0:00:02 > 0:00:08This programme contains some strong language
0:00:08 > 0:00:15Heavy metal is all about literally the awesome power of electricity through guitar.
0:00:17 > 0:00:18What's that?
0:00:18 > 0:00:20That's what you're playing, metal.
0:00:20 > 0:00:21Is it?
0:00:21 > 0:00:23Weighty.
0:00:23 > 0:00:26Something that's thick, dense, intense.
0:00:26 > 0:00:29Something with gravitas.
0:00:29 > 0:00:34Heavy is slowing it down, making it deeper, darker, moodier.
0:00:34 > 0:00:35Glowering.
0:00:35 > 0:00:40Machine-like, buzzing. Snarling power.
0:00:42 > 0:00:46I understand what it means. Well, I think I understand what it means.
0:00:46 > 0:00:51Huge great power chords, wiping you off your feet.
0:00:51 > 0:00:55Dark connotations with violence.
0:00:55 > 0:00:59Metal lives in a world of its own creation.
0:00:59 > 0:01:01It's its own World of Warcraft.
0:01:01 > 0:01:02(IN A DEEP VOICE) Heavy.
0:01:02 > 0:01:06A little bit too much voice, and that maybe is the definition, it's too much.
0:01:07 > 0:01:10It's more that industrial sound, more...
0:01:10 > 0:01:14I don't know, heavy, I suppose. Heavy metal.
0:01:30 > 0:01:34Once upon a time, there was no heavy metal music. Anywhere.
0:01:34 > 0:01:39There was just the factory landscape of the Midlands and the industrialised North,
0:01:39 > 0:01:44where the sounds and smells of metal manufacture hung heavily in the air.
0:01:51 > 0:01:54I've always felt it's really cool that metal is synonymous with the Midlands.
0:01:54 > 0:01:57I've heard people say it's in the water, things like that.
0:01:57 > 0:02:02And it's this steel industry thing that used to be,
0:02:02 > 0:02:04with drop forges and all that.
0:02:04 > 0:02:09I can remember as a kid at RC Thomas School in Bloxwich,
0:02:09 > 0:02:12we'd be doing English, and we'd be next to a metal foundry,
0:02:12 > 0:02:16and the steam hammers would be banging up and down.
0:02:16 > 0:02:18The whole desk would be shaking.
0:02:18 > 0:02:21You could always hear the steam hammers.
0:02:21 > 0:02:24There was always a steel mill
0:02:24 > 0:02:27within audible distance.
0:02:31 > 0:02:33Walking home, you'd get all the,
0:02:33 > 0:02:35they can't do it now, but in those
0:02:35 > 0:02:38days the air was full of all these bits of metal grit,
0:02:38 > 0:02:41you could taste it and you could breathe it in.
0:02:45 > 0:02:48It's so simple, really. If you were born in Mecca, for example,
0:02:48 > 0:02:51it's most unlikely you are going to grow up to be a Catholic.
0:02:53 > 0:02:55Everything you do is shaped by your environment.
0:02:55 > 0:03:00I think by the time you get to eight years old, when your mind starts becoming very fertile, and your
0:03:00 > 0:03:05imagination is shaped by the house you live in, the street you live in.
0:03:05 > 0:03:10If you had to get up at seven in the morning and walk into British Steel on a frosty morning,
0:03:10 > 0:03:14the other thing that it does, it gives you determination to get out of there.
0:03:20 > 0:03:22Maybe it was a kind of escape.
0:03:22 > 0:03:27You can't nip down to the beach with your acoustic guitar, can you?
0:03:27 > 0:03:29You are stuck in your bedroom
0:03:29 > 0:03:31with a fuzzy guitar.
0:03:31 > 0:03:36It comes out of the North, in swathes.
0:03:37 > 0:03:40You look at those pictures of people with
0:03:40 > 0:03:44a cigarette in the corner of their mouth, a dark look in their eye.
0:03:44 > 0:03:47It's inner city music, isn't it?
0:03:47 > 0:03:52Some of us say from the Midlands, we actually breathed in the metal before
0:03:52 > 0:03:55it came to be a real thing and a real experience.
0:03:55 > 0:04:01And I'm sure that's true, that the connection, because of
0:04:01 > 0:04:07what metal represents to a lot of people, it's this very tough, hard, working class
0:04:07 > 0:04:11honest people from the Midlands, particularly,
0:04:11 > 0:04:14a part of the psychology, if you will,
0:04:14 > 0:04:17the roots of the metal experience.
0:04:17 > 0:04:23This now vanished industrial world incubated what would eventually become heavy metal music.
0:04:23 > 0:04:28But when were the signs of its coming first heard among the pounding jack hammers?
0:04:28 > 0:04:32Let's board a bus in the 1960s.
0:04:32 > 0:04:38No-one actually can come up with a definitive answer as to when metal really began.
0:04:38 > 0:04:42The earliest record they might well be able to identify with is the 1964
0:04:42 > 0:04:44single from the Kinks called You Really Got Me.
0:04:48 > 0:04:51# Girl, you really got me going
0:04:51 > 0:04:54# You got me so I don't know what I'm doing. #
0:04:54 > 0:04:57Dave Davies played, da na na na na.
0:04:58 > 0:05:02It's like, OK, you know, raucous guitar. It's here.
0:05:02 > 0:05:05# Yeah, you really got me now
0:05:05 > 0:05:07# You got me so I don't know what I'm doing. #
0:05:07 > 0:05:09I got a razor blade,
0:05:09 > 0:05:12and I slashed the cone of the speaker up.
0:05:15 > 0:05:18It came out really raunchy and buzzing.
0:05:18 > 0:05:19# You really got me. #
0:05:19 > 0:05:22That might well be the moment that metal was born.
0:05:24 > 0:05:30The bass behind all great rock music is cool riffs, really.
0:05:30 > 0:05:33When it starts, that's where it starts.
0:05:33 > 0:05:35You haven't got anything at all.
0:05:35 > 0:05:39A riff makes everything else happen, I think.
0:05:39 > 0:05:44It was a great era for people inventing themselves
0:05:44 > 0:05:48and their own music, because suddenly there were less rules.
0:05:50 > 0:05:56Songs about my area, my street, my culture, my mates, my football club,
0:05:56 > 0:06:00my beliefs. And this is teenage power.
0:06:00 > 0:06:03There were bands in Birmingham, bands in Manchester, bands in Newcastle.
0:06:03 > 0:06:08There was a tremendous richness, and there was a lot to feed off.
0:06:09 > 0:06:14Then you had a period where growing musicians outgrew pop bands.
0:06:14 > 0:06:18You've just got to look at the greatest pop group that turned
0:06:18 > 0:06:22so many musicians into rock musicians. The Yardbirds.
0:06:22 > 0:06:26Eric Clapton, Jimmy Page, Jeff Beck.
0:06:30 > 0:06:34I mean, this is just one band.
0:06:34 > 0:06:37One band, but part of a movement.
0:06:37 > 0:06:41The British blues boom, youthful, aggressive and irreverent.
0:06:41 > 0:06:45We found our own way of singing it and our own way of playing it.
0:06:45 > 0:06:53And because we were young when we learnt it, we took the aggressive side of it and pushed it, I think.
0:06:53 > 0:06:57I mean, when my first band did Hoochie Coochie Man,
0:06:57 > 0:06:58we played it loud and hard.
0:06:58 > 0:07:03Blues, you can only play 12 bars for so long, you know.
0:07:03 > 0:07:09Yeah, well, even now it's boring really, certainly English blues is.
0:07:09 > 0:07:11I suppose it was a post beatnik thing as well,
0:07:11 > 0:07:14that was more applicable to us, than people who were a little,
0:07:14 > 0:07:17half a generation before us, expressing yourself.
0:07:17 > 0:07:20- That's was what was coming, wasn't it?- Yeah, yeah.
0:07:20 > 0:07:26We were waiting for that first little box on the floor with a button on it, to go wargh!
0:07:30 > 0:07:36Jimi Hendrix arrived in Britain from Seattle, possibly on the way to Planet Metal.
0:07:39 > 0:07:42Jimi Hendrix is one of ours. It doesn't matter who tries to
0:07:42 > 0:07:46claim him as being Hendrix the guitar god, blah de blah de blah.
0:07:46 > 0:07:48He belongs to rock and metal.
0:07:48 > 0:07:53That's where he is, that's where he belongs, he is one of us, if you want.
0:07:53 > 0:08:01Everybody looked up to Hendrix, and Hendrix might have pioneered the distortion and feedback and wa-wa.
0:08:01 > 0:08:06And several things people probably took from Hendrix.
0:08:06 > 0:08:13But he was sort of more blues, and he didn't get into that hard rock,
0:08:13 > 0:08:20like repetitive riffs, that maybe Deep Purple and Sabbath started doing.
0:08:27 > 0:08:29It was at that point that I realised
0:08:29 > 0:08:32I'd like to do that, you know,
0:08:32 > 0:08:35as opposed to work for British Steel, which I did at the time.
0:08:35 > 0:08:39A band that I think perhaps
0:08:39 > 0:08:43had quite a bit to do with what became hard rock
0:08:43 > 0:08:45which became heavy metal, and I'd like to put forward Cream.
0:08:59 > 0:09:04By the time they split up in 1968, Cream had transformed American blues
0:09:04 > 0:09:11into British psychedelic rock with heavy riffs, pounding drums, screaming vocals and wailing guitar.
0:09:11 > 0:09:15Almost every essential component of a future metal performance.
0:09:17 > 0:09:18Cream came along.
0:09:18 > 0:09:24People like Fleetwood Mac and a whole bunch of offshoots from blues players that were progressing.
0:09:24 > 0:09:29And, that word is so important, because they progressed in many ways,
0:09:29 > 0:09:32and they had each got their own individual styles.
0:09:32 > 0:09:37# Look out, helter-skelter!
0:09:37 > 0:09:40# She's coming down fast
0:09:40 > 0:09:43# Yes, she is! #
0:09:43 > 0:09:47Some individual styles became dark and disturbing, as the hippie dream
0:09:47 > 0:09:51was shattered by drug deaths, Altamont, and the Manson murders.
0:09:51 > 0:09:54Things were getting heavy.
0:09:54 > 0:09:57The sinister theatricality of Arthur Brown
0:09:57 > 0:10:01inspired future metal performers, as did his extreme vocal range.
0:10:06 > 0:10:12He came to our school and did a show, and it was incredible.
0:10:12 > 0:10:14He'd got this Wagnerian tenor range
0:10:14 > 0:10:18with things bolted on at each end that Wagner never really thought of.
0:10:18 > 0:10:20The light show and everything else.
0:10:20 > 0:10:24Although we came from that time of the hippies,
0:10:24 > 0:10:33we were not actually like the blissed out ones.
0:10:33 > 0:10:37I had a lot of violent energy.
0:10:39 > 0:10:41# Take it to burn. #
0:10:41 > 0:10:43It was quite nightmarish in some aspects.
0:10:43 > 0:10:50I had to leave one concert on the floor of a taxi covered by a carpet because the Hell's Angels
0:10:50 > 0:10:53were going to get me for saying I was the god of hellfire.
0:10:53 > 0:10:56"You think you're tough? Hey."
