MUAR 392 Lecture Notes May 22
From Birmingham, England, a mostly industrial city
First known as Earth and very blues based, but adopt “satanic” dark image along with new name.
Extensive use of power chord riffs and triton known as “devil‟s interval”
Listen to “Paranoid” (1970)
o Heavy bass, guitar, and drums
o Aggressive covals
o The rhythm is almost mechanical, very not funky
o Not syncopated
o Rhythmically straight
See “Black Sabbath” from Black Sabbath from Black Sabbath
How does Kelleher reading present group?
Alice Cooper “School’s Out” (1972)
Early 1970s American hard rock/heavy metal. Why isn‟t glam rock?
Heavy Metal in the 1980s
Moves into mainstream of American popular music
Lyrical subjects move away from the arcane and occult towards greater realism, but of two very
different kinds: love, sex, partying for glam/hair metal, war, death, social injustice for thrash metal
This divide was reflected musically, lyrically and sartorially
“Victim of Changes” (1976) by Judas Priest
“Master of Puppets” (1986) by Metallica
“Livin’ On a Prayer” (1986) by Bon Jovi
How do they differ?
What (if anything) is similar?
Looking forward, how might anti-disco/R&B backlash among metal constituency (predominantly
white, heterosexual males) inform music?
1988 Monsters of Rock tour of the USA featuring Van Halen, Metallica, Scorpians, Dokken and
Kingdom Come falls well short of commercial goals because of split within metal genre: fans of
Metallica hated the other groups, fans of other groups hated Metallica
Result: “Waves of partisan arrivals and departures at the concert helped defuse the excitement
normally generated in full arenas, and the fans‟ selective attendance undercut the concession
and souvenir sales that are so important to underwriting tour expenses and profits.”
o Running With the Devil: Power, Gender and Madness in Heavy Metal Music by Robert
Walser (page 5)
What had once been relatively unified genre with differences overwhelmingly acceptable to a
single “heavy metal” audience had become irredeemably fragmented
How does Gehr reading (page 376-81) differentiate Metallica from other metal groups in the late
80s? What are such differences deemed important?
Chapter 71 Judas Pries “Victim of Changes” (1976)