ME_101 Pre-Metal.pdf

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Te first episode oMetal Evolutionwas unquestionably the most di-ficult to make in the entire series. It makes me utterly exhausted justthinking about all the research, writing, planning, travelling, inter-viewing and editing that went into making this opening episode! Butit was an amazing journey that took us to so many incredible places:Wacken, Birmingham, Miami, London, Clarksdale, Memphis. But themost memorable moment o all was meeting the legendaryHowlin Wolf

guitaristHubert Sumlin

, who sadly passed away less than a year aferour interview. At theage o 79, he turnedup to the interviewin a suit carrying hisguitar and an oxygentank, so I immediate-ly knew that this guywas a class-act anda real trooper. Wecarried him up threeflights o stairs in an

old New York Citystudio that wed rented or the interview, and as soon as we got set-up he eagerly pulled out his guitar and started playing riffs and tellingstories about his days with the Wol. I pinched mysel knowing thatI was sharing the room with a legend that helped orge some o themost important sounds in the history o the blues. Tank you Hubertitwas an honor meeting you. RIP.

EPISODE 1:

PRE-HISTORY OF METAL


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Metal Evolution Episode 101 Pre-Metal

**please note interviewer is Sam Dunn throughout feature**

Narration:

This is Wacken Open Air, the worlds biggest heavy metal festival. Where each year overseventy thousand fans from around the world gather in a farm field in northern Germanyto celebrate their love for heavy metal. My name is Sam Dunn and the first time I visited

Wacken for my film Metal: A Headbangers Journey I learned that metal is more thanjust music, its a culture of outsiders and I was blown away by the passion of metal

musicians and fans.

Fans screaming and cheering

But my film was only an overview of the anthropology of heavy metal, there is a muchbigger story to be told. Over the past four decades heavy metal has evolved into dozens

of sub genres including Thrash Metal, Glam Metal, Nu Metal, Prog Metal, Grunge, theNew Wave of British Heavy Metal and many more. By why did metal splinter into all

these sub genres and what has each sub genre contributed to the evolution of this music.

Many documentaries have explored the history of Jazz, Classical and the Blues but still Ifeel Metal never really got its due. So this is my new journey, a journey into the evolution

of Heavy Metal.

Music

My journey into Heavy Metals vast forty-year history is a massive undertaking and so

before I dove into the entire evolution of this music, Im gonna step back and start withthe big question, Why are people drawn to Heavy Metal music?

Kirk Hammett (Guitar, Metallica):Its outsider music to the next. Heavy Metal solved a lot of my problems when I was a

teenager when I couldnt express myself or I was just frustrated. I would go into my roomand put on a metal album and feel instant relief.

Rob Halford (Vocals, Judas Priest):

Its about excitement and power and making you angry to the point of exploding in frontof everybody else, thats what metal is about.

Oderus Urungus (Vocals, Gwar)

When I bang my head it feels good, it releases some kind of chemical inside of me, Imnot sure what it is, but Heavy Metal is the greatest noise that ever was created.

Sebastian Bach:

Heavy Metal is pushing your life to the maximum and pushing it as hard as you canfucking get it onto the edge of chaos.


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Wayne Kramer (Guitar, MC5):Its a chance to just rail, just to get it out, to express that you not going along with the

program.

Scott Ian (Guitar, Anthrax): **Scott spelt wrong**

Theres an aggression and an attitude and intensity to everything I do in life and I think itall comes from the way that music made me feel since I was a kid.

Slash:A certain kind of abandon you know like sort of tossing the rules out the window and just

going for it. I think Rock & Roll in general is a great outlet and its really important Ithink without it wed have a lot more violence and a lot more trouble in general with the

people between you know 16 and 25. (laughs)

Music

Alice Cooper:Metal is tribal, theres something tribal about being in one place jumping up and down to

the same beat, people head banging and sweating and smacking into each other and at theend of that concert, theyve gone through something together.

Bruce Dickinson (Vocals, Iron Maiden): **audio drop out 01:04:46:06 and throughout**

Heavy Metal music has become an essential catharsis; its a rite of passage. Metal is likea celebration of community and friendship for people who simply have a genetic or

emotional predisposition to gravitate towards that kind of music and that type ofaggression you know the aggression is there but its contained and its controlled and its

focused.

Music

Narration:Meeting with these Heavy Metal musicians has made me realize that the power,

community and aggression in metal music connects with people on a very deep level. SoIm curious to find out whats actually happening inside our brains when we feel

aggressive from listening to Heavy Metal. So Ive tracked down a Neuroscientist whoteaches here at McMaster University and I want to ask her Where does this feeling of

aggression and power come from when we listen to metal music?

Music

Sam Dunn:Hi you must be Laurel, Hi Im Sam nice to meet you.


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Laurel Trainor (Director, Music and Mind Lab):Were interested in the auditory system here and how it develops and what the effects of

experience are on the brain and how people hear things and how they react to things andwere particularly interested in music. So when you came in we put the sensor net on

your head and as you listen to different pieces of music we measure to your brain

responses.

Classical Music

Metal Music

Laurel Trainor:

People talk sometimes about Heavy Metal in terms of the violence and the soundintensity and the distortion tends to turn off conscious thoughts so youre turning off

inhibition and all of us are capable of violent behavior. On the other hand the other sideof it is that we do like to feel a lack of control from time to time and if this is done in a

safe environment than it can be a positive thing.