0:11:08 > 0:11:12Beat writer William Burroughs had introduced the phrase "heavy metal"
0:11:12 > 0:11:17to the sub culture in his sci-fi Nova trilogy, published in the early '60s.
0:11:17 > 0:11:19# Get your motor runnin'
0:11:19 > 0:11:23- # Head out on the highway. # - 'Heavy metal gimmick.'
0:11:23 > 0:11:26- # Lookin' for adventure. # - 'Heavy metal gimmick.'
0:11:26 > 0:11:29# In whatever comes our way
0:11:30 > 0:11:33# Yeah, darling Gonna make it happen. #
0:11:33 > 0:11:37It was first heard as a lyric in 1968, courtesy of the American
0:11:37 > 0:11:42hard rock band Steppenwolf in their anthemic tribute to the motorbike.
0:11:43 > 0:11:45# I like smoke and lightnin'
0:11:46 > 0:11:49# Heavy metal thunder
0:11:49 > 0:11:52# Heavy metal thunder
0:11:53 > 0:11:55# Heavy metal thunder
0:11:56 > 0:11:58# Racin' with the wind... #
0:12:01 > 0:12:05Heaviness, of course, wasn't exclusively British.
0:12:07 > 0:12:13Heaviest of all was Blue Cheer, then perhaps the loudest, grungiest band in the world.
0:12:18 > 0:12:21# Sometimes I wonder what I'm just gonna do
0:12:21 > 0:12:25# No, there ain't no cure for the summertime blues. #
0:12:25 > 0:12:32Fuzzed out, really powerful guitars, they really didn't lay into a comfortable hippie area.
0:12:37 > 0:12:41# Well if you want to use the car to go ridin' next Sunday... #
0:12:41 > 0:12:45If you think about that era, 1967, psychedelia, flower power,
0:12:45 > 0:12:52everything like that, and the Blue Cheer guys came out with something really heavy, it hit you so hard.
0:12:52 > 0:12:55# Sometimes I wonder What I'm gonna do
0:12:55 > 0:12:58# No, there ain't no cure For the summertime blues. #
0:12:58 > 0:13:02There was heavy Stateside, yes.
0:13:02 > 0:13:07But it was quite, it was a light heavy, if I can put it that way.
0:13:07 > 0:13:10I mean, Vanilla Fudge, brilliant,
0:13:10 > 0:13:15astonishing musicianship and inventiveness.
0:13:15 > 0:13:20But it didn't hold the heaviness. It would float off.
0:13:20 > 0:13:24# Set me free, why don't you, babe?
0:13:25 > 0:13:30# Get out my life Why don't you, babe?
0:13:31 > 0:13:35# You really don't want me
0:13:35 > 0:13:41# You just keep me hanging on. #
0:13:42 > 0:13:49I think Vanilla Fudge were hugely influential on rock music.
0:13:49 > 0:13:56It was the first time we thought of hard rock perhaps as opposed to rock and roll.
0:14:10 > 0:14:16In Britain, the Edgar Broughton Band chose not to fudge it.
0:14:16 > 0:14:19This underground trio weren't heavy metal.
0:14:19 > 0:14:22But they were heavy.
0:14:22 > 0:14:25Up until then, you'd really either got to be a blues band or...
0:14:25 > 0:14:28- A pop band. - Or a pop band or a beat band.
0:14:28 > 0:14:33With the psychedelic progressive era happening, you could sort of do your
0:14:33 > 0:14:36own thing, you didn't have to be exactly labelled quite the same.
0:14:36 > 0:14:39Hi, kid.
0:14:39 > 0:14:41Hello, sir.
0:14:41 > 0:14:45# What you wanna do, boy? #
0:14:45 > 0:14:52In some ways, we were almost like hell bent on not being progressive in some respects.
0:14:52 > 0:14:59# Do you want to go to war, boy? #
0:15:00 > 0:15:04Oh, yes, please, sir. Yes, please, sir.
0:15:06 > 0:15:10But in terms of the metal, if you go to the first album, and songs like
0:15:10 > 0:15:12Psychopath on the second album,
0:15:12 > 0:15:17there was something sort of pre-industrial music about that.
0:15:17 > 0:15:22Very riffy, very, very hard, basic three-piece stuff.
0:15:24 > 0:15:27INDISTINCT LYRIC
0:15:31 > 0:15:33# Love in the rain
0:15:35 > 0:15:37# Love in the rain... #
0:15:41 > 0:15:44There weren't many bands that could go on after us.
0:15:44 > 0:15:47- No, really.- Because?
0:15:47 > 0:15:48Well, because they didn't want to.
0:15:48 > 0:15:54By the time we'd finished and our audience had finished with us...
0:15:54 > 0:15:56Sometimes, people were a bit drained.
0:16:08 > 0:16:11It might not have had the sort of sheet metal of metal,
0:16:11 > 0:16:15but it definitely had the kind of balls of it, and the basic
0:16:15 > 0:16:19stance, I suppose, dealing again with quite dark things.
0:16:19 > 0:16:23Then Zeppelin popped up on the scene, and that was it.
0:16:23 > 0:16:25MUSIC: Dazed And Confused by Led Zeppelin
0:16:28 > 0:16:30They were the catalyst.
0:16:42 > 0:16:48Because it's really guitar-based, really riffy, really heavy at times.
0:16:48 > 0:16:52Without them having to resort to putting on leather jackets and things.
0:16:52 > 0:16:56There was always a classiness about Zeppelin, where they'd come up with
0:16:56 > 0:17:01these great riffs, and the four people would just nail that track.
0:17:04 > 0:17:08# Run around, sweet baby.... #
0:17:08 > 0:17:10It was just frenzied, tight. So tight.
0:17:15 > 0:17:16Page's sound wasn't that big.
0:17:16 > 0:17:21A scratchy sound, a lot of it, it wasn't really thick and huge.
0:17:23 > 0:17:25But it was all punched out, you know.
0:17:30 > 0:17:33And this drummer was featured.
0:17:36 > 0:17:38And this frenetic vocal line on top.
0:17:39 > 0:17:44# I've been dazed and confused so long it's not true. #
0:17:44 > 0:17:47So that there was really the motivation, I think,
0:17:47 > 0:17:49for the sound to develop.
0:17:49 > 0:17:51It all comes in the basic form
0:17:51 > 0:17:57from the exchange of American blues into blues rock, then into electric
0:17:57 > 0:18:02psychedelic rock, progressive rock, and then the early strains of metal.
0:18:05 > 0:18:09Those strains eventually came in 1969 from Earth,
0:18:09 > 0:18:11a struggling blues rock-type band
0:18:11 > 0:18:15comprising a bunch of blokes who lived around the corner to each other in Birmingham.
0:18:15 > 0:18:22They were about to change their name and their music, and in doing so, let the beast out of the box.
0:18:26 > 0:18:29You'd have never have thought this line-up would have got together.
0:18:29 > 0:18:32I didn't even know... Geezer was a guitar player.
0:18:32 > 0:18:34He'd never played bass in his life.
0:18:39 > 0:18:42Ozzy was working in the slaughterhouse.
0:18:45 > 0:18:48And thieving.
0:18:48 > 0:18:50He did a few months in prison.
0:18:53 > 0:18:58Everybody was middle class that made it in music, except for us.
0:18:58 > 0:19:01We were ultra working class.
0:19:01 > 0:19:05We were very rough and tough when we performed.
0:19:05 > 0:19:09And Ozzy and Tony in particular, they didn't stand any bullshit.
0:19:10 > 0:19:15And if they wanted people to get involved, they were very much encouraged to get involved.
0:19:15 > 0:19:20And there were one or two fights with the audience.
0:19:20 > 0:19:25Because we wanted everybody to be a part of this music.
0:19:30 > 0:19:32Do you believe in ghosts?
0:19:32 > 0:19:35The name came from the Boris Karloff movie, Black Sabbath.
0:19:39 > 0:19:42Starring the incomparable Boris Karloff.
0:19:42 > 0:19:45Terry had brought that to us.
0:19:45 > 0:19:50And we all thought it was great because it sounded scary, you know.
0:19:53 > 0:19:57Yeah, my brother went see it when he was about 16.
0:19:57 > 0:20:01I was too young to go and see it, so he was always telling me about this film, Black Sabbath.
0:20:05 > 0:20:07I always loved that name, Black Sabbath.
0:20:09 > 0:20:15And it stuck with me. I always said, if I was in a band, that's what I would call the band, Black Sabbath.
0:20:19 > 0:20:24Well, Geezer and myself used to go to the cinema a lot and go and see a lot of horror films.
0:20:24 > 0:20:26We used to like that in them days.
0:20:26 > 0:20:29Old Boris Karloff ones,
0:20:29 > 0:20:30Christopher Lee and all that.
0:20:30 > 0:20:34We used to like that, we used to go to the midnight viewing.
0:20:34 > 0:20:40'An adventure into black magic that goes beyond the boundaries of the supernatural.'
0:20:41 > 0:20:44Black Sabbath now began writing original material
0:20:44 > 0:20:51that reflected their fascination with, and fear of, the dark side.
0:20:51 > 0:20:53I am hungry.
0:20:54 > 0:20:57I played this riff, and, oh, I really like this.
0:20:57 > 0:21:00It gave you a sort of a vibe.
0:21:00 > 0:21:04Oh, I really like what we're doing here.
0:21:04 > 0:21:11So then it had to be lyrics that went with the image of that riff.
0:21:11 > 0:21:17One night, I woke up and there was this black shape just staring at me at the bottom of the bed.
0:21:17 > 0:21:22And I was frightened, it frightened the bloody life out of me.
0:21:22 > 0:21:29I leapt out of bed and went and hid in the bathroom until I felt OK, then I came back to bed.
0:21:29 > 0:21:32The next day I told Ozzy about it
0:21:32 > 0:21:36and I think that inspired him, when he came out with the lyrics,
0:21:36 > 0:21:38"What is this that stands before me, a big black shape,"
0:21:38 > 0:21:40and all that kind of thing.
0:21:41 > 0:21:45'This is Black Sabbath.'
0:21:45 > 0:21:53# What is this that stands before me? #
0:21:54 > 0:21:58When Oz sang, "What is this that stands before me?"
0:21:58 > 0:22:00I was completely there.
0:22:02 > 0:22:09# Figure in black which points at me. #
0:22:11 > 0:22:13'I was completely there.'
0:22:13 > 0:22:19And, if we'd have stopped and never written another song again,
0:22:19 > 0:22:21that would have been enough.
0:22:21 > 0:22:23# No, please, God, help me! #
0:22:54 > 0:22:57We were very innocent, very innocent.
0:22:57 > 0:22:59We weren't smart, we weren't contrived.
0:23:01 > 0:23:06It just came out in a completely natural way at about 9.00am in the morning
0:23:06 > 0:23:11at the Aston community centre, right in the centre of Aston, Birmingham.
0:23:11 > 0:23:16Everybody was, in the world, was all on about all the good things that were happening.
0:23:16 > 0:23:19It was all flower power, everything was all jolly.
0:23:19 > 0:23:24And on the other side of it, nobody was talking about the things that had happened,
0:23:24 > 0:23:26people getting blown up,
0:23:26 > 0:23:28and just the other side.
0:23:28 > 0:23:32We'd got the good and evil, and nobody was talking about the evil.
