The local hard rock/metal scene seems to have developed into NWOBHM. Punk, as far as I can make out, made a big point of rejecting mainstream and glam rock.
The Yearly Metal Project (With a Twist - See inside): 1982
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SixesAlltheway
Ancient Mariner
The only artist I can think of, off the top of my head, when it comes to being "punk before punk" is a band like Eddie and The Hot Rods who were very much a pub rock band who then helped bridge the gap into what would become "actual" punk rock. I know that a lot of punk fans really like this band anyways.
It's hard with the pub rock scene because you basically had to be there I guess to know all of those obscure pub bands who perhaps never really released much material or got much attention...Also the fact that it's so centered around local scenes within big cities in the UK and only taking place in a short period. A few years before punk broke for real.
It's hard with the pub rock scene because you basically had to be there I guess to know all of those obscure pub bands who perhaps never really released much material or got much attention...Also the fact that it's so centered around local scenes within big cities in the UK and only taking place in a short period. A few years before punk broke for real.
^This. We're talking bands that never got anywhere, or changed lineups and style, with some musicians eventually slotting into the NWOBHM movement.
SixesAlltheway
Ancient Mariner
Yeah. Interesting enough anyways to try and dig up the precursors to the NWOBHM...who were the proto-NWOBHM bands then...I'm sure we've already mentioned a few in this thread before.
Forostar
Ancient Mariner
Well, if that's the criterium, then it's getting hard to learn anything about it, indeed. I thought of Stratton's band, Remus Down Boulevard, but they got "somewhere" at least (toured Europe at some point).
JudasMyGuide
Ancient Mariner
Yeah, now we're talking... All of the above are probably my favourite albums of the respective bands. KC have managed to improve on their "second era" sound and made a record enjoyable from start to finish. Queen have found the precise balance between pop, rock, prog and whatever else flew trough Mercury/May's head, with March of the Black Queen being still my favourite Queen song after all these years, except possibly Prophet's Song.
Sweet... I never liked sweet, but this album is probably the one to own - Ballroom Blitz is a classic and so is Six-Teens - those multi-tracked vocals are really catchy, I admit.
Deep Purple - I still have the feeling that combining those two albums would be a way to go - I love Burn (the track), Mistreated, Lady Double Dealer and You Can't Do It Right, however I dislike What's Goin' On Here, A200, Holy Man and Soldier of Fortune, so...
Sure. I'm only talking about music scenes that I've heard about anecdotally from people who went to see live bands in their youth. As with the 90s pub circuit Indie scene, which I did see a bit of, there was a concentration of bands who could be identified with a particular scene, but I'm damned if I can remember much about individual bands, and any recorded music was poor quality stuff on cassettes. Underground music scenes, really, only a percentage ever achieved any level of fame, some maybe didn't even want to go professional. These days more people have home recording equipment and audiences have smartphones, so material is more widely available.
I find it interesting interesting in this context early albums from some pretty significant bands don't stand out. I'm looking at Priest, UFO, Lizzy...
They were all given time to find themselves, and, in no small part they are learning from some of the bands who were ahead of them here, but who they ultimately surpassed. Kiss and Alice Cooper being a prime example.
They were all given time to find themselves, and, in no small part they are learning from some of the bands who were ahead of them here, but who they ultimately surpassed. Kiss and Alice Cooper being a prime example.
Forostar
Ancient Mariner
Not newly written, but still Id like to post it here to show how I look at Rocka Rolla.
I find the title track enjoyable, because its chorus has a great hook. At the same time, I find it striking to hear the huge difference with the rest of the album. I'm sure that the rest of the album must have been the direction the band really wanted to take. If people bought that record after only hearing the title track, they must have come in for a surprise because it's not really representative for what Priest stood for.
Even though I like this song, I am glad that most of the rest does not come close in style. Because it has much more layers in it. Deeper, more mesmerizing music and lyrics.
