Z201 is a history and appreciation of the musical and cultural melting pot of 1950's rock & roll and early 1960's pop. The course begins with an overview of ancestors and influences: blues, boogie-woogie, jazz, swing, country & western, gospel and popular music, and the crossover success of rhythm & blues acts that marked the true birth of rock & roll. The focus then shifts to the cataclysmic arrival of Elvis Presley and the careers and musical styles of Chuck Berry, Bo Diddley, Little Richard, Fats Domino, Buddy Holly, the Everly Brothers and other Founding Fathers, and continues through fifties R&B, doo-wop, the soul pioneers Ray Charles, Sam Cooke & Jackie Wilson and the early sixties pop landscape of Phil Spector, the Brill Building writers, the teen idols, the Twist and American Bandstand.
Z202 is a history and appreciation of the musical and social trends of the 1960's. The course begins with the Beatles and the 1964 British Invasion that signaled the arrival of rock's second generation, then moves on to the other major mid-sixties figures, including Bob Dylan, the Byrds, the Beach Boys and the long list of great soul and Motown singers. The latter part of the course looks at the musical explosion and social upheaval of the late 1960's, with a special emphasis on Jimi Hendrix, Eric Clapton, Jimmy Page and other Guitar Heroes, San Francisco psychedelia, hard rock, art-rock, singer-songwriters and enduring visionaries like Neil Young, Van Morrison and Lou Reed.
Here's a Rock History Interactive Blast from the Past For You:

July 7th - On this day in 1940, Ringo Starr, drummer for The Beatles is born, and in 1967, it was three years after Eric Clapton departed the Yardbirds and 8 months after Jeff Beck left the group, when the Yardbirds disbanded. Guitarist Jimmy Page had to fulfill the concert obligations and called his group The New Yardbirds. Keith Moon said "...it'll probably go over like a lead zeppelin," so Page changed the name of his group to Led Zeppelin, and the rest, as they say, is history!

Hard-rock 1969-73
Hard-rock signaled, in many ways, the end of the creative 1960s. In and around the cities of the counterculture, hard-rock became a way to affirm a less "confrontational", militant stance. Musically, hard-rock was the terminal point of an evolution of blues that had seen white, middle-class musicians reinvent the music of black, enslaved musicians as entertainment for the western youth. Hard-rock was still based on blues, like rock'n'roll had always been, but it was a faster, louder and stronger kind of music, that buried the suffering of the black people under thousands of decibels.

One can find the prodromes of hard-rock in bands such as Cream (England), Blue Cheer (California) and Guess Who (Canada), that already emphasized amplification and centered the song around the guitar riff. And they were certainly a major influence on the British bands that "invented" hard-rock.

However, Led Zeppelin (2), formed by ex-Yardbirds guitarist Jimmy Page and Alexis Korner's protege` Robert Plant, were, first and foremost, children of the blues. However, the jams of Led Zeppelin I (1969) introduced a hysterical approach to black music that even blacks had never dreamed of (culminating in the epileptic zenith of Communication Breakdown). Led Zeppelin's sound was an extension of electric blues that relied on three factors: a faster, almost frenzied, pace; a loud and scorching howl that almost parodied the black "shouters" and had psychotic overtones; and forceful guitar playing of great imagination with mystic overtones. The melodrama of songs such as Whole Lotta Love (1969) was continuously ruptured by guitar riffs and delirious vocals. Cream had played blues-rock as brain music: Led Zeppelin played blues-rock as body music. From Immigrant Song (1970) to In The Evening (1979), Led Zeppelin were mainly an idea of rock'n'roll for a new kind of audience. The secondary elements that had been percolating the early albums emerged vigorously on Led Zeppelin IV (1971): When The Levee Breaks was their most original (almost psychedelic) song inspired by the folk tradition, and Stairway To Heaven was the culmination of their "soft" and spiritual alter-ego.

Led Zeppelin became a handbook case of how a product finds a market without any need for marketing. The hippy generation had created a demand for free-form radio (as opposed to hit-oriented radio) and for arena-size concerts. Their music was completely different from the music that those radios and those arenas had been playing, but turned out to be the perfect music to maximize the commercial benefit of free-form radio and arena-size concerts.

Led Zeppelin's success had a powerful impact on the recording industry: it defined the long-playing album as rock's medium of choice. Led Zeppelin never had a major "hit" on the Billboard charts, but ruled the airwaves and the arenas. The recording industry followed the hint and began marketing albums rather than singles.
Detroit
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Another source of hard vibrations was Detroit. Detroit hosted the headquarters of some of the most extremist elements of the counterculture (e.g., the White Panthers), but, more to the point, was the most industrial city of the USA. Just like the folksingers had been the natural voice of the intellectuals of the Greenwich Village, and surf-music had been the natural voice of California fun, Mersey-beat had been the natural voice of the "swinging London" and acid-rock had been the natural voice of San Francisco's hippies, a ferocious, noisy kind of rock'n'roll became the natural voice of Detroit's blue-collar workers and of their children. There had been few precedents for Detroit's wall of screams and riffs (Blue Cheer in California was the notable one). The humble Frost (1) gave the city its manifesto with Rock And Roll Music (1969).

MC5 (11), led by White Panther's leader John Sinclair and guitarist Wayne Kramer, represented the revolutionary wing of the student riots and used rock and roll as a powerful agit-prop device. Their sound embodied the rage and the sarcasm of the extremists, their lyrics defied all moral standards. Their live shows were wild, collective orgasms in which the band unleashed a monster and chaotic fury on the audience. Kick Out The Jams (1969) remains one of the most orgiastic, terrifying and visceral albums ever released, a grotesque bacchanal of atrocious, primitive musical skills, a formidable assault on reality, the rock'n'roll equivalent of a nuclear explosion, sounding as if free-jazz and acid-rock had been savagely mauled inside a particle accelerator. The fact that its follow-up, Back In The USA (1970), was so inferior is proof that the masterpiece was due to the spirit of an entire era and not to a particular group of musicians.