Tom Morello (Guitar, Rage Against The Machine):Theres something in Heavy Metal music that speaks to the reptilian brain, it doesnt

speak to the intellect, it doesnt speak to a thought process thats on the surface, itssomething that connects very viscerally with heavy metal music that it just feels

awesome.

Scott Ian:Certainly an outlet, an outlet you couldnt get anywhere else. Come to the show and lose

your fucking mind and get in the pit and go crazy and stage dive and have fun. Its not

about violence its about fun. You might be bruised and really tired the next day but youknow what its like a great massage, youre gonna feel really good afterwards.

Sam Dunn:So in the metal context its like youre exercising the part of you that is aggressive that is

combative but without any real danger.

Laurel Trainor:Thats right

Music

Narration:

Even though Heavy Metal can appear violent and aggressive to people on the outsidewhat Ive learned is that the aggression in metal provides a positive emotional release for

its musicians and fans and so I now have a much better grasp on why people are drawn tothis music. But since this series is about the Evolution of Metal I need to understand how

metal has changed over its forty year history and why its become the complexphenomenon that it is today. So Im embarking on a journey that will take me to over


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forty cities in twelve countries across three continents. Ill travel from the back streets ofBirmingham, England to L.A.s Sunset Strip and from the crossroads in Mississippi to

soccer stadiums in Santiago, Chile. Ill be meeting with over three hundred musicians,fans and experts to dig deep into metals roots and find out why its developed into a

dozen sub genres. But to get started Im going back to the very beginning. One of the

sonic roots of this music, where did Heavy Metal actually begin?

Music

ACT2

Narration:

The birth of Heavy Metal is a much debated topic among metal fans, musicians andexperts. But most will agree that the genre was born in February 1970 when Birmingham,

Englands Black Sabbath released their debut record Black Sabbath.

Music

Narration:This record was far heavier and darker than any music that had come before. So Ive

always wanted to ask them about their musical roots. Where did Black Sabbath get theinspiration to create this heavy sound?

Sam Dunn:

Going back to that first record, how would you describe the sound that you guys werecreating?

Geezer Butler (Bass, Black Sabbath):Um, its hard to say because it seem to write itself. You know wed jam around and seewhat we come out with and one morning we came out with the song Black Sabbath. It

was just done in a flash, Tony came up with the riff, Ozzy started singing the lyrics and itsort of did really write itself.

Music

Sam Dunn:

What were the main inspirations for that opening riff?

Geezer Butler:I remember playing Mars: The Planets Suite (imitates noise) on the bass, I remember we

were rehearsing and it seemed to influence Tony to go (imitates guitar noise), you knowthe same sort of tritonic thing.

Bill Ward (Drums, Black Sabbath):

I think Geezer was trying to play, Geezer was trying to play the notes to ?? and Tonyshowed up and he lengthened the notes and he held them out (imitates guitar noise). It


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sent shivers down my back. Im not saying Tony took that riff from ??, you listen to themusic and you can hear it, pretty much so.

Music

Narration:Classical music was obviously an inspiration for Black Sabbath and their early years. SoIm curious to know if classical music has been an influence on other metal musicians?

And so Ive come back to Germany to meet with Uli Jon Roth whos a classical musicexpert and former guitarist of the Scorpions to talk with him about this connection

between classical music and heavy metal.

Guitar playing.

And why have so many hard rock or heavy metal guitarists incorporated the influences ofclassical composers into their music? I think of Eddie Van Halen, I think of Randy

Rhoads, I think of yourself and many others.

Uli Jon Roth (Guitar, ex-Scorpions):I think because its a natural in born desire to evolve you know to have this enormous

reservoir and repertoire of great musicians in the past, you look at that and you go wowwhat are these people doing? Maybe we can do something similar. And particularly when

youre a young player you find that exciting, you know the dexterity angle becauseyoure interested in speed, you want to be fluent in what you do and classical music

teaches you that.

Guitar playing

Tom Morello:As a young fan of metal I thought all other music sucked, classical music, jazz music, its

totally wimpy man. But then when I became a guitar player and I realized that theexcellence of an Eddie Van Halen or Yngwie Malmsteen and the excellence of a Niccolo

Paganini had something in common. I appreciated not just the musicianship but theexpression that very talented non metal musicians brought to their own genres and it was

very inspiring to me.

Music

Narration:For some heavy metalers classical musicians like Paganini are more than an inspiration,

theyre an obsession and if Paganini were alive today and played a Fender Strat through aMarshall stack he would be Swedish guitar virtuoso Yngwie Malmsteen.

Sam Dunn:

When you brought the classical sound quite boldly into the rock and metal format thanwhat anybody else has did.


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Yngwie Malmsteen:What it was, was that I saw it on TV was this Russian violinist who was going mad on

the violin, I couldnt believe it.

Violin playing

Yngwie Malmsteen:And they said at the end of the program it was Niccolo Paganinis 24 Caprices and I just

said wow, you know if I could get any of that, you know the linear singing notes orarpeggios, all that stuff and put that in, that would be amazing you know. So once I heard

that, that was it, I knew thats what I wanted to do. So just technically its amazing whatPaganini did and I felt that I needed to challenge myself and I didnt want to take the easy

way out. I think thats the main reason for me, I always felt like I had to be better than Iam and to me to be better would be to play more difficult, more complex classical type

music. You know I dont want to just play it safe, two strings, it could be three stringsfour strings, five strings, six strings arpeggios. People kept on telling me to slow down,

hey slow down, I went (mumbles). Remember less is more and I always said, how canthat be? How can less be more? Its impossible, more is more.