The band was not satisfied by the production (nor by the cover which they found inappropriate). The album sounded good (louder!) when they played it in the studio, but after it was cut on record it sounded bad. I am not having such a problem with this aspect, although I can imagine the band's disappointment.
I can still hear all instruments clearly. Perhaps it does not sound as powerful, but so what? There's other stuff to enjoy if you're open for it (and like it of course). As Flash noted in round 1 of the 2013 Judas Priest Album Survivor, the bass guitar is coming out great and it surely was used when writing songs as well.
One for the Road has this endless riff, and although it sets the tone well, it is one of the lesser tracks.
I love the Winter trilogy since the first time I heard it. Great to listen to these a capella drums (and then those guitars: daaa daaa dadaaaa.. etc.) on Winter, the first of the suite. John Hinch didn't do the fast work his successors showed (not that these songs asked for it!) but the guy could keep a groove! Then it's time for Deep Freeze, 81 seconds of noise? Nah, I like this madness. It isn't that long either. Downing makes some really cool sounds, at times sounding like a motor of a race car. Excellent end as well. Winter Retreat is its opposite with very calm guitars suiting this phase of the season.
In the survivor I called Cheater the weakest song, but Halford still saves it by his dynamic vocal lines.
Never Satisfied. Check that solo break and try to count the beat. Very unusual. I like the last part the best, with its doomy chord progression.
Run of the Mill has one of the best build-ups towards a climax that they ever did. That solo by KK tells a whole story. Feel the swelling organ underneath. And that pulsating, hypnotizing bass guitar. Halford sounds so passionate. When I heard this coming from my vinyl for the first time, I was spellbound by its emotion. It still ranks among my favourites. And worthy enough to share here, so people take a listen if they've never heard it yet, or wish an easy gate to rediscovery:
Dying to Meet You. This song included a segment, that later was called Hero, Hero. This title was not listed on the album, and I never saw it as an apart track; Rather think it as the second half of Dying to Meet You with an oddly long break before it starts. Again a doomy, dark song with Halford showing his capability on the lower registers.
The album ends with Caviar and Meths. This one was originally way longer, some of the earliest material the band had written. Cut short to two minutes. What remains is still a joy to the ear.
Even if Rocka Rolla did not turn out as a heavy album, it possesses atmosphere, neat little riffs, intriguing lyrics and challenging singing. There's a certain darkness and originality in Priest's seventies that I really appreciate.
I find the title track enjoyable, because its chorus has a great hook. At the same time, I find it striking to hear the huge difference with the rest of the album. I'm sure that the rest of the album must have been the direction the band really wanted to take. If people bought that record after only hearing the title track, they must have come in for a surprise because it's not really representative for what Priest stood for.
Even though I like this song, I am glad that most of the rest does not come close in style. Because it has much more layers in it. Deeper, more mesmerizing music and lyrics.
The band was not satisfied by the production (nor by the cover which they found inappropriate). The album sounded good (louder!) when they played it in the studio, but after it was cut on record it sounded bad. I am not having such a problem with this aspect, although I can imagine the band's disappointment.
I can still hear all instruments clearly. Perhaps it does not sound as powerful, but so what? There's other stuff to enjoy if you're open for it (and like it of course). As Flash noted in round 1 of the 2013 Judas Priest Album Survivor, the bass guitar is coming out great and it surely was used when writing songs as well.
One for the Road has this endless riff, and although it sets the tone well, it is one of the lesser tracks.
I love the Winter trilogy since the first time I heard it. Great to listen to these a capella drums (and then those guitars: daaa daaa dadaaaa.. etc.) on Winter, the first of the suite. John Hinch didn't do the fast work his successors showed (not that these songs asked for it!) but the guy could keep a groove! Then it's time for Deep Freeze, 81 seconds of noise? Nah, I like this madness. It isn't that long either. Downing makes some really cool sounds, at times sounding like a motor of a race car. Excellent end as well. Winter Retreat is its opposite with very calm guitars suiting this phase of the season.
