western swing converged into rock and roll, which achieved mainstream popularity between 1954 and 1956 through recordings and televised performances, including appearances on American Bandstand. [2] [3] Prominent early performers included Bill Haley & His Comets, Chuck Berry, Bo Diddley, Little Richard, Elvis Presley, and Jerry Lee Lewis. [4]

By the late 1950s, rock and roll had diversified into multiple stylistic directions, including the more polished, commercial sound associated with teen idol performers. [5] At the same time, music historians have identified parallel developments in more aggressive and rhythmically forceful styles. [6] These styles emphasized amplified sound, driving rhythms, and early experimentation with distortion, elements later associated with hard rock and heavy metal. [7]

One frequently cited example is Link Wray, whose 1958 instrumental "Rumble" employed heavily distorted guitar tones, reportedly achieved in part by modifying his amplifier. [8] [9] The recording is widely identified as an early instance of guitar distortion in popular music and has been cited as influential by later musicians including Jimmy Page and Jeff Beck. [10]

Elements of a more aggressive rockabilly style were also present in the work of performers such as Eddie Cochran, Ronnie Self, and Gene Maltais, whose recordings featured energetic vocal delivery and amplified instrumentation. [11] Concurrently, electric blues musicians including Muddy Waters and Howlin' Wolf developed a louder, more forceful approach characterized by amplified instruments and expressive vocal techniques, which would later influence British blues and early hard rock. [12] [13]

In addition to musical developments, performance style and visual presentation also evolved. Artists such as Vince Taylor and Gene Vincent became known for high-energy stage performances and distinctive visual styles, including leather attire, which has been retrospectively linked to later rock and heavy metal aesthetics. [14] [15] What’s Stronger Now

Thematic Roots: The Macabre and Shock Rock

Heavy metal’s preoccupation with horror and the occult began to surface through mid-century "shock rock" and morbid pop imagery. Screamin' Jay Hawkins: His 1956 hit "I Put a Spell on You" provided a foundational moment for the genre's theatricality, utilizing aggressive vocals and macabre stage props like coffins and skulls. This served as a direct blueprint for later acts like Alice Cooper. Menacing Themes: Artists like Kip Tyler (notably with "She's My Witch") introduced a "darker" lyrical preoccupation with the supernatural. This shift, combined with the late-1950s trend of "death discs," introduced a preoccupation with doom and mortality into the rock mainstream.

Technical Evolution: The "Arms Race" for Volume

As the 1960s began, the transition toward heavy metal was driven by a technical "arms race" to push the limits of volume and sonic texture. Dick Dale: To accommodate his aggressive surf-rock style, Dale worked with Leo Fender to develop the first 100-watt guitar amplifier (the Dual Showman), providing the technical blueprint for the massive "stacks" used by later metal bands. The Fuzz-Tone: A 1961 "accident" during a Marty Robbins session led to the creation of the Maestro Fuzz-Tone in 1962, the first commercial distortion pedal and a foundational tool for the "heavy" mid-60s sound. The Marshall Stack: In London, Jim Marshall developed amplifiers characterized by high-gain saturation. The resulting "Marshall sound" gave British bands the ability to achieve the overwhelming volume that would become a hallmark of the genre.

The Technical Laboratory (1966–1967)

As the 1960s progressed, the 'heavy' aesthetic diversified through the stoner and acid rock influences of acts like The Amboy Dukes, The Moody Blues, and Quicksilver Messenger Service, who combined distorted improvisation with the atmospheric soundscapes later found in stoner metal. Between 1966 and 1967, the high-volume blues of the mid-60s mutated into a darker, more aggressive style. This "laboratory" phase was defined by two distinct shifts: the mastery of the power trio and the emergence of underground garage-psych. The Power Trios: Cream and the Jimi Hendrix Experience established the instrumental standard, prioritizing virtuosic, distorted guitar and high-decibel percussion over traditional pop structures. Simultaneously, the Jeff Beck Group began refining a high-gain blues-rock style that served as a direct technical precursor to the "heavy" sound of 1968. The First "Heavy" Sound: In San Francisco, Blue Cheer emerged with a sound so loud and distorted that musicologists often cite their 1967 debut as the true starting point for heavy metal. This "sludge" aesthetic was mirrored by Vanilla Fudge, who gained prominence for slowing down soul hits into "symphonic" arrangements with a heavy, brooding rhythm section. Sonic Aggression: The raw energy of the garage rock movement, typified by The Kingsmen and The Deviants, provided the "lo-fi" distortion and anarchic spirit that bridged the gap between hard rock and the eventual proto-punk/metal crossover.