Music

Narration:

The virtuosity of classical music has been hugely inspirational for metal guitarists butsince virtuosity and heavy metal is not limited to the guitar. Ive come to London,

England to meet with Rob Halford, the legendary vocalist of Judas Priest to explore how

classical music has influenced his approach to metal vocals.

Rob Halford (Vocals, Judas Priest):

If you want to become a professional singer I worked in the theatre for a while and Ilooked from the side of the stage and I would watch Opera. You know I would look at the

audience, and Id look at the performer and back and forth, it was intriguing to see and Iwas just mesmerized particularly by the power of the voice and what it could do.

Opera singing

Rob Halford:

You listen to someone like Pavarotti who is my ultimate God , look at the scalp that canbe created by these vocal chords in you throat, its absolutely sensational. So Ive always

had fun as a singer to try to do as many dramatic things as I possibly can.

Music

Sam Dunn:


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Rob Halford has that ability to sort of project like an opera singer, that kind of vocalstyle, what does it add to metal?

Geoff Tate (Vocals, Queensryche):

Opera is a very challenging style of music to perform as a singer especially, much more

challenging I think than rock music you know. One of the things that I notice about likeRob, Bruce and myself is there is a huge amount of theatrics in our delivery, you knowtry to get your point across to the audience and affect them and illicit some sort of

emotion.

Music

Bruce Dickinson (Vocals, Iron Maiden):Whenever I sing a song theres always a big part of it is what I would describe as theatre

of the mind. Its like applied dramatics through music and I wouldnt like to say that wewere any kind of level with any great opera or classical anything you know. Its simply a

desire to do a good job at messing with peoples imagination.

Rob Halford:Trauma, an intensity, jealousy and rage and revenge, like opera, metal has got all of those

things going for it. Were about excitement and power and making you very emotional,thats what metal is about, that whole visual larger than life experience.

Bob Ezrin (Producer):

Heavy metal at its core is Marshall music, its big, heavy military scare you to deathmusic. Heavy Metal was a term that came much later on but the idea of heavy music,

thats been there since the beginning of time, its the music that Wagner played in concert

halls with his outsized instruments and his huge orchestras. The whole idea was shake thewalls, shake the world through the power of this music.

Music

ACT3

Music

Narration:Most musicians agree that the foundation for all rock music is the blues which was born

when Robert Johnson stood at the crossroads in Clarksdale, Mississippi and sold his soulto the devil by choosing a life of music. But growing up heavy metal bands that I loved

like Iron Maiden and Metallica seemed like the furthest thing from the blues. So whatexactly is the connection between the blues and heavy metal?

Sam Dunn:

So with the blues and heavy metal is there any kinship there?


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Nelson George (Author, Hip Hop America):

I think there intrinsically linked, I mean if you look at any other British musicians from

the Stones well away to the Yardbirds and even Motorhead, all that wave of guys they alllisten to the blues.

Glenn Hughes:The old hard rock/metal bands started out with some sort of foundation that started with a

blues riff, thats we were all started playing, my playing in a shed in my Dads gardenplaying the you know (imitates blues guitar music).

Music

Sam Dunn

I know youre a fan of the blues and have studied the blues, whats the shared DNAbetween early blues and modern day metal?

Kirk Hammett (Guitar, Metallica):

Well right off the bat theyre both riff based music, a lot of blues songs have a riff andyou just sit on that riff , heavy metal is the same way, you sit on a riff, you just soak it for

as much emotion as you can.

Rob Bowman (Professor, York University):The riff is a huge part of the arsenal of virtually every rock guitarist. Look at Metallica

and a song like Hit The Lights

Song plays

Rob Bowman:You got riffs all over that song, you got three different tempos so you shift from one

section to another, the riffs change and you get this incredible release.

Song continues

Kirk Hammett:Like in heavy metal blues is also just dark in nature, theyre singing about things that

nobody else would even touch back in those days, it had an edge to it, it wasnt glossy.The real blues of Robert Johnson and Howlin Wolf sounded dark, sounded dirty,

sounded evil and all these old blues guys they had a growl to their voice.

Music

Narration:


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If theres one blues vocalist who sounds like a metal front man its Howlin Wolf, so Ivetracked down guitarist Hubert Sumlin, the last surviving member of Howlin Wolfs

original Mississippi Blues Band to get a first hand perspective on what Wolf was like.

Hubert Sumlin playing guitar

Hubert Sumlin:

Thats it, thats it man.

Sam Dunn:Can I ask you how did Howlin Wolf influence or inspire you in terms of your guitar

playing?

Hubert Sumlin:Oh man **the rest of Huberts dialogue is up on the screen as sub-titles **

Sam Dunn:

Can you tell me about the big voice that he had.

Hubert Sumlin: subtitles

Music

Nelson George (Author, Hip Hop America):The Howlin Wolf name was not a joke, his voice sounds like its coming from, from

hell, it was an animalistic sound. So there is a direct line between heavy metal guys who

are the archetypes that really created the thing and what you heard out of Howlin Wolf,no doubt about it.

Music

Rob Halford:In the tradition of what lead singers do, metal is from the blues in terms of its absolute

roots. Because the emotional message of the blues I think is still relevant in metal, itsfrom the soul, its very you know, very primordial its just got this kind of very gut

instinctive type of caveman-esque attitude about it.

Music

Narration:The blues clearly has some strong musical connections with heavy metal but theres still

one more genre in the pre-history of metal that I want explore and thats jazz.