While no less savage, the Stooges (12) came up with a more musical proposition. Stooges (1969) borrowed ideas from Chuck Berry, Rolling Stones, Velvet Underground and Doors (hard riffs, obscene antics, libidinous vocals, distorted guitars) and pushed them to the limit. We Will Fall was the Doors' The End plus the Velvet Underground's Venus In Furs. 1969, No Fun and I Wanna Be Your Dog were Chuck Berry's Sweet Little Sixteen plus the Rolling Stones' Satisfaction plus the Velvet Underground's Waiting For My Man. The sex appeal of Mick Jagger, the erotic guitar of Jimi Hendrix, the shamanic perdition of Jim Morrison, the degenerate rituals of Lou Reed, found in the Stooges a new vehicle for a new generation, that was no longer idealistic but merely frustrated. The Stooges embraced the image of the degenerate punk, and took it to a new level of realism, leaving behind the mythic overtones of the hippy era, and returning it to its original dimensions of defiance and vulgarity. Thus the Stooges achieved a historical synthesis of both musical styles and sociological meanings. Fun House (1970), whose TV Eye virtually invented voodoobilly, and whose 1970 virtually invented punk-rock, continued the saga, whereas Raw Power (1973) veered towards the kind of respectable glam-rock which would soon become the new career of their vocalist Iggy "Pop" Osterberg. Every bit of Stooges music was militant, although they never referred to politics. And every bit of it was pornographic: each note, each chord, each riff was a sexual innuendo. That mixture of abrasive guitars, raw vocals and solid rhythms was a sonic kamasutra.

MC5 and the Stooges had created a new kind of rock'n'roll, one founded on extreme violence.
From blues to hard-rock
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In Britain, the "apolitical" form of hard-rock generated the same kind of hysterical reaction that Mersey-beat and progressive-rock had generated: dozens of bands adopted the new style with little or no variation between one and the other. Among the least predictable were: Free, featuring vocalist Paul Rodgers, and notable for the visceral blues-rock of All Right Now (1970) and Fire And Water (1970); Status Quo, whose background was into psychedelic and progressive rock; Thin Lizzy, another dual guitar line-up a` la Wishbone Ash; UFO, who pioneered pop-metal, Uriah Heep, purveyors of gothic and medieval atmospheres; Slade, who wed an image of working-class holligans with catchy anthems such as Cum On Feel The Noise (1973).

A bubblegum and glam version of hard-rock was concocted by songwriters Nicky Chinn and Mike Chapman and by producer Mickie Most, first with Sweet, for which they penned Blockbuster (1972) and Ballroom Blitz (1973), and then with Detroit-native Suzi Quatro, who sand Can The Can (1973) and Devil Gate Drive (1974).

Best were the two bands born on the ashes of the Small Faces: Humble Pie, featuring Peter Frampton, and Faces (1), featuring vocalist Rod Stewart and guitarist Ron Wood (both veterans of the Jeff Beck Group), whose A Nod Is As Good As A Wink To A Blind Horse (1971) ranks among the most lively examples of white soul-rock.

Deep Purple (1), who began as late epigones of progressive-rock and neo-classical rock, faring best with the Concerto for Group and Orchestra (1970) and the psychological melodrama Child In Time (1970), joined the ranks of hard-rock with the supersonic boogie attacks of Machine Head (1972). Despite (or precisely because of) the highly simplified guitar technique of Ritchie Blackmore, the barbaric excesses of their lengthy performances became the stereotype of hard-rock.

Black Sabbath (2), a highly influential band, further deteriorated the degree of skills required for playing hard-rock, but their distorted and booming riffs, their monster grooves, their martial rhythms, their monotonous singing and their horror themes, that evoked the vision of a futuristic medieval universe, laid the foundations for black metal and doom-metal. Melody and any instrumental prowess were negligible components of their most typical works, Paranoid (1971) and Master Of Reality (1971). They were not the inventors of gothic music, but they were the first to turn it into a genre. Theirs was the ultimate attack on rockers, hippies, singer-songwriters and anyone who valued content over form.

Queen (1) were the jokers of the hard-rock movement. They borrowed ideas from progressive-rock, from the music-hall (Killer Queen, 1974) and from gospel (Somebody to Love, 1976); applied fantastic production techniques on A Night At The Opera (1975), worthy of a Frank Zappa operetta; and would become the quitessence of "bombastic" rock with their 1977 anthems (We Are The Champions, We Will Rock You).

Bad Company, formed by Free's vocalist Paul Rodgers, borrowed from southern boogie and added a lascivious tone, for example on Bad Company (1974).

In America very few bands endorsed the violent sound of Detroit's bands. For the most part, American hard-rock was the American counterpart of British hard-rock. And the blues component was, generally speaking, stronger. The leaders were: Mountain (2), the American equivalent of Cream, that wed blues, hard-rock and psychedelic-rock with the epic Nantucket Sleighride (1971) and on the baroque collection Flowers Of Evil (1971); James Gang (1), James Walsh's power-trio, whose Rides Again (1970) betrays the influence of progressive-rock; Grand Funk Railroad (1), vulgar and illiterate but masters of the "groove", and even militant on E Pluribus Funk (1971); Montrose (1), whose derivative classic is Montrose (1973); Bachman-Turner Overdrive (1), led by former Guess Who guitarist, influenced by the Who and southern boogie on albums such as Not Fragile (1974); Heart (1), who attempted a fusion of folk-rock and hard-rock before selling out with Heart (1985).

The sound of the revolution got therefore tamed very quickly, and hard-rock became mere entertainment for the masses.
Southern waltz
TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved.

The southern states of the USA developed their own brand of "hard" vibrations, rooted in the boogie and honky-tonk traditions of the saloons, and capable of mixing country, blues and soul with rock'n'roll. "Southern rock", launched nationwide by ZZ Top and the Allman Brothers Band in 1970, became almost a genre in its own. Jacksonville (Florida) was its epicenter, its scene stirred by the hit Spooky (1967) of James Cobb's first band, Classic IV.

There was also a link with the psychedelic school of the 1960s, particularly visible on Take Me To The Mountain (1970) by Shiva's Headband, Mariani's Perpetuum Mobile (1970), and Josefus' Dead Man (1970).