In the survivor I called Cheater the weakest song, but Halford still saves it by his dynamic vocal lines.
Never Satisfied. Check that solo break and try to count the beat. Very unusual. I like the last part the best, with its doomy chord progression.
Run of the Mill has one of the best build-ups towards a climax that they ever did. That solo by KK tells a whole story. Feel the swelling organ underneath. And that pulsating, hypnotizing bass guitar. Halford sounds so passionate. When I heard this coming from my vinyl for the first time, I was spellbound by its emotion. It still ranks among my favourites. And worthy enough to share here, so people take a listen if they've never heard it yet, or wish an easy gate to rediscovery:
Dying to Meet You. This song included a segment, that later was called Hero, Hero. This title was not listed on the album, and I never saw it as an apart track; Rather think it as the second half of Dying to Meet You with an oddly long break before it starts. Again a doomy, dark song with Halford showing his capability on the lower registers.
The album ends with Caviar and Meths. This one was originally way longer, some of the earliest material the band had written. Cut short to two minutes. What remains is still a joy to the ear.
Even if Rocka Rolla did not turn out as a heavy album, it possesses atmosphere, neat little riffs, intriguing lyrics and challenging singing. There's a certain darkness and originality in Priest's seventies that I really appreciate.
It's still a mellow album, and not a favourite, but Lizzy is starting to show some tasty guitar work on Nightlife and Phil is showing signs of the writer he would become.
Best album: Secret Treaties
Best single: Doctor Doctor
And some nice riff driven guitar showcases here:
Rock Bottom and Working Man, two of signature metal riffs of all time IMO
Really, bands are catching on to Purple and Sabbath and adding that power and aggression to their repertoires.
The second generation hasn't hit its stride yet, but it's starting to emerge.
Best album: Secret Treaties
Best single: Doctor Doctor
And some nice riff driven guitar showcases here:
Rock Bottom and Working Man, two of signature metal riffs of all time IMO
Really, bands are catching on to Purple and Sabbath and adding that power and aggression to their repertoires.
The second generation hasn't hit its stride yet, but it's starting to emerge.
Secret Treaties really blew me away, great surprise.
Starless and Bible Black is a little too slow for me, but Red is awesome. Easily the best album of that period for Crimson, and one of the best of 1974. Not a bad song on there. Crimson is also easily the heaviest of the classic prog bands. Van Der Graaf Generator come close, especially with Peter Hamill's vocals, but Crimson took it to another level. It's a shame that they disappeared for almost ten years after this album.
I love the first two Kiss albums. I find them particularly interesting when put in a Metal context. Musically, there isn't anything Metal happening here in these first two albums, but the theatrics were there from the beginning and would certainly influence Metal. Later on, especially in the 80s, they would go on to really embrace the American metal scene. Anyway, with Kiss it's all about the live show and although this was recorded in 1975, this is all material from the first two albums: http://www.veoh.com/watch/e61825pbWwCNa2
Starless and Bible Black is a little too slow for me, but Red is awesome. Easily the best album of that period for Crimson, and one of the best of 1974. Not a bad song on there. Crimson is also easily the heaviest of the classic prog bands. Van Der Graaf Generator come close, especially with Peter Hamill's vocals, but Crimson took it to another level. It's a shame that they disappeared for almost ten years after this album.
I love the first two Kiss albums. I find them particularly interesting when put in a Metal context. Musically, there isn't anything Metal happening here in these first two albums, but the theatrics were there from the beginning and would certainly influence Metal. Later on, especially in the 80s, they would go on to really embrace the American metal scene. Anyway, with Kiss it's all about the live show and although this was recorded in 1975, this is all material from the first two albums: http://www.veoh.com/watch/e61825pbWwCNa2
I have a bit of time today to sit down and listen to an album or two, so we'll start with Secret Treaties, which is by a band I always want to listen to more of but never seem to make the time - Blue Öyster Cult.