Sam Dunn:


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But I got to say I never considered jazz and metal to have anything in common. So is jazzan influence on heavy metal musicians?

Music

Iggy Pop:A lot of jazz is shit and it sounds like what it sounds like, what it is like, poorly thoughtout, masturbation right, guys that can (imitates fast guitar playing) so it has a bad

reputation for that but there are certain guys within it that have just been astonishing.

Sam Dunn:Was jazz an influence?

Bill Ward:

Well yah, oh yah, yah, definitely.Growing up we had a huge collection of American records and every Saturday night my

Dad would sing to them and my Mum would play a little bit of piano and I listened to allthose songs.

(Imitates song) there was a song by Glenn Miller (imitates song) and then suddenly itwould (imitates song) In The Mood I think it was and I loved it

Music

Bill Ward:

So I was terribly influenced by that music.

Sam Dunn:

And did you take that and try to bring that to Sabbaths music?

Bill Ward:

Oh its in Sabbaths music, you can hear all the swinging there. You can hear it in Fairies(imitates song) when youre doing those kind of chops its swing and the band could

swing real well.

Music

Bruce Dickinson:Bill Ward was a jazz drummer, if you listen to the stuff hes doing on the drums, its not

you know, its not thud whack crash its all really jazzy. And Iommi was a very jazzyplayer as is Geezer Butler. So this really heavy band but with a bit of a jazzy feel to it

more or less invented heavy metal.

Sam Dunn:Why are so many metal musicians influenced by jazz?

Carmine Appice:


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Because those were the masters of their instrument really, you know you would take stuffthat they did and rockify it to use the way you want to use it. I mean rock drumming is an

art form just like jazz drumming is an art form, you know like Buddy Rich, he was a Godgifted animal, he was very vicious in his playing very aggressive. He was a drum star, a

drum hero, an icon.

Buddy Rich drumming.

Dave Lombardo (Slayer):I saw on TV Buddy Rich I remember at a very young age and I was amazed at his energy

you know and how he played you know the velocity he would hit the drums you knowthe drums dominate the moment.

Paul Bostaph (Testament):

He would thrash before thrash was ever thrash, if you watch some of his soloing how fasthis hands are going, what hes doing I mean theres not a better drummer than him ever

to touch a drum set.

Buddy Rich drumming.

Paul:So getting into heavy metal I was like thats for me because I want to do something

different it was exciting and that pushed my drumming to another level.

Music

Narration:

Whether its jazz, blues or classical I now have a better understanding of metals deepestmusical roots but all these genres are missing one of the important elements of heavymetal, the sound of the distorted electric guitar. So what are the roots of metals

electrified sound?

Music

Act 4

Music

Narration:Classical, jazz and the blues all help lay the foundation for heavy metal but probably the

most obvious musical anti-scene of metal is rock & roll and so Ive come to Sun Studiosin Memphis, Tennessee the home of rock music to find out what were the specific

musical elements of rock that later became essential components of the heavy metalsound.

Sam Dunn:


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Why Sun Studio the birth place of rock & roll?

John Schorr (Sun Studios):Well it all stems from a particular recording that took place here back in 1951 Rocket

88 by a band by the name of Jackie Brenston and his Delta Cats and I got the absolute

very first copy that was ever recorded down here on Sam Phillips lathe recorder.

Rob Bowman (Professor, York University):Sam Philips you know producer at Sun Records in Memphis, Tennessee is incredibly

important in the history of American music period. Sam wanted things that soundeddifferent, that was always his goal. Hes the guy that when you know Ike Turner arrives

at the Sun Studio in 51 to cut Rocket 88 and the speaker cone is cracked andconsequently has a distorted sound hes the one who goes, thats incredible I want that

sound!

John Schorr:As the story goes the guitarist Willie Kizart was taking his amp out of the car and putting

it up on top of the car, amp fell off the back punched a hole in the speaker cone, so theywent inside they stuffed it full of newspaper, Sam loved the sound of the punctured

speaker cone of the amplifier itself and it was according to most music historians the firstrecorded use of distorted electric guitar in music in general.

Music

Narration:

Besides the distorted electric guitar another contribution of 50s music to the

development of heavy metal was the arrival of the wild rock and roll front man.

Music

Jon Lord (Keyboards):

When I first heard Jerry Lee doing Whole Lotta Shakin Goin On by God I wanted tosound like that, there was a kind of a raw animal untextured untutored feel to it all and

that to me as a very textured tutored young man who you know had been pouring overBeethoven, Bach and ?, this was massively exciting.

Nelson George (Author):

I think theres one thing you get from the rock and roll guys you know from that era isAmerica during a time when theres a red scare going on and theres a lot of fear the

communists are gonna get us you know the bomb is gonna blow us all up and these guysrepresented a kind of wildness and freedom that was not expressed in any other real

forms of the popular culture.

Music


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Lemmy Kilmister (Vocals/Bass, Motorhead)):

The heaviest thing when I was growing up was Little Richard, he didnt like try and make

his voice nice you know acceptable, he just sang it how he felt it you know and I alwaysadmired that, thats why I sing like I do you know, I dont try and put on any special ?and graces, what you see is what you get.

Sam Dunn:

So theres a connection from Little Richard to Lemmy

Lemmy:Yah, a big one you know because if I had a hero in those days it would have been him.

Rob Bowman:Little Richard, you know you listen to Tutti Frutti the first big hit in 55, its like its

transgressive in all sorts of ways, he is shredding his larynx a little too far, the sound justleaps out of those speakers.