Jacksonville's Allman Brothers Band (3), featuring two lead guitars (Duane Allman and Richard Betts), was the first major act since the Grateful Dead for whom the (improvised) live performance was more relevant than the (composed) studio album. Not surprisingly, they became the only band capable of competing with the Grateful Dead in terms of crowds. Their debut album, The Allman Brothers Band (1969), introduced a form of loose, guitar-intensive blues-rock ballad, a southern version of the Band's roots-rock, but it was the live albums, Live At Fillmore East (1971) and Eat A Peach (1972), that transformed those ballads into epic sonic excursions.

Adding two drummers to the twin lead-guitar format of the Allman Brothers Band, and blending this extended line-up with a more genuine rural spirit, the band of Nashivlle's bluegrass fiddler Charlie Daniels came to impersonate the middle-class of the Midwest, starting with Fire On The Mountain (1974).

Solid rhythms and searing guitars were also the main weapons in the arsenal of James Cobb's Atlanta Rhythm Section in Georgia, for example on Third Annual Pipe Dream (1974), the Marshall Tucker Band in South Carolina, for example on Searchin' For A Rainbow (1975), Wet Willie in Alabama, for example on Dixie Rock (1975); and many others. They mostly mixed hard-rock, boogie, country, soul and gospel, although each band had its own recipe and used different percentages for each ingredient.

The most original album of this era came from the obscure Hampton Grease Band (10), Music To Eat (1971), an unlikely but effervescent blend of Frank Zappa's Absolutely Free, Captain Beefheart's Trout Mask Replica and the Allman Brothers Band's Eat A Peach.

The ultimate, definitive purveyors of southern boogie were ZZ Top (2), whose best album, Tres Hombres (1973), was a veritable encyclopedia of southern styles, highlighted by Billy Gibbons' guitar. Later into their career, ZZ Top veered towards heavy-metal (i.e., the sound invented by their descendants) and adopted devastating electronic rhythms, for example on Eliminator (1983), thereby delivering the same old brutal concept to the punk generation.

Bands such as Black Oak Arkansas, the original three-guitar boogie band, best heard on Keep The Faith (1972), and the Outlaws (whose 1975's jam Green Grass And High Tides may well be the most exciting of the genre) increased the doses of guitar riffs and heavy rhythms.

There were no protagonists (no solos and no virtuosi) in the group sound (also based on three guitars) of Florida's Lynyrd Skynyrd (2), the leaders of this second generation, fronted by Ronnie VanZant. Their objectives were down to earth: granitic riffs and earth-shaking rhythms to sing the macho (and self-destructing) lifestyle of the reactionary southern male. Second Helping (1974), which contains their anthem Sweet Home Alabama, was their best show of force, but their dreadful philosophy peaked with Street Survivors (1977), released as VanZant died in a plane crash.

Black Sabbath has been so influential in the development of heavy metal rock music as to be a defining force in the style. The group took the blues-rock sound of late '60s acts like Cream, Blue Cheer, and Vanilla Fudge to its logical conclusion, slowing the tempo, accentuating the bass, and emphasizing screaming guitar solos and howled vocals full of lyrics expressing mental anguish and macabre fantasies. If their predecessors clearly came out of an electrified blues tradition, Black Sabbath took that tradition in a new direction, and in so doing helped give birth to a musical style that continued to attract millions of fans decades later.

The group was formed by four teenage friends from Aston, near Birmingham, England: Anthony "Tony" Iommi (b. Feb 19, 1948), guitar; William "Bill" Ward (b. May 5, 1948), drums; John "Ozzy" Osbourne (b. Dec 3, 1948), vocals; and Terence "Geezer" Butler (b. Jul 17, 1949), bass. They originally called their jazz-blues band Polka Tulk, later renaming themselves Earth, and they played extensively in Europe. In early 1969, they decided to change their name again when they found that they were being mistaken for another group called Earth. Butler had written a song that took its title from a novel by occult writer Dennis Wheatley, Black Sabbath, and the group adopted it as their name as well. As they attracted attention for their live performances, record labels showed interest, and they were signed to Phillips Records in 1969. In January 1970, the Phillips subsidiary Fontana released their debut single, "Evil Woman (Don't Play Your Games With Me)," a cover of a song that had just become a U.S. hit for Crow; it did not chart. The following month, a different Phillips subsidiary, Vertigo, released Black Sabbath's self-titled debut album, which reached the U.K. Top Ten. Though it was a less immediate success in the U.S. -- where the band's recordings were licensed to Warner Bros. Records and appeared in May 1970 -- the LP broke into the American charts in August, reaching the Top 40, remaining in the charts over a year, and selling a million copies.

Appearing at the start of the '70s, Black Sabbath embodied the Balkanization of popular music that followed the relatively homogenous second half of the 1960s. As exemplified by its most popular act, the Beatles, the 1960s suggested that many different aspects of popular music could be integrated into an eclectic style with a broad appeal. The Beatles were as likely to perform an acoustic ballad as a hard rocker or R&B-influenced tune. At the start of the 1970s, however, those styles began to become more discrete for new artists, with soft rockers like James Taylor and the Carpenters emerging to play only ballad material, and hard rockers like Led Zeppelin and Grand Funk Railroad taking a radically different course, while R&B music turned increasingly militant. The first wave of rock critics, which had come into existence with the Beatles, was dismayed with this development, and the new acts tended to be poorly reviewed despite their popularity. Black Sabbath, which took an even more extreme tack than the still blues- and folk-based Led Zeppelin, was lambasted by critics (and though they eventually made their peace with Zeppelin, they never did with Sabbath). But the band had discovered a new audience eager for its uncompromising approach.

Black Sabbath quickly followed its debut album with a second album, Paranoid, in September 1970. The title track, released as a single in advance of the LP, hit the Top Five in the U.K., and the album went to number one there. In the U.S., where the first album had just begun to sell, Paranoid was held up for release until January 1971, again preceded by the title track, which made the singles charts in November; the album broke into the Top Ten in March 1971 and remained in the charts over a year, eventually selling over four million copies, by far the band's best-selling effort. (Its sales were stimulated by the belated release of one of its tracks, "Iron Man," as a U.S. single in early 1972; the 45 got almost halfway up the charts, the band's best showing for an American single.)