The 1967 Transition: Symphonic Heaviness and Proto-Punk

In 1967, the "heavy" sound diversified beyond the power trio. Vanilla Fudge gained prominence by slowing down contemporary pop hits into high-volume, "symphonic" arrangements that emphasized a heavy, brooding rhythm section. In the UK, the Jeff Beck Group began refining a high-gain blues-rock style that served as a direct precursor to the "heavy" sound of the following year. Meanwhile, underground acts like The Deviants introduced a raw, anarchic energy that moved away from psychedelic polish toward a more aggressive, proto-metallic aesthetic. 1966-1967: We’ve narrowed it down to the "Big Bang" bands (Blue Cheer, Hendrix, Vanilla Fudge). Additionally, The Deviants and Frijid Pink. “Please only add artists who are specifically described as proto-metal or heavy metal precursors by reliable musicology sources.”

Proto-garage and hard rock

"As the 1960s progressed, the 'heavy' aesthetic diversified through the stoner and acid rock influences of acts like The Amboy Dukes, The Moody Blues, and Quicksilver Messenger Service, who combined distorted improvisation with the atmospheric soundscapes later found in stoner metal." Other groups include:

As the 1960s progressed, the 'heavy' aesthetic diversified through the stoner and acid rock influences of acts like The Amboy Dukes, The Moody Blues, and Quicksilver Messenger Service, who combined distorted improvisation with the atmospheric soundscapes later found in stoner metal.

The 1968 Coalescence

1968 is widely considered the "Big Bang" for the genre. In this year, the term "heavy metal" moved from a lyrical curiosity to a legitimate description of a new, louder breed of rock. The Formation of the "Holy Trinity": 1968 saw the direct beginnings of the three bands that would codify the genre: Led Zeppelin (formerly the New Yardbirds), Deep Purple, and Black Sabbath (originally performing as Earth). These groups transitioned away from standard blues-rock toward a riff-centric sound defined by "crushing" volume and minor-key tonality. The Debut of "Shock Rock": Alice Cooper began his career in 1968, combining the macabre theatricality of Screamin' Jay Hawkins with a distorted, "proto-punk" sound that influenced the visual and thematic identity of later metal. The High-Decibel Underground: While the "Big Three" moved toward the mainstream, underground acts like Sir Lord Baltimore and Grand Funk Railroad (forming in 1968/69) began experimenting with a "bottom-heavy" sludge and aggressive vocal delivery that historians like Robert Walser identify as the final transition into the metal genre proper. Progressive Heaviness: 1968 also saw the formation of "heavy" progressive acts like King Crimson and the emergence of Free, whose emphasis on massive, singular riffs and powerful vocalists (like Paul Rodgers) added technical depth to the burgeoning heavy sound.* Budgie [16] , transitioned the sound from psychedelic hard rock toward a "heavy" aesthetic by 1969. This evolution culminated in the late 1960s, driven by bands like Led Zeppelin and Black Sabbath, marking a shift from traditional blues-based rock to the distinct, riff-driven sound of heavy metal.

"The late 1960s also served as a formative period for future genre icons through high-intensity 'hard pop' and garage rock. Groups like Slade (then performing as The 'N' Betweens) began developing a loud, aggressive sonic template that bridged the gap between working-class soul and proto-metal. Simultaneously, ensembles such as Episode Six provided a critical developmental environment for future members of the 'Holy Trinity,' establishing the vocal and instrumental chemistry that would define the genre’s peak in the early 1970s."

1969: The Final Coalescence

By 1969, the "heavy" aesthetic had moved beyond the experimental fringe and began to be codified as a distinct genre. This year saw a massive influx of bands that pushed the volume and "sludge" levels to the precipice of heavy metal proper. The Technical Extreme: Acts like High Tide (with Sea Shanties) and Sir Lord Baltimore began stripping away the remaining blues-rock shuffle in favor of a darker, more complex, and heavily distorted sound. Sir Lord Baltimore, in particular, was one of the first bands to be explicitly described by critics using the term "heavy metal." The Bottom-Heavy Sound: In the United States, Mountain and Grand Funk Railroad popularized a "bottom-heavy" style. Characterized by massive drum production and overdriven bass, these bands provided the populist blueprint for the "arena rock" and "stoner metal" subgenres. Expansion and Evolution: The year also served as a developmental bridge for future icons. Scorpions and Budgie were active in the underground, refining the speed and riff-centricity that would define the genre's "second generation" in the early 1970s. Simultaneously, Pink Floyd’s "The Nile Song" and Hawkwind’s early space-rock experiments showcased the "heavy" sound's expansion into progressive and psychedelic territories.