Music

Sam Dunn:

I want to go back to another early rock and roller what was Elvis contribution to thisstory?

Deena Weinstein (Professor, DePaul University):Elvis was the Metallica of his time, Elvis took rock and roll out of its small fan base andmade it safe for the rest of America, Elvis sold rock and roll, without Elvis I dont know

what would have happened to rock and roll.

Bill Ward:Elvis to me was balls to the wall, you know and he was incredibly influential, I didnt

want to do anything else other than get a job like Elvis, you know in Great Britain wewere used to safe listening so when Elvis comes up shaking his ass and you know saying,

the warden threw a party in the county jail, the prison band was there and they began towail, you know its just like whoa.

Bruce Dickinson:

(sings) Went to a party in the county jail, you know if you listen to that and then justtranspose it to (sings) Saturday night and I just got paid, gonna fool around aint gonna

save, I mean its Elvis!

Music


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Bruce Dickinson:So Jailhouse Rock and things like that you just transpose them and put some metal to it

and all of a sudden it becomes kind of a blues based metally type thing.Music

Narration:Before iconic heavy metal bands like Deep Purple emerged onto the scene, in the early1960s rock and roll went through a phase that felt like the furthest thing from heavy

metal.Elvis joined the army, Little Richard went religious, Buddy Holly died, what was the

state of rock at that time?

Kim Fowley (Producer/Mamager):Rock and roll was scary and creepy, Elvis had gone into the army, everyone else was in

prison, suddenly Frankie Avalon showed up singing Venus if you will, please send alittle girl for me to thrill

Music

Sam Dunn:

So I guess music in America had become fairly safe.

Don Branker (Concert Promoter):Very safe and very manufactured, sometimes we are not even sure that, that particular

artist sang that song, they had a certain look to them, an eastern slicked back look, thesongs were very simple, the songs were about teddy bears and falling in love with your

girlfriend and simple things.

Nelson George:So there was a lot of fake rock and roll, people were faking the funk sort to speak, and

theres a space, theres a kind of sudden emptiness, whats the new excitement going tobe in the culture.

Music

ACT5

Music

Narration:

In the early sixties rock and roll crossed the Atlantic from America to Britain, kicking offwhat is famously known as the British invasion and if theres one band from this invasion

that is part of the story of heavy metal, its the Kinks and the ground breaking sound ontheir song You Really Got Me.

Sam Dunn:


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What was your inspiration for the guitar sound on the first Kinks record?

Dave Davies (Guitar, ex Kinks)

Well we had that sound about six months before we recorded, before You Really Got

Me was around, I used to experiment with a guitar but the guitar sounds were verylimited and I would just tone control, volume and that was about it and I came across thislittle amp in a shop up the road and it was a cone Elpico and I just got a razorblade and I

started to cut the cone speaker, I dont know why and I plugged it in and it made a(imitates noise) an amazing sound.

Music

And so Im still doing these three finger chords on my guitar and now I got this really

gritty raunchy sound from my amp with the speaker slashed so this chord now soundsimmense, it was like discovering something, felt like more of an inventor than a

musician.

Glenn Hughes:The first dirty guitar that I ever heard was You Really Got Me, that very early (imitates

guitar sound) was so like demonic, made Moms and Dads go eww turn it off its so evil.

You Really Got Me is about grit, its about raw expression and feeling, its not aboutwhining and dining or middle class behavior, its about I like you, I want to fuck you.

Music

Billy Gibbons (Guitar, Vocals, ZZ Top):In the early sixties when the scene in England was on the upswing, the clubs were gettingbigger, the crowds were getting bigger and it was also getting louder, the environment

was louder and musicians wanted to be heard. Give me something, I want to keep thatsound but I just want it louder.

Deena Weinstein (Professor):

The whole esthetic of loud, I mean if, you know, who would you cite as the mostimportant pre-cursor of metal. I would cite Jim Marshall who developed the Marshall

amps to make for loudness.

Narration:As rock music developed in the sixties, musicians started to play in larger venues and so

they needed technology and equipment to fill those venues and theres no name that ismore associated with heaviness and volume than Marshall so weve come to the factory

here in England to find out why it is that Marshall became the amplifier that was iconicof heavy metal music.


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Sam Dunn:I also heard theyve got an amp that goes up to eleven and thats just something I have to

see.Can you tell me how Marshall Amps got started?

Paul Marshall (Marshall Amplifiers):Dad, long before he dreamed of making an amplifier, his passion was drumming so hestarted a drum shop and from that a lot of the bands would come in, a lot of the drummers

would come in, you know they would bring their guitarists in, and a young lad came in, alocal lad Pete Townshend, he actually used to hang around in the shop and they used to

talk about the Fender Bassman, it wasnt quite giving Pete quite the sound he wanted, soDad set up changing it really and they built four or five prototypes in the early days, in

62 and they finally built one and Pete Townshend said thats a great sound and off hewent to use it, so yah thats how it started.

Music

Uli John Roth:

Tim Marshall basically took the Fender amp and the Vox AC30 and he created a newanimal, a Marshall, one hundred watts which was unheard of, it was a beast basically.

Lemmy:

Originally his stack was all one piece, you know, and like it was ? to carry about, therewas no van in the world you could fit it into.

Paul Marshall: **bad edit on this segment head and tail??**

??It had such a big look at the time, that this is gonna be too heavy and Pete said to him

its ok Ive got roadies now so he built this 8x12 cabinet so he built twelve of them and Ithink it was a couple months later Pete came back in and said these are too heavy andthats when he actually built the first stack so he built a 4x12 bottom cabinet ??