Master of Reality, the third album, followed in August 1971, reaching the Top Ten on both sides of the Atlantic and selling over a million copies. Black Sabbath, Vol. 4 (September 1972) was another Top Ten million-seller. For Sabbath Bloody Sabbath (November 1973), the band brought in Yes keyboard player Rick Wakeman on one track, signaling a slight change in musical direction; it was Black Sabbath's fifth straight Top Ten hit and million-seller. In 1974, the group went through managerial disputes that idled them for an extended period. When they returned to action in July 1975 with their sixth album, Sabotage, they were welcomed back at home, but in the U.S. the musical climate had changed, making things more difficult for an album-oriented band with a heavy style, and though the LP reached the Top 20, it did not match previous sales levels. Black Sabbath's record labels quickly responded with a million-selling double-LP compilation, We Sold Our Soul for Rock 'n' Roll (December 1975), and the band contemplated a more pronounced change of musical style. This brought about disagreement, with guitarist Iommi wanting to add elements to the sound, including horns, and singer Osbourne resisting any variation in the formula. Technical Ecstasy (October 1976), which adopted some of Iommi's innovations, was another good -- but not great -- seller, and Osbourne's frustration eventually led to his quitting the band in November 1977. He was replaced for some live dates by former Savoy Brown singer Dave Walker, then returned in January 1978. Black Sabbath recorded its eighth album, Never Say Die! (September 1978), the title track becoming a U.K. Top 40 hit before the LP's release and "Hard Road" making the Top 40 afterwards. But the singles did not improve the album's commercial success, which was again modest, and Osbourne left Black Sabbath for a solo career, replaced in June 1979 by former Rainbow singer Ronnie James Dio (b. June 10, 1949). (Also during this period, keyboardist Geoff Nichols became a regular part of the band's performing and recording efforts, though he was not officially considered a band member until later.)

The new lineup took its time getting into the recording studio, not releasing its first effort until April 1980 with Heaven and Hell. The result was a commercial resurgence. In the U.S., the album was a million-seller; in Britain, it was a Top Ten hit that threw off two chart singles, "Neon Knights" and "Die Young." (At the same time, the band's former British record label issued a five-year old concert album, Black Sabbath Live at Last, that was quickly withdrawn, though not before making the U.K. Top Five, and reissued "Paranoid" as a single, getting it into the Top 20.) Meanwhile, drummer Bill Ward left Black Sabbath due to ill health and was replaced by Vinnie Appice. The lineup of Iommi, Butler, Dio, and Appice then recorded Mob Rules (November 1981), which was almost as successful as its predecessor: In the U.S., it went gold, and in the U.K. it reached the Top 20 and spawned two chart singles, the title track and "Turn up the Night." Next on the schedule was a concert album, but Iommi and Dio clashed over the mixing of it, and by the time Live Evil appeared in January 1983, Dio had left Black Sabbath, taking Appice with him.

The group reorganized by persuading original drummer Bill Ward to return and, in a move that surprised heavy metal fans, recruiting Ian Gillan (b. Aug. 19, 1945), former lead singer of Black Sabbath rivals Deep Purple. This lineup -- Iommi, Butler, Ward, and Gillan -- recorded Born Again, released in September 1983. Black Sabbath hit the road prior to the album's release, with drummer Bev Bevan (b. Nov 25, 1946) substituting for Ward, who would return to the band in the spring of 1984. The album was a Top Five hit in the U.K. but only made the Top 40 in the U.S. Gillan remained with Black Sabbath until March 1984, when he joined a Deep Purple reunion and was replaced by singer Dave Donato, who was in the band until October without being featured on any of its recordings.

Black Sabbath reunited with Ozzy Osbourne for its set at the Live Aid concert on July 13, 1985, but soon after the performance, bassist Geezer Butler left the band, and with that the group became guitarist Tony Iommi's vehicle, a fact emphasized by the next album, Seventh Star, released in January 1986 and credited to "Black Sabbath featuring Tony Iommi." On this release, the lineup was Iommi (guitar); another former Deep Purple singer, Glenn Hughes (b. Aug 21, 1952) (vocals); Dave Spitz (bass); Geoff Nichols (keyboards); and Eric Singer (drums). The album was a modest commercial success, but the new band began to fragment immediately, with Hughes replaced by singer Ray Gillen for the promotional tour in March 1986.

With Black Sabbath now consisting of Iommi and his employees, personnel changes were rapid. The Eternal Idol (November 1987), which failed to crack the U.K. Top 50 or the U.S. Top 100, featured a returning Bev Bevan, bassist Bob Daisley, and singer Tony Martin. Bevan and Daisley didn't stay long, and there were several replacements in the bass and drum positions over the next couple of years. Headless Cross (April 1989), the band's first album for I.R.S. Records, found veteran drummer Cozy Powell (b. Dec 29, 1947, d. Apr 5, 1998) and bassist Laurence Cottle joining Iommi and Martin. It marked a slight uptick in Black Sabbath's fortunes at home, with the title song managing a week in the singles charts. Shortly after its release, Cottle was replaced by bassist Neil Murray. With Geoff Nichols back on keyboards, this lineup made Tyr (August 1990), which charted in the Top 40 in the U.K. but became Black Sabbath's first regular album to miss the U.S. charts.

Iommi was able to reunite the 1979-1983 lineup of the band -- himself, Geezer Butler, Ronnie James Dio, and Vinnie Appice -- for Dehumanizer (June 1992), which brought Black Sabbath back into the American Top 50 for the first time in nine years, while in the U.K. the album spawned "TV Crimes," their first Top 40 hit in a decade. And on November 15, 1992, Iommi, Butler, and Appice backed Ozzy Osbourne as part of what was billed as the singer's final live appearance. Shortly after, it was announced that Osbourne would be rejoining Black Sabbath.