0:23:32 > 0:23:38So it just seemed an ideal thing to talk about, really.
0:23:38 > 0:23:42Peace and love was not necessarily our reality.
0:23:48 > 0:23:53You know, we came from Aston, which is a pretty rough and tough area in Birmingham.
0:23:53 > 0:23:59And there wasn't a whole lot of flowers being handed out in Aston.
0:23:59 > 0:24:04There were a few boots, and a kick in the head every once in a while.
0:24:04 > 0:24:06And a few razor cuts.
0:24:06 > 0:24:08It was a tough town.
0:24:08 > 0:24:13We didn't actually embrace the possibility of
0:24:13 > 0:24:16going to San Francisco with flowers in our hair for very long.
0:24:16 > 0:24:19It was a couple of months in '67, really.
0:24:19 > 0:24:27And then, by the time the British winter started to bite, which is normally somewhere in October,
0:24:27 > 0:24:31I personally binned my bells and beads,
0:24:31 > 0:24:33the kaftan wasn't keeping me too warm.
0:24:35 > 0:24:42We were just reflecting on what our reality really did feel like.
0:24:42 > 0:24:43It felt like... HEAVY ROCK CHORD
0:24:43 > 0:24:45it felt like that.
0:24:45 > 0:24:47It felt like, you know.
0:24:51 > 0:24:56We suddenly went from, are you going to watchchamacallit, sticking flowers in your hair,
0:24:56 > 0:25:02to this really, "I hate you, I've had enough of this, that and the other."
0:25:02 > 0:25:07That was just a great catalyst, because suddenly people were like, "That's exactly how I feel.
0:25:09 > 0:25:13"I ain't got flowers in my bloody hair, I've got weeds around my feet.
0:25:13 > 0:25:17"That's not my life, that's not what I'm going through.
0:25:17 > 0:25:20"I've got this life, this existence that is really pissing me off.
0:25:20 > 0:25:24"And now I've got some music that's talking about that."
0:25:24 > 0:25:25MUSIC: Gypsy by Uriah Heep
0:25:30 > 0:25:34Down south, the heavy organ and guitar driven sound of Uriah Heep
0:25:34 > 0:25:38may have been a late '60s mix of progressive rock, blues rock and folk,
0:25:38 > 0:25:42but it was also, at its own admittance, very heavy.
0:25:47 > 0:25:50The very heavy side of what we did was like Gypsy,
0:25:50 > 0:25:53which you can probably say is nowadays,
0:25:53 > 0:25:55with the journalistic pigeonholes there are, heavy metal.
0:25:55 > 0:25:59But you can never call Uriah Heep totally heavy metal, because there
0:25:59 > 0:26:02were other things that we do, like we do a beautiful acoustic
0:26:02 > 0:26:07off that album, an acoustic number called Come Away Melinda, which is vocals and acoustic.
0:26:07 > 0:26:10So, we always as a band wanted to do that,
0:26:10 > 0:26:14we wanted to exploit all of that so we could never fall under one banner.
0:26:14 > 0:26:18But, a part of us are heavy metal.
0:26:18 > 0:26:25And we actually did, we used to rehearse in a place called Hanwell Community Centre in Acton.
0:26:25 > 0:26:28And in one room was Uriah Heep, and in the next room was Deep Purple,
0:26:28 > 0:26:31so that was a hell of a racket going on in there.
0:26:33 > 0:26:37An infant British heavy metal took to the road to spread the gospel
0:26:37 > 0:26:41in the alternative rock way, on A roads, B roads
0:26:41 > 0:26:44and early stretches of precious motorway.
0:26:44 > 0:26:47We were probably classed as a row, to be honest.
0:26:49 > 0:26:50A loud row.
0:26:54 > 0:26:57Everywhere you went, it was sort of soul clubs,
0:26:57 > 0:27:01and I was absolutely sick of going to places and listening to soul music.
0:27:01 > 0:27:06Because we all liked Hendrix and Cream and that kind of band,
0:27:06 > 0:27:11when we start we started writing, we obviously went with that kind of thing.
0:27:14 > 0:27:17I remember playing in pubs and we've struck the first chord up
0:27:17 > 0:27:20and been so loud that the barman's been catching the glasses.
0:27:20 > 0:27:24They jumped out of the bar and paid us and said, "But don't play any more."
0:27:27 > 0:27:30You did all the clubs, all the circuit, all the universities.
0:27:30 > 0:27:33Then you started building up a great following.
0:27:33 > 0:27:38That was the essence of it, really, getting the following and the live work.
0:27:38 > 0:27:44In the early days of metal, it was about getting in the van, driving up to Inverness, doing a show,
0:27:44 > 0:27:49and then getting back in the van, coming down to Birmingham, then driving down to Dover, you know.
0:27:49 > 0:27:55And you took the message of the music around the country to show it off.
0:27:57 > 0:28:00In person, in performance, in concert.
0:28:00 > 0:28:04Touring now is almost an industrial process.
0:28:05 > 0:28:09It was on a much more naive and more charming scale back then.
0:28:09 > 0:28:13And I never got to sample it as a kid because I never saw any rock bands.
0:28:14 > 0:28:20It was a bit like the Marquis de Sade who had all his sexual experiences
0:28:20 > 0:28:23locked in a jail cell writing his fantasies on bits of bog paper.
0:28:23 > 0:28:25I was the same with music.
0:28:25 > 0:28:28So I had all my musical fantasies...
0:28:29 > 0:28:33..locked in its boarding school equivalent.
0:28:33 > 0:28:37I could look at the gatefold album sleeves and only dream.
0:28:39 > 0:28:41MUSIC: Hush by Deep Purple
0:28:42 > 0:28:48Formed in 1967 by guitarist Ritchie Blackmore and keyboard player Jon Lord,
0:28:48 > 0:28:52Deep Purple had made three albums by 1969 and toured with Cream.
0:28:52 > 0:28:56But they were on the road to heavy metal, in search of an original sound.
0:28:57 > 0:29:02# Hush, hush, I thought I heard her calling my name... #
0:29:02 > 0:29:05People who put the money up that enabled Ritchie Blackmore
0:29:05 > 0:29:11and myself to start Deep Purple, I think they wanted a pop band.
0:29:11 > 0:29:17And then they got this kind of two-faced thing that they got with Purple at first,
0:29:17 > 0:29:22because the band didn't know what it was. We had a hit single with a cover of Hush.
0:29:22 > 0:29:26And yet we were doing these weird psychedelic prog rock
0:29:26 > 0:29:29introductions to other people's songs.
0:29:31 > 0:29:36With the arrival of bassist Roger Glover and vocalist Ian Gillan,
0:29:36 > 0:29:40the Hairy Scream, the band released a fourth album in 1970.
0:29:40 > 0:29:45Deep Purple In Rock became a heavy milestone.
0:29:45 > 0:29:48Hendrix was an obvious influence on Ritchie.
0:29:48 > 0:29:52Vanilla Fudge were an obvious influence on the band as a whole.
0:29:52 > 0:29:59But what made us go where we went with Deep Purple In Rock, which was our calling card,
0:29:59 > 0:30:01our statement, this was us saying,
0:30:01 > 0:30:04"This is where we have arrived at and this is what we want to be."
0:30:04 > 0:30:08That came from inside. That came from within the band.
0:30:08 > 0:30:10That's where we were headed,
0:30:10 > 0:30:16from the moment that Ritchie and I sat down at 14 Gunter Grove in December 1967
0:30:16 > 0:30:20and discussed what we were doing, that's where we were headed, was Deep Purple In Rock.
0:30:31 > 0:30:35Blackmore had this vision about where he wanted his guitar to go,
0:30:35 > 0:30:39so I just went, "Well, if his guitar is going to go there then my organ has to go there.
0:30:39 > 0:30:41"The Hammond has to toughen up."
0:30:42 > 0:30:45# Oh, I wanna hear you sing... #
0:30:48 > 0:30:54We had Gillan, who had discovered this ability, as he now says, it was an aberration, he just
0:30:54 > 0:30:58discovered it one day, he could scream on a top A in full voice.
0:31:00 > 0:31:02SCREAMING
0:31:04 > 0:31:05SCREAMING
0:31:20 > 0:31:21There's no word for it in music.
0:31:21 > 0:31:24There's a word for other kinds of singing, you're a tenor,
0:31:24 > 0:31:25you're a baritone, you're a bass,
0:31:25 > 0:31:27you're a contralto, you're a soprano.
0:31:29 > 0:31:32But what I do is called screaming.
0:31:37 > 0:31:41By the end of the '60s, there was plenty to scream about.
0:31:41 > 0:31:45The Vietnam war was proof that the world was not a safe or happy place.
0:31:47 > 0:31:51When Black Sabbath first toured the States in 1971, they
0:31:51 > 0:31:55played to a nation with its own very real experiences of the dark side.
0:31:58 > 0:32:02When we came over here, the Vietnam war was like,
0:32:02 > 0:32:04it was in chaos over here.
0:32:04 > 0:32:07You'd play a gig and there would literally be a line of
0:32:07 > 0:32:13police with tear gas and truncheons, like, as soon as anybody came towards the stage they'd be pummelling them.
0:32:13 > 0:32:15It was really violent over here.
0:32:19 > 0:32:22The first gig we did in Washington,
0:32:22 > 0:32:26they'd overturned a police car and set it on fire, and this was while we
0:32:26 > 0:32:30were loading the gear up, there's like a riot going on all around us.
0:32:34 > 0:32:40I think kids were so angry over here and this was the perfect music for the release of their anger.
0:32:46 > 0:32:53There were hundreds and hundreds of vets coming in to the shows, and they were in wheelchairs,
0:32:53 > 0:32:56and they would have like a flag on their wheelchair.
0:33:02 > 0:33:05So they got Children Of The Grave, they got Iron Man, you know,
0:33:05 > 0:33:09they didn't need to translate it or anything else.
0:33:09 > 0:33:12They felt it. They heard it. They enjoyed it.
0:33:12 > 0:33:18When we played War Pigs, God bless them, nearly to a man they all stood
0:33:18 > 0:33:22up and they were being held up in their wheelchairs,
0:33:22 > 0:33:26and when you see that you don't forget that.
0:33:26 > 0:33:28And um...
0:33:32 > 0:33:35I didn't know I was going to cry this morning.
0:33:39 > 0:33:41While American rock flirted with the darkness,
0:33:41 > 0:33:45British proto-metal bands faced the harsh realities
0:33:45 > 0:33:50of a '60s dream turned '70s nightmare head on.
0:33:50 > 0:33:57There's something endemic in the British psyche,
0:33:57 > 0:34:02if you like, or the British way of looking at music or being a musician that seems to
0:34:02 > 0:34:10be a quite a gritty, no-nonsense way of looking... Lennon, you know.
0:34:25 > 0:34:30It's the charge of the light brigade, isn't it? It's that British thing.
0:34:30 > 0:34:36It's that thing that every 20-year-old feels - you know everything and you're immortal.
0:34:36 > 0:34:41When I was 21, I DID know everything and I was immortal.
0:34:41 > 0:34:45I keep coming back to this word "dark".
0:34:49 > 0:34:53Dark Satanic mills, you know, it's there in Blake's poetry.
0:34:56 > 0:35:00I think it's part of the British character.