The first song, Career of Evil, I am not huge on the beginning, but I love the chorus and the instrumental. This song was used as the inspiration for the most recent JK Rowling novel, titled the same. You can really hear the 70s in this album, not as psychedelic as, say, Hawkwind, but certainly with a little bit of that almost jazzy feel. Subhuman is really just a fun little beat. ME 262 is great, and Flaming Telepaths really grabbed me. This is one of those albums that, for me, there's a bit of culture shock (Cult-ure shock?) to start with, but once I acclimate to the sound, it's really good. And, of course, it finishes with Astronomy, one of the best proto-metal songs out there.
Next, I'm spinning Rush's self-titled debut. Wow, what a different style than Rush became, though you can hear the beginning of what Rush will soon be. The backup drums are...insufficient, mind you. Interestingly enough, the lyrics are also very bland - also a factor of no Neil. Here Again starts out very melancholic and definitely sounds like nothing else Rush ever did. There's a little more prog stuff later on, especially in Working Man, but this is clearly a band just beginning.
Rocka Rolla is a nice, slow introduction to Priest. You definitely get the impression that they are destined for great things pretty quickly. Cheater and One For the Road, especially, are very early Priest sounding, giving you a hint of where their sound will develop.
The first song, Career of Evil, I am not huge on the beginning, but I love the chorus and the instrumental. This song was used as the inspiration for the most recent JK Rowling novel, titled the same. You can really hear the 70s in this album, not as psychedelic as, say, Hawkwind, but certainly with a little bit of that almost jazzy feel. Subhuman is really just a fun little beat. ME 262 is great, and Flaming Telepaths really grabbed me. This is one of those albums that, for me, there's a bit of culture shock (Cult-ure shock?) to start with, but once I acclimate to the sound, it's really good. And, of course, it finishes with Astronomy, one of the best proto-metal songs out there.
Next, I'm spinning Rush's self-titled debut. Wow, what a different style than Rush became, though you can hear the beginning of what Rush will soon be. The backup drums are...insufficient, mind you. Interestingly enough, the lyrics are also very bland - also a factor of no Neil. Here Again starts out very melancholic and definitely sounds like nothing else Rush ever did. There's a little more prog stuff later on, especially in Working Man, but this is clearly a band just beginning.
Rocka Rolla is a nice, slow introduction to Priest. You definitely get the impression that they are destined for great things pretty quickly. Cheater and One For the Road, especially, are very early Priest sounding, giving you a hint of where their sound will develop.
Forostar
Ancient Mariner
SixesAlltheway
Ancient Mariner
It's actually amazing how little metal their is to the music because the energy, attitude and show is definitely very proto-metal and inspired a lot of bands I think.
I think it's interesting that Rocka Rolla and the first Rush came out the same year. I find those two albums very similar in that they are completely different from every other album in their respective catalogs. A lot of bands slowly eased into their sounds, but with Rush and Priest it only took one album for them to pretty much figure it out, especially Priest. In the case of Rush, Fly By Night has more leftover traits from the debut, but the addition of Neal Peart really makes a huge difference, as LC pointed out. I don't really have any interest in the debut, had Rush not evolved after this we would probably remember (or rather forget) them as one of the many rock bands trying to ride the coattails of Zeppelin, but with even less originality. Even Working Man doesn't really do anything for me. It doesn't contain anything I like about Rush, so I don't have any use for it.
Now listening to Queen II. This is my favourite of the three early Queen albums. Every song is good in its own unique way, and some of them are amazing - specifically Ogre Battle, March of the Black Queen, and Seven Seas of Rhye. Queen changed after this, the evolution starting in Sheer Heart Attack into something a bit more poppy, a bit more light, but they always remained Queen.
SixesAlltheway
Ancient Mariner
I think King Crimson Red deserves a mention too for 1974. The title track with it's sinister hooks and heavy rhythmic parts. Very vicious and very discordant too for 1974. Some of the bits of this song sounds like it could have been recorded in the 90s.