That didn't happen -- yet. Instead, Dio and Appice left again, and Iommi replaced them by bringing back Tony Martin and adding drummer Bob Rondinelli. Cross Purposes (February 1994) was a modest seller, and, with Iommi apparently maintaining a Rolodex of all former members from which to pick and choose, the next album, Forbidden (June 1995), featured returning musicians Cozy Powell, Geoff Nichols, and Neil Murray, along with Iommi and Martin. The disc spent only one week in the British charts, suggesting that Black Sabbath finally had exhausted its commercial appeal, at least as a record seller. With that, the group followed the lead of the Eagles and Fleetwood Mac, putting the most popular lineup of the band back together for a live album with a couple of new studio tracks on it. Recorded in the band's hometown of Birmingham, England, in December 1997, the two-CD set Reunion -- featuring all four of Black Sabbath's original members, Iommi, Osbourne, Butler, and Ward -- was released in October 1998. It charted only briefly in the U.K., but in the U.S. it just missed reaching the Top Ten and went platinum. The track "Iron Man" won Black Sabbath its first Grammy Award for Best Metal Performance. The band toured through the end of 1999, concluding their reunion tour on December 22, 1999, back in Birmingham. In February 2001, Black Sabbath announced that it would reunite once again to headline the sixth edition of Ozzfest, Osbourne's summer concert festival, playing 29 cities in the U.S. beginning in June. More surprisingly, the group also announced its intention to record a studio album of all-new material, the original lineup's first since 1978. By the end of the year, a failed recording session with producer Rick Rubin proved what an unreasonable idea this was, and the band laid dormant while Osbourne enjoyed scoring a hit TV series the following spring. ~ William Ruhlmann, All Music Guide
Written by William Ruhlmann

Slayer was one of the most distinctive, influential, and extreme thrash metal bands of the 1980s. Their graphic lyrics deal with everything from death and dismemberment to war and the horrors of hell. Their full-throttle velocity, wildly chaotic guitar solos, and powerful musical chops paint an effectively chilling sonic background for their obsessive chronicling of the dark side; this correspondence has helped Slayer's music hold up arguably better than the remaining Big Three '80s thrash outfits (Metallica, Megadeth, Anthrax). Naturally, Slayer has stirred up quite a bit of controversy over the years, with rumors flying about Satanism and Nazism that have only added to their mystique. Over the years, Slayer put out some high-quality albums, one undisputed classic (Reign in Blood), and saw the numbers of naysayers and detractors shrinking as their impact on the growing death metal movement was gradually and respectfully acknowledged. Slayer survived into the 1990s with arguably the most vitality and the least compromise of any pre-Nirvana metal band, and their intensity still inspires similar responses from their devoted fans.

Slayer was formed in 1982 in Huntington Beach, CA, by guitarists Kerry King and Jeff Hanneman; also recruited were bassist/vocalist Tom Araya and drummer Dave Lombardo. The band started out playing covers of Judas Priest and Iron Maiden songs, but quickly discovered that they could get attention (and fans) by exploiting threatening, Satanic imagery. The band was invited by Metal Blade's Brian Slagel to contribute a track to the Metal Massacre III compilation (a series which also saw the vinyl debuts of Metallica and Voivod); a contract and debut album, Show No Mercy, followed shortly thereafter. While Slayer's early approach was rather cartoonish, their breakneck speed and instrumental prowess were still highly evident. Two EPs, Haunting the Chapel and Live Undead, were released in 1984, but 1985's Hell Awaits refined their lyrical obsessions into a sort of concept album about damnation and torture and made an immediate sensation in heavy metal circles, winning Slayer a rabid cult following. Def Jam's co-founder Rick Rubin took a liking to the band, signed them to his label, and contributed the first clear-sounding production heard on any Slayer album for the stripped-down Reign in Blood. Due to the graphic nature of the material, CBS refused to distribute the album, which garnered a great deal of publicity for the band; eventually, Geffen Records stepped in. Combining Slayer's trademark speed metal with the tempos and song lengths (if not structures) of hardcore, along with the band's most disturbing lyrics yet, Reign in Blood was an instant classic, breaking the band through to a wider audience, and was hailed by some as the greatest speed metal album of all time (some give the nod to Metallica's Master of Puppets).

South of Heaven disappointed some of the band's hardcore followers, as Slayer successfully broke out of the potential stylistic straitjacket of their reputation as the world's fastest, most extreme band. Drummer Lombardo took some time off and was briefly replaced by Whiplash drummer Tony Scaglione, but soon returned to the fold. 1990's Seasons in the Abyss was well-received in all respects, incorporating more of the classic Slayer intensity into a more commercial -- but no less uncompromising -- sound. "War Ensemble" and the title track became favorites on MTV's Headbanger's Ball, and Slayer consolidated its position at the forefront of thrash, along with Metallica. Following the release of the double live album Decade of Aggression, Lombardo left the band for good due to personality conflicts with the other members and formed Grip Inc. Slayer remained quiet for a few years; the only new material released after 1990 was a duet with Ice-T recorded for the Judgment Night soundtrack on a medley of songs by the Exploited. After leaving his group the Forbidden, Paul Bostaph signed on as the new drummer for 1994's Divine Intervention, which was released to glowing reviews; thanks to the new death metal movement, which drew upon Slayer and particularly Reign in Blood for its inspiration, Slayer was hailed as a metal innovator. The album was a massive success, debuting at number eight on the Billboard album charts. Bostaph left the band to concentrate on a side project, the Truth About Seafood, and was replaced by ex-Testament drummer Jon Dette for Undisputed Attitude, an album consisting mostly of punk and hardcore covers. Bostaph rejoined Slayer in time to record 1998's Diabolus in Musica. The band reunited with Def Jam's Island/DefJam for 2001's God Hates Us All. ~ Steve Huey, All Music Guide
Written by Steve Huey

After he left Metallica in 1983, guitarist/vocalist Dave Mustaine formed the thrash metal quartet Megadeth. Though Megadeth followed the basic blueprint of Metallica's relentless attack, Mustaine's group distinguished themselves from his earlier band by lessening the progressive rock influences, adding an emphasis on instrumental skills, speeding the tempo up slightly, and making the instrumental attack harsher. By streamlining the classic thrash metal approach and making the music more threatening, as well as making the lyrics more nihilistic, Megadeth became one of the leading bands of the genre during the mid-'80s and late '80s. Each album they released went at least gold, and they continually sold out arenas across America, in addition to developing a strong following overseas. By the early '90s, they had toned their music down slightly, yet that simply increased their following; all of their proper '90s albums debuted in the Top Ten.