0:35:00 > 0:35:03There's a cynicism, there's a darkness about us.
0:35:03 > 0:35:10You can go to any village or town in, you know, England, Wales, Scotland, Ireland,
0:35:10 > 0:35:15and pluck out a history book of that area and it's seeped in it.
0:35:15 > 0:35:17You know, so...
0:35:17 > 0:35:18for me, being a lyricist,
0:35:18 > 0:35:23writing that type of song, it's a fantastic place to be, actually!
0:35:27 > 0:35:32Already the feeling of a lot of people was,
0:35:32 > 0:35:36"Hang on a minute, we're making our own kind of new sound here."
0:35:36 > 0:35:39Metal, heavy metal music, comes from the UK.
0:35:49 > 0:35:51The first strains of British heavy metal,
0:35:51 > 0:35:55under the leadership of Black Sabbath, were drenched in doom and gloom.
0:35:55 > 0:35:59The fairies and wizards of progressive rock became demons and devils
0:35:59 > 0:36:06in a contemporary world characterised by paranoia and dysfunction, loneliness and fear.
0:36:10 > 0:36:17Sabbath were a conundrum because nobody sounded like Ozzy.
0:36:17 > 0:36:22He was a great interpreter of...something,
0:36:22 > 0:36:28some kind of strange, scary soul that came through the music,
0:36:28 > 0:36:33and it was just the right kind of voice to complement the riffs.
0:36:33 > 0:36:35And the riffs just seemed
0:36:35 > 0:36:40to have their origin in the dark night of the soul of every adolescent.
0:36:43 > 0:36:45That element of darkness,
0:36:45 > 0:36:50that kind of sombre, melancholy, you know,
0:36:50 > 0:36:51not exactly doom and gloom,
0:36:51 > 0:36:55but talking about things that in popular music you never went there.
0:36:55 > 0:36:58You know, the Beatles, "She loves you, yeah, yeah".
0:36:58 > 0:37:02And metal bands were singing about the angst
0:37:02 > 0:37:07and the pain and the difficult things in life.
0:37:07 > 0:37:10That was quite an important statement.
0:37:15 > 0:37:18Despite being ridiculed by the rock press,
0:37:18 > 0:37:22the early rumblings of British heavy metal began to surface around the country.
0:37:22 > 0:37:25They were heard in the Welsh Valleys courtesy of Budgie,
0:37:25 > 0:37:29a band that adhered more to the blues-based power of Led Zeppelin and Free
0:37:29 > 0:37:32than the paranoia of Black Sabbath.
0:37:32 > 0:37:35British heavy metal was still in a molten state
0:37:35 > 0:37:39as it edged its way through communities that were also on the brink of change.
0:37:43 > 0:37:46A lot of places around the Valleys,
0:37:46 > 0:37:49the South Wales Valleys,
0:37:49 > 0:37:51every village would have ten clubs in it.
0:37:51 > 0:37:54You had the Labour Club, the Conservative Club,
0:37:54 > 0:37:56the Liberal Club, the non-political club,
0:37:56 > 0:37:58the Miners' Welfare, the rugby club.
0:37:58 > 0:38:01And they'd all have a shindig on a Saturday night.
0:38:01 > 0:38:03# I ain't messin'
0:38:03 > 0:38:05# Call your name
0:38:05 > 0:38:07# Don't you ever
0:38:07 > 0:38:10# Turn your back on a friend
0:38:10 > 0:38:14# Slowly come, girl, to my bed
0:38:14 > 0:38:17# Underrated
0:38:17 > 0:38:20# Underfed... #
0:38:20 > 0:38:23You're chopping licks. There are gaps.
0:38:23 > 0:38:26Bam, gap. Ba-dum-dum, gap.
0:38:26 > 0:38:28In-between that gap, there's this drum.
0:38:28 > 0:38:30Bam ba-um-pum da, you know.
0:38:30 > 0:38:32It fills the gap.
0:38:42 > 0:38:47Pound it out with a big fat chord, and I'd just get a big kick.
0:38:47 > 0:38:49We all did. That's what we liked doing.
0:38:49 > 0:38:54# Slowly come, girl, to my bed
0:38:54 > 0:38:57# Underrated
0:38:57 > 0:38:58# Underfed... #
0:38:58 > 0:39:05Never bought a Black Sabbath album or Uriah Heep or Deep Purple, never did. Not my type of music.
0:39:05 > 0:39:07I wasn't interested.
0:39:09 > 0:39:12Black Sabbath, who were signed at the same time as us,
0:39:12 > 0:39:14they were doing their demos,
0:39:14 > 0:39:18we had to wait till they finished theirs so we could do ours.
0:39:18 > 0:39:20What did they come out with? Paranoid.
0:39:20 > 0:39:23Think of Communication Breakdown.
0:39:23 > 0:39:26It's the same thing. They did it slightly differently,
0:39:26 > 0:39:29put their chop chording in a different place.
0:39:29 > 0:39:30But they'd wised up.
0:39:30 > 0:39:32MUSIC: Paranoid by Black Sabbath
0:39:40 > 0:39:45# Finished with my woman cos she couldn't help me with my mind
0:39:45 > 0:39:48# People think I'm insane
0:39:48 > 0:39:50# Because I am frowning all the time... #
0:39:50 > 0:39:54Throughout the early '70s, as hard rock became heavy rock,
0:39:54 > 0:40:00the essential component that would drive heavy metal began to assert itself -
0:40:00 > 0:40:03the primary power source that was the guitar riff.
0:40:03 > 0:40:09# All day long I think of things But nothing seems to satisfy
0:40:09 > 0:40:14# Think I'll lose my mind if I don't find something to pacify... #
0:40:14 > 0:40:17HE PLAYS "PARANOID" RIFF
0:40:24 > 0:40:27Tony Iommi's riffs were always heavy.
0:40:27 > 0:40:31They were big and they were never up the fretboard,
0:40:31 > 0:40:34they were always down there.
0:40:34 > 0:40:38The essential thing for a metal song
0:40:38 > 0:40:42is the guitar riff has to be killer.
0:40:42 > 0:40:44Symptom Of The Universe.
0:40:44 > 0:40:46HE PLAYS RIFF
0:40:48 > 0:40:50HE LAUGHS
0:40:50 > 0:40:53What came first, the riff or the chicken? I don't know.
0:40:53 > 0:40:55Or the singer or the egg? I don't know.
0:40:55 > 0:41:01But it's interesting that with blues...
0:41:01 > 0:41:05there were always some kind of riffs that were very simple,
0:41:05 > 0:41:06and this is how it started.
0:41:06 > 0:41:08PLAYS RIFF
0:41:15 > 0:41:16That one.
0:41:16 > 0:41:18Brook Benton had a hit record
0:41:18 > 0:41:24with a song called Kiddio, which had a riff which went...
0:41:24 > 0:41:28HE HUMS RIFF # Told you, baby, how I feel... #
0:41:28 > 0:41:30And it's that "duh-doodle-de-dum".
0:41:30 > 0:41:35And you hear that on a lot of riffs, and then suddenly,
0:41:35 > 0:41:39some years later, you hear the, "duh-doodle-de-dum, tsh"
0:41:39 > 0:41:44You hear, "ba-ding-guh-ding-ding chukka-tsh, chukka-tsh".
0:41:44 > 0:41:48Same notes, just a different slant on the whole thing, and it's blues-based.
0:41:48 > 0:41:50Smoke On The Water is one, isn't it?
0:41:50 > 0:41:52PLAYS POWER CHORDS
0:41:57 > 0:42:04The riff of Black Night was actually nicked from a little bass riff
0:42:04 > 0:42:08under Ricky Nelson's version of Summertime.
0:42:08 > 0:42:13That just... You know, that just went like that...
0:42:13 > 0:42:14PLAYS "BLACK NIGHT" ON PIANO
0:42:18 > 0:42:21MUSIC: Black Night by Deep Purple
0:42:23 > 0:42:25We just put that turnaround in it.
0:42:32 > 0:42:34So riffs had always been part of it,
0:42:34 > 0:42:38but then they got louder and then they became a part of the song.
0:42:38 > 0:42:41# Black night, black night
0:42:41 > 0:42:45# I don't need black night
0:42:45 > 0:42:48# I can't see dark light
0:42:48 > 0:42:51# Maybe I'll find on the way down the line
0:42:51 > 0:42:54# That I'm free
0:42:54 > 0:42:57# Free to be me
0:42:58 > 0:43:05# Black night is a long way from home... #
0:43:06 > 0:43:11And I think each band tries to "out-heavy" the next.
0:43:11 > 0:43:15- You need a heavy-o-meter! - Maybe, yeah!
0:43:15 > 0:43:17Heavy-osity.
0:43:20 > 0:43:24By the mid-70s, proto-metal had developed a pact with its growing audience
0:43:24 > 0:43:29to provide ear-splitting, bone-crunching walls of sound.
0:43:29 > 0:43:33The music was becoming louder as well as prouder.
0:43:36 > 0:43:42We were playing something that was responsive, you would have to respond to it.
0:43:42 > 0:43:45We very much wanted to say,
0:43:45 > 0:43:48"Hey, we're playing here. Listen to us."
0:43:48 > 0:43:51MUSIC: Hand Of Doom by Black Sabbath
0:43:51 > 0:43:53# From life you escape
0:43:55 > 0:43:59# Reality will wait ... #
0:43:59 > 0:44:05So that's one of the core reasons why we got louder,
0:44:05 > 0:44:07got much, much louder.
0:44:07 > 0:44:08We got very loud.
0:44:12 > 0:44:16We used volume to enhance certain parts.
0:44:16 > 0:44:17You'd play a quiet part
0:44:17 > 0:44:21and then the volume coming in to a loud bit would be more power.
0:44:21 > 0:44:27We tried to use it in not just because it's loud,
0:44:27 > 0:44:29we tried to use it as a part of the song.
0:44:45 > 0:44:50Those people that don't understand metal, firstly it's, "It's too loud, it does my head in."
0:44:50 > 0:44:53For us, that's the joy of it, that's the luxury of it.
0:44:53 > 0:44:56Give us more volume, turn everything past ten.
0:44:56 > 0:44:57You've got to crank it up.
0:44:57 > 0:44:59You need steam coming out of it.
0:44:59 > 0:45:02You need your foot to the floor, pedal to the metal.
0:45:02 > 0:45:04You need it at maximum revs.
0:45:04 > 0:45:06You'll never get off the ground otherwise.
0:45:20 > 0:45:24When Blackmore was grinding it out on the other side of the stage,
0:45:24 > 0:45:30there was tremendous excitement, you know, I wanted to hear that Hammond growling away madly.
0:45:38 > 0:45:43I rapidly became quite pleased that we were on the stage and not in the audience.
0:45:43 > 0:45:46Lucky for us,
0:45:46 > 0:45:48we've got these ears here to protect us
0:45:48 > 0:45:51because we've got the flaps here and the music is behind us.
0:45:51 > 0:45:54But these, they're right in the front of it, you know!
0:45:56 > 0:46:00# Well nobody gonna take my wife I'm gonna keep her everywhere
0:46:00 > 0:46:05# Nobody gonna take my wife I'm gonna keep her to the end. #
0:46:05 > 0:46:10You'd see suddenly wall-to-wall Marshall stacks that had you
0:46:10 > 0:46:14cowering in the corner before they even turned on the standby switch.