Lemmy:

He sawed it in half and thats what you got the stack as it is now you know.

Sam Dunn:??So you didnt really have metal or hard rock without that invention I guess

Lemmy:

No thats right, ??? great service

Music

Ian Paice (Drums, Deep Purple)When The Who came on with these first Marshall stacks, anybody that was saying, whoa

you were pinned, pinned back with the sheer power of it I mean physical air moving and


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it was shocking and dazzling and fantastic and of course that started the revolution youknow, the next band had to be just as loud or louder.

Narration:

Backed by Marshall stacks The Who set in motion a volume race and bands were now

competing to be the loudest in all of Britain but then there was one musician fromAmerica who would expand the sound of rock guitar beyond just volume and distortion.

Sam Dunn:What was it that Hendrix did that pushed that concept of heaviness in music?

Eddie Kramer (Producer):

What Hendrix did was expand the musical horizon of the electric guitar to the degree thatno one else has, the greatest innovative sounds playing stretching the boundaries you

know, when he broke on the scene in 66 people were going wow weve never heardanything like this, it was like wildfire the message spread, hey you got to come check this

guy Jimi Hendrix hes incredible he plays left handed and upside down and he does stuffwith his teeth and behind his head youve never seen anything like it, youve never heard

anything like it.

Neal Smith (Drums, Alice Cooper Group)When Hendrix came, forget about it, it was just a whole nother world and everything got

very electric and very distorted and people tried to push the levels even farther becausenow they had the fuzz tones, all these sounds that were developing in the studio they now

made gizmos that you could take on the road with you, plug them in and all of a suddenyou can be the most distorted guitar player in the world.

Tom Morello (Guitar, Rage Against The Machine):Its an interesting question why distortion became desirable in music, I remember the firsttime that I bought a big muff distortion pedal, until then I had been laying these horrible

sort of tinkling jangling things and as soon as I stepped on that thing it was rock and roll,I mean it was instantly rock and roll music and that I think is something too, I dont think

theres a way to intellectualize it, theres something deep in the DNA that responds to thesound of an overridden amplifier, all of a sudden the world is a little bit more exciting

(laughs).

Rob Halford:Just turning up the volume and getting some distortion through the amps, through the

guitars, its all kind of little embryos of sound and other musicians are picking it up andthinking if well I take a little bit of that guitar distortion and put that with a big bass drum

sound and put a thundering bass guitar and a screaming vocal, what is that going to soundlike? Well to me its gonna sound like a heavy metal bands beginning.

Music


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Narration:

What Ive learned so far is that the origins of metal are way more complex than I firstthought, people have been creating bombastic sounds that channel feelings of rebellion

and aggression for hundreds of years and so on a conceptional level metal isnt new at all

but I mean what surprises me most is that the sense of community that I feel in metal andat places like Wacken isnt new either ever since Elvis gyrated his hips or Little Richardscreamed into the microphone, music has provided young people with a community to

belong to and so ultimately what I feel Im faced with in this series is the realization thatmetal and us metal heads are part of a much bigger story that I ever could have imagined.

Music / Credits


20/29

METAL EVOLUTION

PRE METAL METAL

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Directed & Produced bySCOT McFADYEN & SAM DUNN

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Written by

RALPH CHAPMAN & SAM DUNN & SCOT McFADYEN

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Edited by

ALEX SHUPERMIKE MUNN

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Director of Photography

MARTIN HAWKES

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Appearances by

CARMINE APPICESEBASTIAN BACH

PAUL BOSTAPHROB BOWMANDON BRANKER

GEEZER BUTLERALICE COOPERDAVE DAVIES

BRUCE DICKINSONBOB EZRIN

KIM FOWLEYNELSON GEORGE

BILLY GIBBONSROB HALFORD

KIRK HAMMETT

GLENN HUGHESSCOTT IAN

EDDIE KRAMERWAYNE KRAMER

LEMMYDAVE LOMBARDO

JON LORDYNGWIE MALMSTEEN


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PAUL MARSHALLTOM MORELLO

IAN PAICEIGGY POP

ULI JON ROTHJOHN SCHORR

SLASHNEAL SMITH

HUBERT SUMLINGEOFF TATE

LAUREL TRAINORODERUS URUNGUS

BILL WARDDEENA WEINSTEIN

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Head of ProductionALLAN WEINRIB

Producer Assistants

DAVE PATTENDENLANA BELLE MAURO

Associate Producers

RALPH CHAPMANLIISA LADOUCEUR

Music Supervisors

AMY FRITZERIN HUNT

Graphic Design and Animation

DEREK TOKAR

Supervising Producer

DAVE PATTENDEN

Production & Post Production Coordinator

LANA BELLE MAURO

Location Sound Recordist

KEVIN MACKENZIE

Additional Filming

DAVE PATTENDENJONATHAN STAAV

Camera Assistant

JONATHAN STAAV


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Technical Supervisor

ANDREW KOWALCHUK

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Online Editor and Post Production Supervisor

ANDREW KOWALCHUK

Assistant Editors

MARY JURICAMY DAVIS

Writing and Research Supervisor

LIISA LADOUCEUR

Researchers

MARTIN POPOFFRANDY CHASE

Visual Researchers

SCOTT McMANUSCORINNE McDERMOTT

Story Consultant

LINDSAY KYTE

Transcription by

MARTIN POPOFF

GRAHAM KENTAPRIL SUEN

Title Design

DEREK TOKAR

Set Decorator - Title Sequence

JEFF BAI

Re-recording Mixer

LOU SOLAKOFSKI

Mixing Assistant

GRAHAM ROGERS

Audio Post Production Facilities

TATTERSALL SOUND AND PICTURE, TORONTOSUPERSONICS PRODUCTIONS, TORONTO

Dialogue Editor

FRED BRENNAN


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Sound Effects & Music Editor