Throughout Megadeth's many lineup changes, the two core members were bassist Dave Ellefson and guitarist/vocalist Dave Mustaine (b. September 13, 1961), who was the band's official leader. Mustaine grew up in the suburbs of Southern California, where he was raised by his mother in a broken home; frequently, his mother left him to be raised by aunts and uncles, who never encouraged his musical inclinations and often belittled him for his fondness for heavy metal. In 1981, he formed Metallica with James Hetfield and Lars Ulrich. Mustaine spent two years with Metallica, developing a strong cult following in California's underground metal scene, before he was kicked out of the group in 1983, allegedly over his substance abuse. Immediately following his firing, he formed Megadeth with Ellefson, Slayer guitarist Kerry King, and drummer Lee Rauch. This lineup was extremely short-lived, and Mustaine and Ellefson soon recruited guitarist Chris Poland and drummer Gar Samuelson.

For the next few years, Megadeth toured and gained a following, signing with the independent label Combat in late 1984. The following year, the group released their debut, Killing Is My Business...And Business Is Good!, which received strong reviews, not only in metal-oriented publications, but also in mainstream music magazines. The album sold very well for an independent release, which attracted the attention of major record labels. By the end of the year, the group had signed with Capitol. Megadeth's first major-label album, Peace Sells...But Who's Buying?, was released in the fall of 1986. Like its predecessor, Peace Sells was greeted by strong reviews and sales; it eventually went platinum.

Although the band's fortunes were on the upswing, Mustaine was beginning to sink deeper into drug abuse, specifically heroin. Soon, his addictions began to affect his work. Many stories concerning his erratic behavior were circulating within the metal community, and they seemed to be proven correct when he fired both Poland and Samuelson before the recording of the band's third album; they were replaced by Jeff Young and Chuck Behler, respectively. The new lineup debuted on So Far, So Good...So What!, released early in 1988. So Far, So Good peaked at number 28 on the charts and also eventually went platinum (despite less enthusiastic reviews); it also featured a notorious cover of the Sex Pistols' "Anarchy in the UK," with incorrect lyrics.

In the years immediately following the release of So Far, So Good...So What!, Mustaine was impaired by his drug addictions. In early 1990, he was arrested for driving under the influence and entered a rehabilitation program. By the end of the year, he was not only sober, but he had reconvened the band; firing Young and Behler and replacing them with guitarist Marty Friedman and drummer Nick Menza. This lineup recorded Megadeth's fourth and most progressive album, Rust in Peace. The record peaked at number 23 on the American charts and went platinum. 1991 saw Metallica break through to the mainstream, and sensing the possibility for similar success, Mustaine followed suit in stripping down the band's sound, though it remained as technically perfectionistic as Rust in Peace. The result, Countdown to Extinction, was released in 1992, entering the charts at number two; the record went double-platinum and became the band's biggest hit, confirming that they had retained their audience in the wake of grunge.

Now one of the most popular metal bands in the world, Megadeth moved farther toward the mainstream with Youthanasia in 1994, which entered the charts at number four and, like its predecessor, went platinum. The following year, the group released Hidden Treasures, a rarities collection which featured some of the soundtrack tunes that had helped expand the group's MTV audience in the early '90s. 1997's Cryptic Writings found Megadeth fully embraced by album rock radio, which formerly would never have touched the band. Ex-Suicidal Tendencies drummer Jimmy DeGrasso signed on in 1998, in time for the following year's Risk. In 2000, following the release of the best-of Capitol Punishment, Marty Friedman followed Nick Menza out the door; he was replaced by former Savatage and Alice Cooper guitarist Al Pitrelli. After signing with the BMG subsidiary Sanctuary, Megadeth debuted its new lineup on 2001's The World Needs a Hero.

While on break from touring, Mustaine suffered a serious injury in January 2002 while staying in Texas. He was diagnosed with having radial neuropathy shortly thereafter, a condition that prevented him from playing guitar. The compressed radial nerves in his left arm and hand were strained, leaving Megadeth little recourse but to disband in April 2002, after almost 20 years in the music industry. During his time off, Mustaine prepared an elaborate reissue campaign, remastering each album and reissuing them all with bonus material. This campaign set the stage for a Megadeth revival, which came in 2004-2005 with a surprising comeback album, The System Has Failed, and some heavy touring. Capitol released a new best-of, simply titled Greatest Hits, just as Megadeth hit the summer concert circuit, headlining Mustaine's own Gigantour festival. ~ Stephen Thomas Erlewine, All Music Guide
Written by Stephen Thomas Erlewine

Metallica was easily the best, most influential heavy metal band of the '80s, responsible for bringing the music back to Earth. Instead of playing the usual rock star games of metal stars of the early '80s, the band looked and talked like they were from the street. Metallica expanded the limits of thrash, using speed and volume not for their own sake, but to enhance their intricately structured compositions. The release of 1983's Kill 'Em All marked the beginning of the legitimization of heavy metal's underground, bringing new complexity and depth to thrash metal. With each album, the band's playing and writing improved; James Hetfield developed a signature rhythm playing that matched his growl, while lead guitarist Kirk Hammett became one of the most copied guitarists in metal. Lars Ulrich's thunderous, yet complex, drumming clicked in perfectly with Cliff Burton's innovative bass playing. After releasing their masterpiece Master of Puppets in 1986, tragedy struck the band when their tour bus crashed while traveling in Sweden, killing Burton. When the band decided to continue, Jason Newsted was chosen to replace Burton; two years later, the band released the conceptually ambitious ...And Justice for All, which hit the Top Ten without any radio play and very little support from MTV. But Metallica completely crossed over into the mainstream with 1991's Metallica, which found the band trading in their long compositions for more concise song structures; it resulted in a number one album that sold over seven million copies in the U.S. alone. The band launched a long, long tour which kept them on the road for nearly two years. By the '90s, Metallica had changed the rules for all heavy metal bands; they were the leaders of the genre, respected not only by headbangers, but by mainstream record buyers and critics. No other heavy metal band has ever been able to pull off such a trick. However, the group lost some members of their core audience with their long-awaited follow-up to Metallica, 1996's Load. For Load, the band decided to move toward alternative rock in terms of image -- they cut their hair and had their picture taken by Anton Corbijn. Although the album was a hit upon its summer release -- entering the charts at number one and selling three million copies within two months -- certain members of their audience complained about the shift in image, as well as the group's decision to headline the sixth Lollapalooza. Re-Load, which combined new material with songs left off of the Load record, appeared in 1997; despite poor reviews, it sold at a typically brisk pace through the next year. Garage Inc., a double-disc collection of B-sides, rarities, and newly recorded covers, followed in 1998. In 1999, Metallica continued their flood of product with S&M, documenting a live concert with the San Francisco Symphony; it debuted at number two, reconfirming their immense popularity.