0:46:17 > 0:46:22In fact, often the cry came up from the crowds, "Turn it up!"
0:46:22 > 0:46:24MUSIC: Mars, The Bringer Of War from The Planets by Holst
0:46:24 > 0:46:28The dark heavy metal sound and its powerful dynamic range owed
0:46:28 > 0:46:32a debt to the shock and awe of symphonic music.
0:46:33 > 0:46:38I definitely think classical music plays its part in heavy metal.
0:46:39 > 0:46:42Why are orchestras so big? Why do they have such huge
0:46:42 > 0:46:46brass sections and string sections in symphony orchestras?
0:46:46 > 0:46:49You could quite easily play the same music with a couple of each.
0:46:57 > 0:47:03The reason they have 80 or 90 or a hundred if they can, with these huge, massive percussion sections and
0:47:03 > 0:47:05eight double basses,
0:47:05 > 0:47:07it's amazing.
0:47:07 > 0:47:09It's natural to want to create power.
0:47:11 > 0:47:13# Breaking the law! Breaking the law! #
0:47:13 > 0:47:18Some bands, inspired by the heaviness of Sabbath, Deep Purple and Uriah Heap,
0:47:18 > 0:47:24pushed the music further away from its blues roots and into a faster form of metal-sounding rock.
0:47:27 > 0:47:33Birmingham based Judas Priest began forging a new kind of high tensile British Steel,
0:47:33 > 0:47:38less gloomy but pumped up with the volume of not one but two guitars.
0:47:47 > 0:47:50While one of the guitarists plays lead break
0:47:50 > 0:47:51the other can play rhythm.
0:47:54 > 0:48:00Or you've got the great big stereo chord sound, which is again very metal.
0:48:02 > 0:48:06# I got no place, no name I'm just a killing machine. #
0:48:06 > 0:48:11A lot of our music is about, "get out there and do it with your life,"
0:48:11 > 0:48:17it's actually a very positive outlook, lyrically, on everything, you know and "survive".
0:48:17 > 0:48:21# Got expensive tastes But I hasten to add
0:48:21 > 0:48:23# That I'm the best that there is.
0:48:23 > 0:48:26# They pay me the money And I'll do the job
0:48:26 > 0:48:28# I got a contract on you. #
0:48:28 > 0:48:30There's a need for something new.
0:48:30 > 0:48:33There's a need for a new sound.
0:48:33 > 0:48:38There's a need to see a new band, to hear a new way of playing guitar, a new way of singing.
0:48:40 > 0:48:45Rob Halford's six-octave vocal range confirmed that the scream was now
0:48:45 > 0:48:48a front-line weapon in the metal armoury.
0:48:48 > 0:48:52Men in heat would sound like girls in pain.
0:48:52 > 0:48:57The high and hairy legacy of Robert Plant and Ian Gillan was here to stay.
0:48:59 > 0:49:03The Americans absolutely loved Robert Plant.
0:49:03 > 0:49:05He was the big, you know,
0:49:05 > 0:49:08blonde hair and everything else,
0:49:08 > 0:49:11and that slightly ambivalent sexuality.
0:49:11 > 0:49:13# Way down inside! #
0:49:13 > 0:49:18The Americans thought, "Great, you've just got to be tall and skinny and sing real high."
0:49:18 > 0:49:20That was the definition of a heavy metal singer.
0:49:20 > 0:49:22How does Ozzy do it?
0:49:22 > 0:49:24How does Lemmy do it?
0:49:24 > 0:49:26How do I do it? How does Bruce do it?
0:49:26 > 0:49:28Bruce is a bit younger than me.
0:49:28 > 0:49:31But I mean, it's mad, isn't it, when you think about it?
0:49:31 > 0:49:34I get up in the morning and have a cup of tea and some cornflakes,
0:49:34 > 0:49:37and that night I'm going to be on stage screaming my tits off.
0:49:39 > 0:49:42# Honey didn't I give you nearly everything I ever had to give... #
0:49:42 > 0:49:46The style of that singing, the root of that singing, you listen to some
0:49:46 > 0:49:49of the early blues singers and people like Janis Joplin...
0:49:49 > 0:49:54# When you hold me in your arms, and I say it once again... #
0:49:54 > 0:49:56When she's going absolutely crazy...
0:49:56 > 0:49:59# Oh, oh, oh gonna take it. #
0:49:59 > 0:50:04You know, what it's like she's mad, she's possessed, but that was
0:50:04 > 0:50:10unusual for a girl to put on that kind of very, almost masculine, display.
0:50:10 > 0:50:12# Arghhh-oh-oh
0:50:13 > 0:50:18# Well, you know you got it, if it makes you feel good. #
0:50:18 > 0:50:25And that's what part of metal is about for a lot of singers, it's the intensity of the performance.
0:50:25 > 0:50:28# I'm in love So in love
0:50:28 > 0:50:36# And I can't stop talking # 'Bout my love forever. #
0:50:36 > 0:50:39It's like, when I've done a show and I go back to hotel room and I'm
0:50:39 > 0:50:42lying in bed, I'm like, "Was that me? Did I just do that?"
0:50:42 > 0:50:44# My fever... #
0:50:44 > 0:50:49You've got to be able to balance it out. I'm not on stage 24 hours a day.
0:50:52 > 0:50:55I need to be able to go down to Morrisons and do my shopping.
0:50:55 > 0:50:56# Yes, I'm talking 'bout... #
0:50:58 > 0:51:02The beast was developing a uniquely tribal, highly physical relationship
0:51:02 > 0:51:09with its dedicated audience - a union that was blessed most spectacularly in concert, live.
0:51:13 > 0:51:15You feel uplifted, you feel excited,
0:51:15 > 0:51:18you feel like aggression is pouring out of you.
0:51:18 > 0:51:20You feel like you absolutely want to go, "Yeah!"
0:51:25 > 0:51:32And you know you're witnessing something very special, and everybody else around you feels the same way.
0:51:32 > 0:51:35If you don't do something
0:51:35 > 0:51:38that involves the audience, then
0:51:38 > 0:51:40you know, it's not good.
0:51:40 > 0:51:42You have to use that
0:51:42 > 0:51:48power in a great way to make people feel good and have a good time.
0:51:53 > 0:51:56A good time was being had by all.
0:51:56 > 0:51:58Well, not all, exactly.
0:51:58 > 0:52:03Audiences tended to be dominated by boys and men, absorbed in displays of private
0:52:03 > 0:52:11dancing, tribal head-banging, and air-guitar playing to a music that didn't seem to appeal much to women.
0:52:11 > 0:52:15You're in some hall somewhere, some smelly club, with a bunch of
0:52:15 > 0:52:19hairy biker types and a lot of dandruff flying around.
0:52:19 > 0:52:23I don't know, it's just not so cute, you know.
0:52:23 > 0:52:27There weren't that many women involved.
0:52:29 > 0:52:36Metal is, it's fair to say, primarily, it's primarily male.
0:52:38 > 0:52:45- It is.- Again, in the early days, it made sense, because it was a very brutal, intense type of experience.
0:52:45 > 0:52:48Somehow, metal became a male domain and male province,
0:52:48 > 0:52:50because of the lifestyle, the denim and leather,
0:52:50 > 0:52:52the patches and so forth, the collectability -
0:52:52 > 0:52:56it all spoke to the male psyche, rather than the female one.
0:52:56 > 0:53:00Because it's primarily male, people assume it's therefore sexist,
0:53:00 > 0:53:02and actually it's not, it's very inclusive.
0:53:02 > 0:53:05When you do get included in it,
0:53:05 > 0:53:07um...it's great.
0:53:07 > 0:53:14It's just that girlies do Hannah Montana more, which is a shame.
0:53:14 > 0:53:16Because I wish they would do a bit more metal.
0:53:18 > 0:53:22Audiences also dressed exactly like their favourite bands.
0:53:22 > 0:53:26Long hair, denim and leather, patches and insignia, seemed to be
0:53:26 > 0:53:30the obligatory proto-metal dress code of those offstage and on.
0:53:32 > 0:53:40You know, the bell-bottoms, the long hair, the whole thing, it was the total package, wasn't it?
0:53:40 > 0:53:41Down on your knees, giving it some.
0:53:41 > 0:53:43Happy days!
0:53:44 > 0:53:48The Americans really had scarves and things wrapped around.
0:53:48 > 0:53:55They did, Aerosmith and Van Halen, it was all a bit, you know, a bit west coasty, Beach Boy thing.
0:53:55 > 0:54:00But we were more studs and metal, and swords, and medieval.
0:54:00 > 0:54:02I think it's the history thing.
0:54:05 > 0:54:11Among the British bands, it was Judas Priest who would take the heavy metal look further, firstly
0:54:11 > 0:54:14with brightly-coloured spandex, and then on to what became the classic,
0:54:14 > 0:54:23faintly homoerotic, metal uniform of tight black leather and studs - the biker look, including the bike.
0:54:26 > 0:54:30The big thing was, it became international.
0:54:30 > 0:54:33It went out of the borders of the UK and Europe, and started
0:54:33 > 0:54:36to go all over the place, particularly in the States.
0:54:39 > 0:54:42Come on, let's have a party!
0:54:44 > 0:54:49British heavy metal proved to be a hugely successful export, particularly in the States.
0:54:49 > 0:54:53Its toughness, directness, monster sound, and sheer sense of scale,
0:54:53 > 0:55:00seemed to strike a power chord with blue-collar America, from Pittsburgh to Detroit, New York to LA.
0:55:04 > 0:55:08While bands like Sabbath and Uriah Heap were still unsung prophets in
0:55:08 > 0:55:15their own land, the vast touring network of the States rewarded them with adulation, money and success.
0:55:15 > 0:55:18We had the Learjets, and we had the whole
0:55:18 > 0:55:21floor of the hotel, bodyguards outside...
0:55:21 > 0:55:23It was all silly stuff, but it was just fantastic.
0:55:23 > 0:55:27They just took it on board and they couldn't get enough of it. Yeah.
0:55:27 > 0:55:30That's when we really did
0:55:30 > 0:55:33come into a load of "different"
0:55:33 > 0:55:35people, let's put it that way.
0:55:35 > 0:55:41They came out of the woodwork, some real strange people, witches and all sorts of things.
0:55:41 > 0:55:44We attracted so many strange people.
0:55:44 > 0:55:49We used to have wizards turning up at the dressing room, and outside
0:55:49 > 0:55:52and we would bring them in and have a laugh with them, you know.
0:55:52 > 0:55:57It got really, really silly, you know, wizards turning up everywhere!
0:55:57 > 0:56:01# You've got to be our baby
0:56:01 > 0:56:07# You've got to be our baby, to go to heaven. #
0:56:07 > 0:56:12If some Americans worshipped at the altar of British heaviness, others adopted the role of
0:56:12 > 0:56:16Witchfinder Generals, self-appointed saviours fighting
0:56:16 > 0:56:20to protect the vulnerable souls of America's impressionable youth.
0:56:20 > 0:56:24# ..to go to heaven. #
0:56:25 > 0:56:28You'd switch the local news on and you'd hear,
0:56:28 > 0:56:32"Black Sabbath are in town, and they're all Satanists.