Songs

1949

1950

1951

1953

1954

1956

Screamin' Jay Hawkins

Johnny Burnette

Royce Porter

Ronnie Self

1957

Dale Hawkins

Elvis Presley

Gene Maltais

Ronnie Self

1958

1959

1960

1961

1962

1963

1964

1965

The Sonics and Count Five as artists. Specific listings

include:

1966

1967

1968

1969

Notes

  1. ↑ Walser 1993, p. 10 "A "second generation of heavy metal," the first to claim the name unambiguously, was also active throughout the 1970s: KISS, AC/DC, Aerosmith, Judas Priest, Ted Nugent, Rush, Motorhead, Rainbow, Blue Öyster Cult. Scorpions, from Germany, became the first heavy metal band from a non-English speaking country to achieve international success."
  2. ↑ Gillett, Charlie. The Sound of the City: The Rise of Rock and Roll. Da Capo Press, 1996.
  3. ↑ Garofalo, Reebee. Rockin' Out: Popular Music in the U.S.A. Pearson, 2011.
  4. ↑ Palmer, Robert. Rock & Roll: An Unruly History. Harmony Books, 1995.
  5. ↑ Ennis, Philip H. The Seventh Stream: The Emergence of Rocknroll in American Popular Music. Wesleyan University Press, 1992.
  6. ↑ Weinstein, Deena. Heavy Metal: The Music and Its Culture. Da Capo Press, 2000.
  7. ↑ Walser, Robert. Running with the Devil: Power, Gender, and Madness in Heavy Metal Music. Wesleyan University Press, 1993.
  8. ↑ “Link Wray.” Rock and Roll Hall of Fame, https://www.rockhall.com/inductees/link-wray
  9. ↑ Millard, Andre. America on Record: A History of Recorded Sound. Cambridge University Press, 2005.
  10. ↑ Weinstein, Deena. Heavy Metal: The Music and Its Culture. Da Capo Press, 2000.
  11. ↑ Dawson, Jim; Propes, Steve. What Was the First Rock 'n' Roll Record? Faber & Faber, 1992.
  12. ↑ Palmer, Robert. Deep Blues. Viking Press, 1981.
  13. ↑ Cohn, Nik. Awopbopaloobop Alopbamboom: The Golden Age of Rock. Grove Press, 1969.
  14. ↑ Weinstein, Deena. Heavy Metal: The Music and Its Culture. Da Capo Press, 2000.
  15. ↑ Auslander, Philip. Performing Glam Rock: Gender and Theatricality in Popular Music. University of Michigan Press, 2006.
  16. ↑ Crocker 1993, p. 106 "Still recording into the eighties, Budgie was among the heaviest metal of its day."
  17. ↑ https://timeline.carnegiehall.org/genres/rock-n-roll Carnegie Hall Music History, amended 2015
  18. ↑ Bukszpan 2003, p. 288 "The Kinks and The Who stretch rock-and-roll boundaries with "You Really Got Me" and "My Generation" respectively, creating primitive versions of heavy metal in the process."
  19. ↑ Walser 1993, p. 9 "Some credit Jimi Hendrix with the first heavy metal hit, the heavily distorted, virtuosic "Purple Haze" of 1967."
  20. ↑ Everett 2008, p. 267 "Iron Butterfly's "In-A-Gadda-Da-Vida" may prove more influential to the post-'60s future of heavy metal than the more often-cited Led Zeppelin in the nonfunctional and nondiatonic basis of its chord relationships."
  21. ↑ "King Crimson". Rolling Stone . Archived from the original on 2009-04-25. Retrieved 2017-08-29.
  22. ↑ Buckley 2003, p. 477, "Opening with the cataclysmic heavy-metal of "21st Century Schizoid Man", and closing with the cathedral-sized title track,"
  23. ↑ Andy Mabbett (28 September 2010). Pink Floyd- The music and the mystery: The Music and the Mystery. Omnibus Press. p. 75. ISBN   978-0-85712-418-0.
  24. ↑ Pink Floyd- Uncensored on the Record. Coda Books Ltd. p. 37. ISBN   978-1-908538-27-7.

References

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