The band spent most of 2000 embroiled in controversy by spearheading a legal assault on Napster, a file-sharing service that allowed users to download music files from each other's computers. Aggressively targeting copyright infringement of their own material, the band notoriously had over 300,000 users kicked off the service, creating a widespread debate over the availability of digital music that raged for most of the year. In January 2001, bassist Jason Newsted announced his amicable departure from the band. Shortly after the band appeared at the ESPN awards in April of the same year, Hetfield, Hammett, and Ulrich entered the recording studio to begin work on their next album, with producer Bob Rock lined up to handle bass duties for the sessions (with rumors of former Ozzy Osbourne/Alice in Chains bassist Mike Inez being considered for the vacated position). In July, Metallica surprisingly dropped their lawsuit against Napster, perhaps sensing that their controversial stance did more bad than good to their "band of the people" image. In late summer 2001, the band's recording sessions (and all other band-related matters) were put on hold as Hetfield entered an undisclosed rehab facility for alcoholism and other addictions. He completed treatment and rejoined the band and they headed back into the studio in 2002 to record St. Anger, released in mid-2003. The recording of St. Anger was capped with the search for a permanent replacement for Newstead. After a long audition process, former Ozzy Osbourne/Suicidal Tendencies bass player Robert Trujillo was selected and joined Metallica for their 2003/2004 world tour. The growing pains the band experienced during the recording process of St. Anger were captured in the celebrated documentary Some Kind of Monster which saw theatrical release in 2004. ~ Stephen Thomas Erlewine & Greg Prato

Known for such powerful hits as "Two Minutes to Midnight" and "The Trooper," Iron Maiden was and is one of the most influential bands of the heavy metal genre. The often-imitated band existed for over 20 years, pumping out wild rock similar to Judas Priest. Iron Maiden has always been an underground attraction; although failing to ever obtain any real media attention in the U.S. (critics claimed them to be Satanists due to their dark musical themes and their use of grim mascot "Eddie"), they still became well known throughout the world and have remained consistently popular throughout their career. Iron Maiden was one of the first groups to be classified as "British metal," and, along with Black Sabbath, Led Zeppelin, and a host of other bands, set the rock scene for the '80s.

Iron Maiden was first formed in 1976 by bassist Steve Harris, who would soon join up with rhythm guitarist Tony Parsons, drummer Doug Sampson, and vocalist Paul Di'Anno. Before finally obtaining a record deal, the group played in local areas throughout the '70s, receiving a fair amount of London airplay. Parsons replaced Dennis Stratton, and the band made its record debut in 1980 with the self-titled Iron Maiden album. Although the release was recorded in a hurry, it was nonetheless a hit in the U.K. due to the single "Running Free." Iron Maiden's 1981 follow-up, Killers, displayed a harder approach to their music than before, and also saw the replacement of Stratton with Adrian Smith. Due to his uncontrollable alcohol addiction, Di'Anno was forced to part company with the group and would soon be replaced with vocalist Bruce Dickinson in 1982 for the band's groundbreaking Number of the Beast. This album, boasting such songs as the title track and "Hallowed Be Thy Name," would come to be known as one of the greatest rock recordings of all time. Since the unexpected worldwide success of Beast made Iron Maiden international rock superstars, they changed very little of their style for their next album, Piece of Mind. They undertook two major tours before recording 1983's Powerslave, which would go on to be another cult hit. The product of Powerslave's 11-month tour was 1985's Live After Death, a double live album that featured all of their biggest hit singles.

By the release of Live After Death, Iron Maiden had already established themselves as a powerful and unique metal band. Their long-awaited 1986 supplement album, Somewhere in Time, showed a bit of departure from their past releases, showcasing the use of synthesizer guitars and songs more relevant to the same themes. 1988's Seventh Son of a Seventh Son, a concept album like its predecessor, featured the singles "The Evil That Men Do" and "The Clairvoyant," and soon became Iron Maiden's most critically acclaimed album since Number of the Beast. After another exhausting tour, Smith departed and the band took a one-year hiatus. With new guitarist Janick Gers, they resurfaced with No Prayer for the Dying in 1990, a record that returned to the classic sound the group used when recording their earlier releases. One of the album's singles, "Bring Your Daughter...to the Slaughter," was granted the Golden Raspberry Award for Worst Song of the Year, but it nonetheless gave the band their first number one U.K. hit. By the time the group finished their 1991 tour, Dickinson expressed desire to leave and work to promote another band he had founded, the Skunkworks. Fear of the Dark, the band's last album with Dickinson, debuted at number one on the U.K. charts and became one of their biggest-selling albums to date. After their supporting tour, two live albums were released in 1993: A Real Live One, which contained live versions of their newer hit singles, and A Real Dead One, which featured the more "classic" Maiden songs live.