DAVE ROSE

Assistant Sound Editor

SUE FAWCETT

ColouristJOANNE ROURKE

Closed Captioning & Descriptive Video

CFA COMMUNICATIONS, TORONTO

Production Accountant

PATRICIA AGUIRRE for BANGER FILMS, INC

Legal Counsel by

DAVID STEINBERG for HEENAN BLAIKIE

Auditors

JIMMY YE for KUDLOW McCANN

Interim Financing

AVER MEDIA

Travel Agents

HEATHER REIMER for STAGE & SCREEN TRAVELRANDI GELMAN for FROSCH TRAVEL

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Archival Photos and Videos Courtesy of

(ALPHABETICALLY)

ARTRESOURCEBANGER FILMS

BUDDY HOLLY HEADLINE SUPPLIED BY GAB ARCHIVE/GETTY IMAGESCATHY RICH - SCABEBA ENTERTAINMENT

CHESS/GEFFEN RECORDSCHRIS WALTER - PHOTOFEATURES

CLEF RECORDSCOLUMBIA RECORDS

CONN-SELMERJULLIEN'S CONCERT ORCHESTRA AND FOUR MILITARY BANDS, AT COVENT GARDEN THEATREBY ENGLISH SCHOOL (19TH CENTURY) PRIVATE COLLECTION/THE BRIDGEMAN ART LIBRARY

EAGLE ROCK ENTERTAINMENTFILM PRESERVATION ASSOCIATES INC.

FRANK WHITEFRYDERYKA CHOPIN PORTRAIT, MARIA WODZINSKA 1836GETTY

GIBSON GUITARSHISTORIC FILMS ARCHIVE, LLC

IVY VIDEOJAMES PAYZE

JAY GOOD/FRANK WHITE PHOTO AGENCYJEAN-PIERRE SPIERO FOR MUSIC HALL DE FRANCE COURTESY INA INSTITUT NATIONAL DE

LAUDIOVISUEL/REELIN' IN THE YEARS PRODUCTIONS, LLC


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KARL JONSSONKEVIN ESTRADA PHOTOGRAPHY

LUDWIG VAN HEETHOVEN PORTRAIT, JOSEPH KARL STIELER 1820MARSHALL AMPS

METRO-GOLDWYN-MAYER, INC VIA THE UNITED STATES LIBRARY OF CONGRESSNICCOLO PAGANINI PORTRAIT, GEORG FRIEDRICH KERSTING 1830

PHOTO OF CHUCK BERRY SUPPLIED BY FRANK DRIGGS COLLECTION/GETTY IMAGESPHOTO OF EDDIE KRAMER AND JIMI HENDRIX SUPPLIED BY GETTY IMAGESPHOTO OF ELVIS PRESLEY IN THE ARMY SUPPLIED BY MICHAEL OCHS ARCHIVES/GETTY IMAGES

PHOTO OF ELVIS PRESLEY SUPPLIED BY HULTON ARCHIVE/GETTY IMAGESPHOTO OF HOWLIN' WOLF SUPPLIED BY GETTY IMAGES

PHOTO OF LITTLE RICHARD SUPPLIED BY MICHAEL OCHS ARCHIVES/GETTY IMAGESRAOUL SANGLE FOR LITTLE RICHARD L'OLYMPIA COURTESY INA INSTITUT NATIONAL DE

LAUDIOVISUEL/REELIN' IN THE YEARS PRODUCTIONS, LLCREELIN' IN THE YEARS PRODUCTION, LLC

RICHARD WAGNER PORTRAIT, FRANZ HANFSTAENGL 1860ROADRUNNER RECORDS

ROADSIDE GUITARSROBERT JOHNSON/PHOTO BOOTH SELF-PORTRAIT, EARLY 1930S/DELTA HAZE CORPORATION

RON DA SILVA/FRANK WHITE PHOTO AGENCYSAVOY JAZZ

SAVOY RECORDSSEIZE MILLIONS DE JEUNES COURTESY INA INSTITUT NATIONAL DE LAUDIOVISUEL/REELIN' IN

THE YEARS PRODUCTIONS, LLCSIGNATURE MUSIC CO.

SOLA SOUNDSONY/BMG

STUART TAYLOR/FRANK WHITE PHOTO AGENCYSVT/REELIN' IN THE YEARS PRODUCTIONS, LLC

THE UNITED STATES LIBRARY OF CONGRESS' MUSIC DIVISIONTHOMPSON MUSIC THOUGHT EQUITY MOTION/BBC'S BEAT ROOM

UNIVERSALUNIVERSAL MUSIC PUBLISHING

VH1WARNER BROS.

WOLFGANG AMADEUS MOZART PORTRAIT, BARBARA KRAFFT 1819

Music

(IN ORDER OF APPEARANCE)

Trooper

Written by: HARRISPerformed by: IRON MAIDEN

Published by: Universal Music Publishing Group a division of Universal Music Canada Inc.