0:56:32 > 0:56:35"If you're going to the concert, don't look them in the eyes
0:56:35 > 0:56:37"or forever you'll be possessed."
0:56:37 > 0:56:40- Hail Satan.- Hail Satan.
0:56:41 > 0:56:46A lot of the people that believed in Jesus Christ were really, really
0:56:46 > 0:56:52convinced that we were a Satanic band, an evil band, and deserved to die.
0:56:52 > 0:56:55And I believe they actually tried that a couple of times.
0:56:55 > 0:56:59We were due to play in America at this town,
0:56:59 > 0:57:02and the church banned us from playing.
0:57:02 > 0:57:07For some reason the church got burnt down, and guess who got the blame?
0:57:11 > 0:57:18So they really did think that we were a band that had a manager called Lucifer.
0:57:18 > 0:57:22Actually, we did have a manager called Lucifer, but that's a different story.
0:57:26 > 0:57:32Satan went mainstream in 1973 with the American movie, The Exorcist.
0:57:32 > 0:57:36But America's fundamentalist fear of unwittingly importing British
0:57:36 > 0:57:40paganism through music wasn't totally unfounded.
0:57:40 > 0:57:46Strange goings-on were often the order of the day in Camp Heavy.
0:57:46 > 0:57:49We used to do all sorts. We used to drag people off in the night
0:57:49 > 0:57:55and go and sit in the middle of the Rollright Stones or some site, and get into all of that stuff.
0:57:55 > 0:57:59That, that was in... I mean so many things were in our music.
0:57:59 > 0:58:04There was a lot of stuff going on. There was with you, you were into a bit of dark,
0:58:04 > 0:58:05- dark stuff.- Me? Was I?
0:58:08 > 0:58:11Briefly, a brief flirtation with the old darker side.
0:58:11 > 0:58:15But, I suppose it was something everybody was getting into.
0:58:15 > 0:58:19It was taboo to talk about things like Aleister Crowley..
0:58:19 > 0:58:21Spiritual things and occult things...
0:58:21 > 0:58:26No, no, we're not all devil worshippers.
0:58:26 > 0:58:30I think most bands will deny that they're,
0:58:30 > 0:58:33that they're in league with Satan.
0:58:38 > 0:58:43I got this flat on my own, and I painted it all black and had all
0:58:43 > 0:58:48these crosses upside down everywhere, and pictures of Satan and everything.
0:58:48 > 0:58:51The aim is always at Christ, you know, Christianity.
0:58:51 > 0:58:53That's where it's always at.
0:58:53 > 0:58:57Judas Priest, Black Sabbath, and all the rest of them,
0:58:57 > 0:59:01the names are all fiddling around and want to sound menacing.
0:59:01 > 0:59:05The lords of the watch towers of the South...
0:59:05 > 0:59:09I'm a Christian, so I don't mess with anything like that.
0:59:09 > 0:59:15Cos I read in the Bible it's a bad thing to mess around with anything.
0:59:18 > 0:59:20In my particular case,
0:59:20 > 0:59:22I stopped doing certain things
0:59:22 > 0:59:29very early on in our career, because things got
0:59:29 > 0:59:33out of control, that's the best way I can put it.
0:59:34 > 0:59:37I'll leave that as something that was private to me.
0:59:40 > 0:59:45Because there is macabre inside us, inside everyone.
0:59:49 > 0:59:55Lust is such a large source of energy that can drain us,
0:59:55 > 0:59:57in good ways and bad ways.
0:59:57 > 1:00:01There was a lot of weird things happened within Sabbath
1:00:01 > 1:00:03that we couldn't explain.
1:00:06 > 1:00:10It might have been the drugs, but...
1:00:10 > 1:00:12I don't think so.
1:00:12 > 1:00:18As the night wears on, the witches, by tradition, become more frenzied in their enjoyment of this religion.
1:00:18 > 1:00:26In their eagerness to prove their magical powers, they show their ability to ignore pain.
1:00:26 > 1:00:30This is just beyond... these people...
1:00:30 > 1:00:35those kids that are doing it, they don't believe they are doing anything particularly wrong,
1:00:35 > 1:00:38they don't believe there's a devil, they don't believe there's a God,
1:00:38 > 1:00:40they just think it's a lark.
1:00:41 > 1:00:47There's a few Satan references in some of our songs and lyrics.
1:00:47 > 1:00:52I don't know why, it just seems
1:00:52 > 1:00:57right to be singing about that kind of subject matter over this kind of music.
1:00:57 > 1:01:01"Love grows Where My Rosemary Goes..."
1:01:01 > 1:01:02It just doesn't fit.
1:01:02 > 1:01:07It's heavy so if it's what you call "heavy metal",
1:01:07 > 1:01:10then you've got to put a pretty heavy lyric to it.
1:01:10 > 1:01:17I suppose, writing about the darker forces and the darker sides or whatever fits the music.
1:01:17 > 1:01:22You would hardly write about a love song to that kind of heaviness.
1:01:22 > 1:01:25Somehow, "Satan is the...",
1:01:25 > 1:01:28is more appropriate, somehow,
1:01:28 > 1:01:31over this titanic riffage.
1:01:38 > 1:01:40# Oh Lord, oh Lord now help me
1:01:40 > 1:01:42# This entrance falling down
1:01:44 > 1:01:49# The madness of our father's law
1:01:49 > 1:01:52# The pain of retribution
1:01:52 > 1:01:55# The house brought down to ground
1:01:55 > 1:01:57# Sins of my ancestors
1:01:57 > 1:01:59# The judgment day's at hand. #
1:01:59 > 1:02:03They want to look demonic, though, they want to look like demons now.
1:02:03 > 1:02:05Shaved head, covered in
1:02:05 > 1:02:07tattoos, you know,
1:02:07 > 1:02:10little beardy, goatee beardy things.
1:02:10 > 1:02:13Some people say, "you set yourselves up,
1:02:13 > 1:02:16"if you're a Marilyn Manson you set yourselves up for trouble.
1:02:16 > 1:02:19"If you're Ozzy, biting the head of a bat, you set yourselves up." You don't.
1:02:27 > 1:02:32We're entertainers. That might sound a very flimsy way to describe us.
1:02:32 > 1:02:35We're entertaining you, we're giving you a great night out.
1:02:35 > 1:02:38You know. Come and see the band with your mates, have
1:02:38 > 1:02:43a great night out, and that's basically what it's about, surely.
1:02:47 > 1:02:50It did used to cross my mind that the devil could
1:02:50 > 1:02:55be included in some way, or could have his hands on it in some way.
1:02:55 > 1:03:04But, in the lust for glory of it all, you take no notice anyway and you just keep going. Say nothing.
1:03:14 > 1:03:161975.
1:03:16 > 1:03:19In a desolate location near London's North Circular,
1:03:19 > 1:03:25DJ Neal Kay established the first real home for hard rock, heavy rock,
1:03:25 > 1:03:30and heavy metal enthusiasts - The Soundhouse, bivouacked at the local pub called the Bandwagon.
1:03:33 > 1:03:37There was nowhere like this anywhere in this country at the time.
1:03:40 > 1:03:45Because it was a street-driven thing, there was no national link.
1:03:45 > 1:03:47There was no, you know.
1:03:47 > 1:03:50They were at everywhere, but they needed somewhere
1:03:50 > 1:03:54to believe in, somewhere to go, a place to call their own.
1:03:54 > 1:03:58It took five years, really, of very, very hard work
1:03:58 > 1:04:02and a lot of persistence to change the whole situation around.
1:04:02 > 1:04:06These days, as you're well aware, we run five nights a week, hard rock,
1:04:06 > 1:04:09and soul's gone straight out the door, that way, sideways.
1:04:13 > 1:04:18Neal Kay and the Soundhouse punters took the initiative and began building a scene of their own,
1:04:18 > 1:04:22one that would unite the heavy metal fraternity.
1:04:24 > 1:04:26We had regulars fly over from Northern Ireland.
1:04:26 > 1:04:28We had people come in from Jersey.
1:04:28 > 1:04:32And then, in the latter years of the Wagon, we started getting them from Europe.
1:04:32 > 1:04:35And when they arrived, they found was this huge great sound system,
1:04:35 > 1:04:38that absolutely crushed anything that stood in its path.
1:04:38 > 1:04:43So people that came to the club could hear rock as if it were a concert.
1:04:46 > 1:04:53It seemed as if the gods of rock and roll, natch, were parting the Red Sea to let us through.
1:04:58 > 1:05:02The Soundhouse quickly became the Mecca for head-banging and air guitar,
1:05:02 > 1:05:09and then the birthplace of a new form of spectator sport, courtesy of club regular, Rob Loonhouse.
1:05:09 > 1:05:15Rob walked in the door one day somewhere about 1976, I guess.
1:05:15 > 1:05:17And under his arm he had this
1:05:17 > 1:05:19hardboard flying V.
1:05:19 > 1:05:20Has it got frets on it?
1:05:20 > 1:05:23No, I don't bother with frets, you know.
1:05:23 > 1:05:26I think it's taking the piss a bit, really,
1:05:26 > 1:05:27when you put frets on it.
1:05:27 > 1:05:30You're making it look too much like a real guitar.
1:05:30 > 1:05:35Everyone said, "Rob, what are you going to do with that, there's no strings on it?"
1:05:35 > 1:05:37"Well, I don't need strings".
1:05:39 > 1:05:44Later that night, Loonhouse birthed a new sub-species of the beast.
1:05:46 > 1:05:49Suddenly, Rob appears in front of everyone, and he starts playing it
1:05:49 > 1:05:53along with the solo, and he's absolutely perfect.
1:06:01 > 1:06:04When you go to a classical concert,
1:06:04 > 1:06:08you get the music on music paper to follow it through.
1:06:08 > 1:06:11You're not a lunatic for doing this, you're
1:06:11 > 1:06:16passionately wrapped up and involved in the intensity of the performance.
1:06:16 > 1:06:18You wish to follow the moves the musicians are making.
1:06:22 > 1:06:27The people coming to the Soundhouse were the same kind of people with the same ethics.
1:06:27 > 1:06:32They wanted to be inside the music, they wanted to be as close to it as they possibly could get.
1:06:35 > 1:06:39The lifeblood of the metal scene coagulated and scabbed
1:06:39 > 1:06:42into something that could now be identified.
1:06:42 > 1:06:47But the musicians who made the music were often uneasy with their new "heavy metal" tag.
1:06:50 > 1:06:52I've never liked the phrase.
1:06:52 > 1:06:54I've never applied it to Deep Purple.
1:06:54 > 1:06:56Ah, you see, the big debate of who's metal,
1:06:56 > 1:06:59who's rock, who's hard rock, and who's heavy metal.
1:06:59 > 1:07:01I liked "hard rock", because
1:07:01 > 1:07:04it said exactly what,
1:07:04 > 1:07:07what it was. It was rock-and-roll, but it was played with aggression.
1:07:07 > 1:07:10And then some people started calling it "heavy rock",
1:07:10 > 1:07:12and I'm not sure where the words "heavy" came from.
1:07:12 > 1:07:13Possibly after Black Sabbath.
1:07:13 > 1:07:15This came up many years ago with me,
1:07:15 > 1:07:18because I always classed ourselves as heavy rock.