Dickinson's replacement, Blaze Bayley, marked his debut in 1995 with The X Factor. While the record failed to chart as well as some of its predecessors, it was still a minor success in England. Iron Maiden marked the end of 1996 with Best of the Beast, a double compilation album. In 1998, little interest in the Virtual XI album prompted Bayley's termination; Dickinson and Smith returned to the band for a tour in 1999, and a new album, Brave New World, emerged the following year. The band toured throughout the early 2000s, releasing the live Rock in Rio and the greatest-hits collection Edward the Great in 2002, followed by a new studio album, Dance of Death, in 2003. They followed DOD with the Rainmaker EP, as well as the live DVDs History of Iron Maiden, Pt. 1: The Early Days and Raising Hell in 2004. Sanctuary put out the two-disc The Essential Iron Maiden in 2005 to coincide with the group's co-headlining Ozzfest tour with Black Sabbath, a tour that found Maiden pulling out due to a series of confrontations with Ozzy's wife/manager, Sharon Osbourne. They released the live CD/DVD Death on the Road in September of 2005 and a collection of new material, Matter of Life and Death, in 2006. ~ Barry Weber, All Music Guide

The Scottish hard rock quartet Nazareth had a handful of hard rock hits in the late '70s, including the proto-power ballad "Love Hurts." Formed in 1968, the band featured vocalist Dan McCafferty, guitarist Manny Charlton, bassist Pete Agnew, and drummer Darrell Sweet. The band had relocated to London by 1970, and they released their self-titled debut album in 1971. Both Nazareth and 1972's Exercises received favorable attention by British hard rockers, but it was 1973's Razamanaz that moved them into the U.K. Top Ten (both "Broken Down Angel" and "Bad Bad Boy" were hit singles). Loud 'n' Proud and Rampant (both 1974) followed the same formula, yet were slightly less successful.

Released the following year, Hair of the Dog established Nazareth as an internationally popular hard rock band. Featuring their revamped version of the Everly Brothers' "Love Hurts," the album sold over a million copies in the U.S. Until the end of the '70s, the band continued successfully as a quartet, releasing a series of Top 100 albums. In 1979, they added former Sensational Alex Harvey Band guitarist Zal Cleminson to their lineup; he left after recording two albums -- 1979's No Mean City and 1980's Malice in Wonderland -- and was replaced by former Spirit keyboardist John Locke. Following the 1981 live album 'Snaz, guitarist Bill Rankin also joined the group; Locke left soon after his addition and Rankin switched to keyboards.

By this time, their commercial appeal had dwindled across both the U.K. and the U.S. By the mid-'80s, Nazareth was left without a record contract, so the band was put on hiatus for a few years. They returned in 1992 with No Jive, which failed to gain an audience in America and Europe. In 1999, Nazareth resurfaced yet again with Boogaloo. ~ Stephen Thomas Erlewine, All Music Guide

Known best for their 1984 anthem "Rock You Like a Hurricane" and the 1990 ballad "Wind of Change," the German rockers the Scorpions have sold over 22-million records, making them one of the most successful rock bands to ever come out of Continental Europe.

Originally formed in 1969 by Rudolf Schenker, the original lineup consisted of rhythm guitarist/vocalist Schenker, lead guitarist Karl-Heinz Follmer, bassist Lothar Heimberg, and drummer Wolfgang Dziony. In 1971, Schenker's younger brother Michael joined the band to play lead guitar and good friend Klaus Meine became the new vocalist. The group recorded Lonesome Crow in 1972, which was used as the soundtrack to the German movie Das Kalte Paradies. Although they failed to get into the public's eye, the early formation of '70s rock band UFO noticed Michael Schenker's guitar playing and hired him as their lead guitarist; Michael, therefore, would leave the band in 1973. Guitarist Uli Jon Roth replaced him, and under his guidance the group released four consecutive albums under the RCA record label: Fly to the Rainbow (1974), In Trance (1975), Virgin Killer (1976), and Taken by Force (1977). Although these albums failed to attain any serious attention in the United States, they were all quite popular in Japan. By the time Taken by Force was released, Roth made the decision to leave the band and form Electric Sun after feeling that his musical ideas would take the group in an entirely different direction. Tokyo Tapes, a double live album that the group recorded in Tokyo with Roth, was released in 1978. Shortly after Roth's departure, Michael Schenker was kicked out of UFO for his constant alcohol abuse and came back to play with the Scorpions in 1979, who had recently signed with Mercury Records. The group released Lovedrive that same year and played their first American tour, but Lovedrive failed to attract attention, being banned in the United States because of its sexually explicit cover. Still coping with his drugs and alcohol addiction, Michael missed tour dates repeatedly and guitarist Matthias Jabs was hired to fill in for him on nights when he was absent. Michael eventually would leave the band a second time after realizing that he was failing to meet their expectations.

Now with a lineup of Klaus Meine on vocals, Rudolf Schenker on rhythm guitar, Matthias Jabs on lead, Francis Buchholz on bass, and Herman Rarebell on drums, the band released Animal Magnetism in 1980 and embarked on another world tour. Surprisingly, Animal Magnetism went gold in the United States, and the Scorpions immediately went back into the studio to record their next release. Problems arose, however, and the project was postponed because Meine had lost his voice and would have to have surgery on his vocal chords. Many thought Meine had been fired from the band, and rumors spread that metal singer Don Dokken had already replaced him. The Scorpions proved these rumors untrue when Meine returned for the 1982 release Blackout, which contained the cult hit "No One Like You." A major success worldwide, Blackout sold over one-million copies in the U.S. alone. But as popular as Blackout was, it was the band's powerful follow-up, Love at First Sting, that succeeded in making them superstars. Released in 1984, the album boasted the MTV single "Rock You Like a Hurricane" and would eventually achieve double-platinum status. The group undertook one of their most successful world tours yet, boasting an outstanding stage show with high-energy performances.

After releasing World Wide Live in 1985, the band took a long hiatus and remained uninvolved from the music industry for two years. Their tenth studio album, Savage Amusement, was finally released in 1988, and the hit ballad "Rhythm of Love" brought on another major success. In 1990, the album Crazy World was released and would eventually become the Scorpions' biggest-selling record to date, drawing on the strength of the hit ballad "Wind of Change."

Not too surprisingly, Crazy World was the last successful Scorpions release in the U.S. By the time their Face the Heat album hit the shelves in 1993, many longtime fans had already lost interest in the band, due to the alternative explosion of the early '90s. Face the Heat did eventually reach gold, and in 1995 the band released another live album, Live Bites. Now with bassist Ralph Rieckermann and drummer James Kottak, they released Pure Instinct in 1996. Mercury Records assembled a double album of the band's greatest hits, Deadly Sting: The Mercury Years, and released it in 1997. Eye II Eye, an album in which the band experimented with pop-techno melodies, was released in the summer of 1999. Moment of Glory, featuring the Berlin Philharmonic Orchestra and several revamped versions of Scorpions cult classics, was released in fall 2000. ~ Barry Weber, All Music Guide
Written by Barry Weber