Roots Bloody Roots

Written by: CAVELERA/CAVELERA/KISSER/PINTOPerformed by: SEPULTURA


Roots Bloody Roots

Written by: CAVELERA/CAVELERA/KISSER/PINTOPerformed by: SOULFLY


Whole Lotta Shakin Going On


25/29

Written by: WILLIAMSPerformed by: JERRY LEE LEWIS

Published by: Nimani Entertainment Company

Run To The Hills

Written by: HARRIS

Performed by: IRON MAIDENPublished by: Universal Music Publishing Group a division of Universal Music Canada Inc.

Piano Concerto #21 Andante

Written by: MOZART

Raining Blood

Written by: HANNEMAN/KINGPerformed by: SLAYER


Black Sabbath

Written by: BUTLER/IOMMI/OSBOURNE/WARDPerformed by: BLACK SABBATH

Published by: Essex Music International Inc.

The Planets Op. 32 Mars, The Bringer Of War

Written by: HOLST

Blitzkreig Concerto

Written by: MALMSTEENPerformed by: YNGWIE MALMSTEEN

Published by: Knwie J Malmsteen

Caprice No. 24

Written by: PAGANINIPerformed by: JASCHA HEIFETZ

Victim Of Changes

Written by: ATKINS/DOWNING/HALFORD/TIPTONPerformed by: JUDAS PRIEST

Published by: Gull Songs

Questo O Quella

Written by: VERDIPerformed by: PAVAROTTI

Powerslave

Written by: DICKINSONPerformed by: IRON MAIDEN


Maudie

Written by: HOOKERPerformed by: JOHN LEE HOOKER

Published by: 19th Opus Publishing OBO Conrad Music

Hit The Lights

Written by: HETFIELD/ULRICH


26/29

Performed by: METALLICAPublished by: Creeping Death Music

Smokestack Lightning

Written by: BURNETTEPerformed by: HOWLIN WOLF

Published by: 19th Opus Publishing OBO Conrad MusicAce Of Spades

Written by: CLARKE/KILMISTER/TAYLORPerformed by: MOTRHEAD

Published by: EMl Blackwood Music Inc. obo Motor Music Ltd

In The Mood

Written by: GARLANDPerformed by: GLENN MILLER

Published by: Canadian Shapiro Bernstein

Fairies Wear Boots

Written by: BUTLER/IOMMI/OSBOURNE/WARDPerformed by: BLACK SABBATHPublished by: Essex Music International Inc.

Not So Quiet, Please

Written by: OLIVERPerformed by: BUDDY RICH

Published by:Essex Music International Inc.

Persecuted Wont Forget

Written by: BILLY/PETERSON/SKOLNICKPerformed by: TESTAMENT

Published by: DFG Music Partnership

Rocket 88

Written by: BRENSTONPerformed by: JACKIE BRENSTONPublished by: Unichappell Music Inc.

Tutti Frutti

Written by: LA BOSTERIE/LUBIN/PENNIMANPerformed by: LITTLE RICHARD

Published by: Sony/ATV Songs LLC & Sony/ATV Music Publishing Canada

Jailhouse Rock

Written by: LEIBER/STOLLERPerformed by: BRUCE DICKINSONPublished by: Gladys Music c/o Ole

Speed King

Written by: BLACKMORE/GILLAN/GLOVER/LORD/PAICEPerformed by: BRUCE DICKINSON

Published by: EMI Blackwood Music Inc. obo B Feldman & Co Ltd T/As Hec Music

Venus

Written by: MARSHALL


27/29

Performed by: FRANKIE AVALONPublished by: EMI April Music Inc. obo Welbeck Music & Sony/ATV Tunes & Sony/ATV Music Publishing

Canada

You Really Got Me

Written by: DAVE DAVIES

Performed by: THE KINKSPublished by: Kassner Associated Publishers Ltd. & Sony/ATV Music Publishing Canada

My Generation

Written by: TOWNSENDPerformed by: THE WHO

Published by: Devon Music, Inc.

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Thanks To

WACKEN OPEN AIR, GERMANY

SANCTUM HOTEL, LONDONGIBSON SHOWROOM, LONDONWILLIAM STONE

SUN STUDIO, MEMPHISCOOPERSTOWN, PHOENIX

VILLAGE RECORDING STUDIOS, LALE PARC SUITES HOTEL, LASWINGHOUSE STUDIOS, LA

PEER MUSIC, BURBANKTHAT METAL SHOW

PONDERA WINERY, WA

Special Thanks To

PATRICE BUTTERFIELDSARAH HALES & CALEB HALES McFADYENKen & DENISE DUNN

NAN & MAURICE McFADYENNOAH SEGAL

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Produced in association with The Government of Ontario Film and Television Tax Credit

and with the Assistance of The Canadian Film or Video Production Tax Credit


28/29

and in association with Much More Music

Distributed by Tricon Films Inc.

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FOR VH1 CLASSIC:

Production Management

RACHEL ROCA

Standards and Practices

ALICIA GARY

Business and Legal AffairsSETH LEVIN

GLORIMAR NEGRON

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Coordinating ProducerJAY MORAN

---------------------------Separate Card---------------------------Executive Producers

RICK KRIMLEE ROLONTZBEN ZURIER

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The following has been a Vh1 Classic Special Presentation (End Page)


29/29

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BANGER LOGO

Ownership of this motion picture is protected by copyright and other applicable laws of Canada, the United States

and other countries. Any unauthorized exhibition, distribution, or reproduction of this motion picture or any partthereof, including the soundtrack, may result in severe civil penalties.

2011 Metal Evolution Productions Inc. All rights reserved.

www.bangerfilms.com

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Documents

ME_101 Pre-Metal.pdf