1:07:18 > 1:07:21It kind of changed over when, um,
1:07:21 > 1:07:27Motorhead and people come out like that. It was full on. You know.
1:07:27 > 1:07:30Then they were actually "heavy metal". You know.
1:07:30 > 1:07:32# I...
1:07:32 > 1:07:34# I just took a ride
1:07:36 > 1:07:38# In a silver machine
1:07:39 > 1:07:42# And I'm still feeling mean. #
1:07:42 > 1:07:47In 1975, the man known simply as Lemmy stepped off
1:07:47 > 1:07:52Hawkwind's Silver Machine to form the band that was Motorhead.
1:07:52 > 1:07:57Out went space rock, in came the punter driven, user-friendly garage approach.
1:07:57 > 1:07:59Out went acid, in came speed.
1:07:59 > 1:08:03But, was it heavy metal thunder, or just rock-and-roll?
1:08:03 > 1:08:06He wasn't saying. He still doesn't.
1:08:09 > 1:08:12Don't analyse it, I told you, man, before we started.
1:08:12 > 1:08:14I'm not analysing it, I'm just asking!
1:08:16 > 1:08:17You're trying to understand.
1:08:17 > 1:08:19Why?
1:08:20 > 1:08:22Just enjoy it at face value, that's what I do.
1:08:24 > 1:08:27It's fairly simple, and it's very loud, and it's very fast.
1:08:27 > 1:08:31And it's great driving music if you like driving into the side of bridges.
1:08:34 > 1:08:38It's great music for hurling yourself off trees by.
1:08:40 > 1:08:42# We're moving like a parallelogram
1:08:42 > 1:08:44# Don't move I'll shut the door and kill the lights
1:08:44 > 1:08:48# If I can't be wrong, I must be right, I should be tired,
1:08:48 > 1:08:50# And all I am is wired
1:08:50 > 1:08:53# Ain't felt this good for an hour
1:08:53 > 1:08:58# Motorhead, remember me now, Motorhead all night
1:09:00 > 1:09:04# Yeah, yeah, yeah, Motorhead! #
1:09:04 > 1:09:10It gets a lot of emotion out of you that would otherwise be channelled into bad things, maybe.
1:09:20 > 1:09:21I do it cos I like it.
1:09:23 > 1:09:25I don't know why, I just like it.
1:09:26 > 1:09:29I like it. Is that so wrong?
1:09:40 > 1:09:45People who work in a factory, right, or some awful fucking mind-numbing job like that...
1:09:45 > 1:09:49Because I've worked in a factory, I know what it's like, it's fucking awful.
1:09:49 > 1:09:54Most people have to do that kind of job, that they hate, every day of their lives.
1:09:54 > 1:09:56Can you imagine what that must be like?
1:09:56 > 1:10:01You have to submerge your intellect completely and just...
1:10:01 > 1:10:04You know, all that.
1:10:04 > 1:10:07At the weekend, they want to hear something that tears their heart out
1:10:07 > 1:10:09and gives it them back better, you know?
1:10:09 > 1:10:11This one's for the people that are into modern fashion.
1:10:13 > 1:10:16By 1976, it didn't matter what you called it.
1:10:16 > 1:10:21Punk was trampling everything under foot on its DIY three-chord advance.
1:10:21 > 1:10:27Everything, that is, except metal, which seemed to have a built-in resistance.
1:10:27 > 1:10:31Its champions didn't even get their hair cut.
1:10:31 > 1:10:34I don't think punk musicians or fans really thought much about
1:10:34 > 1:10:37metal, because it didn't have that definition.
1:10:37 > 1:10:43If you said to a punk fan in 1977, "Do you like Budgie?", they would probably go, "Who?"
1:10:43 > 1:10:46If you said, "Do you like Caravan?", "Rubbish, hate them, nonsense, dire."
1:10:49 > 1:10:51I don't know if it damaged the line at all.
1:10:51 > 1:10:58I think it just kind of gave it a bit more of a kick, you know, and made it
1:10:58 > 1:11:01a bit faster and a bit more powerful.
1:11:01 > 1:11:03Maybe brought it back down to the street a bit,
1:11:03 > 1:11:07so that the kids could get back up on stage, you know?
1:11:07 > 1:11:13You can think, if these guys can put this energy out without being able
1:11:13 > 1:11:14to play very well,
1:11:14 > 1:11:18we can put a lot more energy out because we can play better.
1:11:20 > 1:11:28I used to think, I'm going to have to practise for 15 years to be as good as Ritchie Blackmore, at least.
1:11:28 > 1:11:31When punk rock came along, I thought,
1:11:31 > 1:11:36I can play like that, so maybe I should simplify my ideas a little bit.
1:11:38 > 1:11:40Ahhhhh, we're gonna start now.
1:11:42 > 1:11:45This aggression that the punk music had,
1:11:45 > 1:11:48we quite liked, you know?
1:11:48 > 1:11:50We liked it.
1:11:57 > 1:12:02I think it really affected us. I don't think we copied it in any way but I think it went into our psyche.
1:12:11 > 1:12:15Motorhead and The Damned toured together, quite a lot, so there was
1:12:15 > 1:12:23that crossover at some point between punk and metal, an energy exchange, and both happily co-existed.
1:12:26 > 1:12:31We sounded like punks so they liked us already, and then they saw we had long hair and it was too late.
1:12:31 > 1:12:33They had already committed themselves.
1:12:38 > 1:12:42I always wanted to be obnoxious because all the bands I liked were obnoxious, you know?
1:12:42 > 1:12:44MC5.
1:12:44 > 1:12:47We came out at the same time as the punks and I thought they were splendid.
1:12:47 > 1:12:51And The Damned were great fun, you know?
1:12:56 > 1:13:00Not all hard and heavy rockers survived the punk moment.
1:13:00 > 1:13:05Deep Purple, by now an international success story, gracefully retired on the battlefield.
1:13:07 > 1:13:11I think Deep Purple was becoming irrelevant,
1:13:11 > 1:13:13not just musically...
1:13:14 > 1:13:17..but to the people in the band.
1:13:17 > 1:13:21Rock made its big mistake by becoming fat
1:13:21 > 1:13:23and loathsome and bloated and pompous.
1:13:24 > 1:13:27So, less contact with the streets.
1:13:27 > 1:13:29# Sweet child in time
1:13:30 > 1:13:32# You'll see the line. #
1:13:34 > 1:13:38What had been our baby, our, er,
1:13:38 > 1:13:43shining creation, had become tarnished and a little,
1:13:43 > 1:13:45it had become overblown.
1:13:45 > 1:13:49It was playing its own cliches, rather than inventing new cliches.
1:13:54 > 1:13:57Black Sabbath were spending more time in America,
1:13:57 > 1:14:00cut off from their dark British roots, suffering from
1:14:00 > 1:14:05a creative stasis of their own, aided by old-fashioned drug and booze abuse.
1:14:05 > 1:14:10I was the one going to the record company, giving all the lines, you know?
1:14:10 > 1:14:13I'd go there and they'd say, "How's the album coming?"
1:14:13 > 1:14:14"Oh, great." "How's the songwriting?"
1:14:14 > 1:14:17"Yeah. It's really coming on."
1:14:17 > 1:14:19"When are we going to be able to hear some stuff?"
1:14:19 > 1:14:21"Soon." We hadn't got anything.
1:14:21 > 1:14:23We were totally knackered, some gigs,
1:14:23 > 1:14:27so you take a bit of the old coke to get you through the gig.
1:14:29 > 1:14:31And eventually, you start relying on it.
1:14:31 > 1:14:34We started getting heavily into drugs...
1:14:37 > 1:14:39..and doing silly things on...
1:14:41 > 1:14:43..out of our brains.
1:14:43 > 1:14:47First of all, it was very creative, we found.
1:14:47 > 1:14:51We could stay up and we were coming up with ideas and we would talk a lot more.
1:14:51 > 1:14:54Certainly with coke, we'd be up all night, talking away.
1:14:54 > 1:14:57It was fantastic, we had some great discussions.
1:14:57 > 1:15:01We'd never remember them the next day, but we had some great discussions.
1:15:01 > 1:15:05It did help a lot, to open each other up and to talk.
1:15:05 > 1:15:10When we did Vol 4, and we'd done so much... We'd done more coke...
1:15:10 > 1:15:13The cocaine bill was more than the recording bill.
1:15:13 > 1:15:16And the recording bill was 80,000.
1:15:21 > 1:15:26But later on, it got, with that and the drink,
1:15:26 > 1:15:30it sort of took an ugly turn, really.
1:15:30 > 1:15:34And the first casualty, of course, was Ozzy, you know, and Bill.
1:15:36 > 1:15:41I came off tour, not because I didn't like Tony or I didn't like Geezer or something like that.
1:15:41 > 1:15:47It's because I placed more priority on drinking than I did the band.
1:15:47 > 1:15:51And that might be a shameful thing to say, but it's the truth. That's the truth.
1:15:51 > 1:15:55And we were coming up with ideas and we'd walk in the lounge
1:15:55 > 1:15:57and Ozzy would be asleep on the couch,
1:15:57 > 1:15:59and you just couldn't...
1:15:59 > 1:16:02We couldn't communicate any more.
1:16:04 > 1:16:10Ozzy Osbourne was sacked from Black Sabbath by band-mate Bill Ward in 1979.
1:16:10 > 1:16:14Ward left the band himself soon afterwards.
1:16:17 > 1:16:21You know, anything to do with the original band, I can't...
1:16:23 > 1:16:26It's like being...
1:16:26 > 1:16:30It's like being outside of the phenomenon.
1:16:30 > 1:16:35You know, I'm very much set in that Sabbath
1:16:35 > 1:16:38is Ozzy Osbourne, Tony Iommi, Geezer Butler and Bill Ward.
1:16:38 > 1:16:42So... I just couldn't do it, and I missed Ozzy so much.
1:16:45 > 1:16:47Black Sabbath has no time.
1:16:47 > 1:16:50It doesn't abide by any time.
1:16:50 > 1:16:56And Ozzy knows how to sing to no time.
1:16:56 > 1:16:58It's a tremendous skill.
1:16:58 > 1:17:00It's really, really difficult,
1:17:00 > 1:17:06and he's so far left or far right that he has those capabilities.
1:17:06 > 1:17:10And singers that sing in time can't sing Black Sabbath...
1:17:11 > 1:17:14..because Black Sabbath is not in time.
1:17:18 > 1:17:23If the old guard now displayed signs of metal fatigue, or terminal rust,
1:17:23 > 1:17:28a new generation of post-punk metal bands was ready to take up the crusade.
1:17:28 > 1:17:32The press called them the "new wave of British heavy metal",
1:17:32 > 1:17:34mercifully shortened to NWOBHM.
1:17:41 > 1:17:46Bands like Diamond Head, Iron Maiden and Saxon had grown up in a different kind of world,
1:17:46 > 1:17:51one of strikes, three-day working weeks and winters of discontent.
1:17:54 > 1:18:00They emerged just as the country elected its own metal mistress, the Iron Lady herself.
1:18:02 > 1:18:06They had to invent the Friday Rock Show thing, to play it,
1:18:06 > 1:18:08because it couldn't be on mainstream radio.
1:18:08 > 1:18:10I think in some respects
1:18:10 > 1:18:13it backfired on them because it made us bigger, you know?
1:18:13 > 1:18:17It did really make us, you know, rebels, really.
1:18:17 > 1:18:23And it was all in this mishmash of no jobs, strikes.
1:18:24 > 1:18:28I think it gave us a bit of will,
1:18:28 > 1:18:33to get out of all that and succeed at something we loved doing.
1:18:33 > 1:18:37Saxon were, if you like...
1:18:37 > 1:18:39They were our granddaddies.
1:18:39 > 1:18:44They'd been doing working men's clubs in Barnsley for years, and all round the North.
1:18:44 > 1:18:48They came on, the well-oiled machine, and we were like,
1:18:48 > 1:18:50"Wow, they have people who tune their guitars!"
1:18:50 > 1:18:53First of two heavy metal bands on Top Of The Pops.
1:18:53 > 1:18:55It's Saxon.
1:18:57 > 1:18:59You know, we did Top Of The Pops
1:18:59 > 1:19:03and Spandau Ballet and Duran Duran, they'd all be there with the red carpet.
1:19:03 > 1:19:07We'd wander in from out of a taxi at the back.
1:19:07 > 1:19:11We were treated more like the bad boys, it wasn't real music.
1:19:13 > 1:19:16Because we wrote about things like motorbikes
1:19:16 > 1:19:19and steam trains and jet planes
1:19:19 > 1:19:23and fighter pilots being on drugs up in the sky,
1:19:23 > 1:19:25I just think the music had to match.
1:19:25 > 1:19:29# I leave the motor ticking over when she's back on the track... #
1:19:29 > 1:19:31So, it had to be aggressive and fast for us.
1:19:33 > 1:19:37# I got a 68-7 with pops on the side
1:19:40 > 1:19:44# You know she's my new beauty And that's what I ride
1:19:49 > 1:19:52# She's got whe-e-e-els, wheels of steel... #
1:19:52 > 1:19:58You know, we're using the same format as the older bands.
1:19:58 > 1:20:03Great guitar riff, melodic vocal, but we were just condensing it much faster, you know.
1:20:03 > 1:20:07The difference between seeing Led Zeppelin at Knebworth,
1:20:07 > 1:20:10200,000 people, you know...
1:20:10 > 1:20:13You've got to think, when you're in your bedroom practising,
1:20:13 > 1:20:15hoping to play a pub up the road,
1:20:15 > 1:20:19how on earth are we ever going to get to Knebworth, you know?
1:20:19 > 1:20:23What's that...? What have we got to write to achieve that?
1:20:24 > 1:20:27# Am I evil?
1:20:27 > 1:20:29# Yes, I am
1:20:30 > 1:20:32# Am I evil?
1:20:32 > 1:20:35# I am... #
1:20:35 > 1:20:38It almost felt like we missed the boat, really.
1:20:38 > 1:20:44And we kept scratching our heads thinking, "Why don't they sign Diamond Head?"
1:20:44 > 1:20:49And we'd even get pieces written about us in Sounds, "Why has no-one signed this band?"
1:21:07 > 1:21:11CROWD: Maiden! Maiden! Maiden!
1:21:11 > 1:21:13Maiden!
1:21:13 > 1:21:17Where Diamond Head failed, Iron Maiden succeeded.
1:21:17 > 1:21:20With punk-like aggression, dressed in a full-metal jacket,
1:21:20 > 1:21:23the power and the glory was theirs for the taking.
1:21:28 > 1:21:31Vocalist Bruce Dickinson was already a devoted student of metallurgy,
1:21:31 > 1:21:36a classicist, when he first saw Iron Maiden perform.
1:21:36 > 1:21:39It was a force of nature.
1:21:39 > 1:21:41I mean, I was just...
1:21:41 > 1:21:43It was like, wow! This is not...
1:21:43 > 1:21:48This is real. This is full-on. This is like being hit by a truck.
1:21:48 > 1:21:51You know, every single song,
1:21:51 > 1:21:56the musicianship was fantastic, guitar-playing was astounding.
1:21:56 > 1:21:58MUSIC: Iron Maiden by Iron Maiden
1:22:01 > 1:22:03# Won't you come into my room... #
1:22:03 > 1:22:07And I've got to say, the only thing I looked at was the singer, and I thought, I should be there.
1:22:07 > 1:22:09# Iron Maiden can't be fought
1:22:09 > 1:22:12# Iron Maiden can't be sought
1:22:12 > 1:22:16# Oh will, wherever Whenever you are... #
1:22:16 > 1:22:18I thought, God!
1:22:18 > 1:22:25It reminded me of an album, the first album I ever listened to from Deep Purple, Deep Purple In Rock,
1:22:25 > 1:22:29which is a really heavy record, you know, really exciting, raw and fresh.
1:22:29 > 1:22:36And I could hear so many little echoes of that kind of excitement.
1:22:36 > 1:22:38It was like being plugged into the mains.
1:22:38 > 1:22:41And I just thought, God, I could...
1:22:41 > 1:22:43If I was singing with that band, wow!
1:22:43 > 1:22:45Oh, well, never mind!
1:22:47 > 1:22:52As if by black magic, Dickinson was asked to front Iron Maiden in 1981,
1:22:52 > 1:22:55the year the band went stratospheric.
1:22:55 > 1:23:00Finally, British heavy metal had a face, a name and a number.
1:23:00 > 1:23:03It was branded 666.
1:23:03 > 1:23:05The beast was back in business.
1:23:05 > 1:23:10'Let him who hath understanding reckon the number of the beast.'
1:23:12 > 1:23:15The Number Of The Beast, the first album I was on,
1:23:15 > 1:23:19was number one in God knows how many countries round the world.
1:23:19 > 1:23:23- It broke us in America. - 'Its number is 666.'
1:23:23 > 1:23:27We actually had quite a run of hit singles.
1:23:27 > 1:23:29# Just what I saw
1:23:30 > 1:23:32# In my own dreams
1:23:33 > 1:23:38# Were they reflections of my warped mind staring back at me?
1:23:39 > 1:23:41# Cos in my dreams
1:23:42 > 1:23:44# It's always there
1:23:45 > 1:23:48# The evil face that twists my mind
1:23:48 > 1:23:51# And brings me to despair
1:23:52 > 1:23:58# Ye-e-e-eah
1:23:58 > 1:24:02# Ohhhh... #
1:24:02 > 1:24:06It was really aggressive, in-your-face music
1:24:06 > 1:24:08but it had great musicianship
1:24:08 > 1:24:11and it had interesting words and stories and, you know...
1:24:14 > 1:24:17So, it was a fantastical world that you could enter in.
1:24:17 > 1:24:19Hey, thank you.
1:24:19 > 1:24:22And the whole rest of the year went like that.
1:24:22 > 1:24:26And we went round to America twice, we went to Japan, we went all round Europe.
1:24:26 > 1:24:30It's a song called Run To The Hills.
1:24:30 > 1:24:32'We toured our socks off.'
1:24:32 > 1:24:35All those adolescent dreams, sat up in bed, you know,
1:24:35 > 1:24:41drawing pictures on the back of my exercise books of big PAs
1:24:41 > 1:24:43and drum kits on the backs of things,
1:24:43 > 1:24:45saying, "Our back line should look like that.
1:24:45 > 1:24:49"That would be really nasty-looking, yeah," you know,
1:24:49 > 1:24:51had all happened.
1:24:53 > 1:24:58My absolute wildest dreams had all happened in a year.
1:24:58 > 1:25:02And, you know, I was a bit depressed, to be honest with you.
1:25:02 > 1:25:06Because I thought, "What do I do now?"
1:25:06 > 1:25:09Um... What do I do now?
1:25:09 > 1:25:12I suppose the same again next year, but bigger.
1:25:13 > 1:25:18Metal, under the supreme leadership of Iron Maiden, did just that.
1:25:18 > 1:25:19It got bigger and bigger,
1:25:19 > 1:25:24far beyond even the wildest dreams of its naive originators.
1:25:27 > 1:25:30Even Deep Purple vocalist Ian Gillan
1:25:30 > 1:25:33was belatedly inducted into the cult
1:25:33 > 1:25:36when he joined Black Sabbath in 1983
1:25:36 > 1:25:39for one album entitled Born Again.
1:25:39 > 1:25:43I don't know how I got in Black Sabbath, because we ended up drunk under a table.
1:25:43 > 1:25:48I went for a meeting with Tony and Geezer at The Bear in Woodstock.
1:25:53 > 1:25:58And I don't remember any more, and I got a call from my manager, Phil Banfield, the next morning,
1:25:58 > 1:26:03saying, "Ian, if you're going to make career decisions, then I think you should call me first."
1:26:03 > 1:26:05"What are you talking about?"
1:26:05 > 1:26:08"Apparently, last night you agreed to join Black Sabbath."
1:26:08 > 1:26:12"Well, anything else in the diary?" "No, not at the moment," so...
1:26:12 > 1:26:16I went on tour with them. The whole thing lasted a year, I think,
1:26:16 > 1:26:21and it was the longest party I've ever been to. It was fantastic.
1:26:24 > 1:26:27On its rampage from the '60s to the '80s,
1:26:27 > 1:26:31the British heavy metal beast had consumed all manner of musics,
1:26:31 > 1:26:34seeking a life and identity of its own.
1:26:38 > 1:26:44Despite being targeted by the press on its unfashionable journey, it had emerged triumphant,
1:26:44 > 1:26:51a glorious band of brothers with a huge fanbase that worshipped its codes, sounds and symbols.
1:26:54 > 1:26:57It surrendered its Britishness, went global
1:26:57 > 1:27:02and gave birth to 1,000 subspecies, constantly renewing itself.
1:27:02 > 1:27:08Unrepentant, unforgiving, unstoppable.
1:27:08 > 1:27:09Heavy.
1:27:12 > 1:27:14A lot of people that don't understand metal.
1:27:14 > 1:27:16They stick the boot in and say, "Oh, it's rubbish, it's crap,
1:27:16 > 1:27:19"it's meaningless, it's Neanderthal, it's got no value."
1:27:19 > 1:27:23I kind of like that. I really do.
1:27:23 > 1:27:26We'll always be the underdog in rock and roll, to a certain extent.
1:27:31 > 1:27:34The big thing about heavy metal is, you know what,
1:27:34 > 1:27:37you lot over there who don't like us and don't want to like us, fine.
1:27:37 > 1:27:40You go on slaughtering us, because we have tens,
1:27:40 > 1:27:42hundreds of thousands, millions of fans
1:27:42 > 1:27:45who want us, love our music, will always be there for us.
1:27:45 > 1:27:48And weighing it up, do we want them, do we want you?
1:27:48 > 1:27:51We know where we going to go, we're going to go that way.
1:27:57 > 1:28:01It's not nostalgia like most music is.
1:28:01 > 1:28:03It stays with them.
1:28:05 > 1:28:10It just feels like it's something that hasn't sold out.
1:28:10 > 1:28:12More of a religion, I suppose.
1:28:12 > 1:28:15Like soccer, football.
1:28:15 > 1:28:19It's like, you know, you grow up supporting your team and you never...
1:28:19 > 1:28:22It becomes part of you, till you die.