New Wave of British Heavy Metal
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| New Wave of British Heavy Metal | |
| Stylistic origins | |
|---|---|
| Cultural origins |
United Kingdom,[2] late 1970s–early 1980s
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| Typical instruments | |
| Mainstream popularity | Mainstream in the United Kingdom from the late 1970s to mid 1980s, moderate in the United States during the early to mid 1980s, popular in Europe since the 1980s |
| Derivative forms | Speed metal[3] - Thrash metal - Power metal - Progressive metal |
The New Wave of British Heavy Metal (frequently abbreviated as NWOBHM or N.W.O.B.H.M.) is a heavy metal music movement that started in the late 1970s, in the United Kingdom, and achieved some international attention by the early 1980s. The era developed as a reaction in part to the decline of early heavy metal bands such as Deep Purple, Led Zeppelin and Black Sabbath. NWOBHM bands toned down the blues influences of earlier acts, increased the tempo, and adopted a tougher sound, taking a more hardcore approach to its music. Not intended to win a wide audience, it was a scene directed almost exclusively at heavy metal fans. The era is considered to be a main foundation for subsequent heavy metal sub-genres with acts such as Metallica citing NWOBHM bands like Diamond Head and Motörhead as a major influence on their musical style.[4]
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[edit] Characteristics
NWOBHM's music reacted against the artifice of contemporary pop, placing an emphasis on musicianship and amplification, the former trait setting it apart from punk rock. Yet, unlike progressive rock, which placed a far greater emphasis on musical complexity, and unlike post-punk, which emphasized 'strangeness' and innovation, the NWOBHM thrived on volume, speed, and directness, with an idealised working class image.
Reviled or ignored by many mainstream critics in both the UK and the US, the NWOBHM nonetheless came to dominate the hard rock scene of the early-mid 1980s. NWOBHM was musically characterised by power chords, fast guitar solos and melodic, soaring vocals, with lyrical themes often drawing inspiration from mythology, fantasy fiction, and the occult. The movement's music was, however, often surprisingly melodic, and surprisingly parallel to punk and post-punk.
[edit] History
[edit] Performers
The early movement was associated with acts such as: Iron Maiden, Saxon, Motörhead, Def Leppard, Angel Witch, Tygers of Pan Tang, Blitzkrieg, Avenger, Sweet Savage, Girlschool, Jaguar, Demon, Diamond Head, Samson and Tank, among others. The image of bands such as Saxon (long hair, denim jackets, leather and chains) would later become synonymous with heavy metal as a whole during the 1980s. Some bands, although conceived during this era, saw success on an underground scale, as was the case with Venom and Quartz.
Looking at most comprehensive lists of bands of the time reveals hundreds of obscure or short lived acts. While the average listener would possibly gloss over these unknowns looking for more recognisable acts, record collectors revere such bands. The sheer number of low cost demos from the era, as well as the limited amount of information and media coverage of the era, has led to some of the releases becoming highly collectable. Records originally pressed for very little cost have sold more recently to collectors for hundreds of dollars. In some cases as low as 1 copy of a record is known to exist.[citation needed]
[edit] Decline
NWOBHM suffered the same fate as many other musical movements. First, the majority of its leading lights were unable to follow up on their initial successes. Second, many bands moved further away from the era towards mainstream hard rock, with Def Leppard in particular targeting the American market with a more refined sound despite having major success. By the mid 1980s, young rock fans searching for their own identities found a new metal scene emanating from Los Angeles led by bands such as Mötley Crüe and later Guns N' Roses. Record companies also latched onto the L.A. scene over the NWOBHM scene because the L.A. bands brought them the one thing heavy metal hadn't yet brought into the fold - legions of female fans. Glam metal simply proved to be more profitable for record companies during this era. In addition, thrash metal, another new but much less mainstream metal scene, had fully emerged around the same time period, which attracted many rock fans for being much faster and even heavier than NWOBHM and often having political lyrics, though the entire genre itself was largely influenced by it.
Some of the more popular bands of the movement, however, went on to considerable, lasting success. Def Leppard, despite discarding their earlier, heavier sound, became even more popular after turning towards hard rock and glam metal. Iron Maiden and Motörhead stayed with a more traditional heavy metal style which won them a large and loyal fanbase even after bands with a similar sound had declined.
[edit] Subsequent influence
Groups such as Motörhead, Iron Maiden, Venom, and Saxon, as well as many lesser-known ones, became part of the canon that influenced American bands that formed in the early eighties, such as Slayer, Megadeth and, in particular, Metallica, along with many others. Indeed, early Metallica is very similar in sound to a number of NWOBHM bands (in particular, Diamond Head, Motörhead and Blitzkrieg, the songs of each of which have been covered by Metallica.)
In 1990 Lars Ulrich of Metallica compiled a double CD compilation album, entitled New Wave Of British Heavy Metal '79 Revisited, featuring bands as obscure as Hollow Ground right through to the 'Supergroups' of the era.
[edit] Revival
The widespread popularity of the internet in the late 1990s/early 2000s helped NWOBHM fans to communicate again and NWOBHM experienced a minor revival. Encouraged by the success of tribute bands and nostalgia acts, many of the original NWOBHM bands reformed for successful tours and the revival was championed by Classic Rock magazine, a new publication featuring many of the original NWOBHM writers of the 1980s including Geoff Barton.
[edit] Media support
The NWOBHM existed mostly outside the world of the mainstream pop and rock culture. Magazines such as The NME (primarily focused on punk / new wave), The Face (primarily focused on new romantic / synth pop) and Melody Maker (primarily focused on rock) did not generally feature NWOBHM acts at all. It was left therefore to Sounds to pick up the NWOBHM baton. Young writer Geoff “Deaf” Barton began writing features on the new up and coming metal bands and Sounds even featured a weekly Heavy Metal chart compiled from record requests at “The Soundhouse”, a heavy metal soundhouse in North West London and the spiritual home of the movement.
As the movement continued to thrive, Barton set up Kerrang!, the first magazine exclusively devoted to heavy metal.
Tommy Vance was one of the few mainstream DJs to play NWOBHM on his Friday Rock Show on BBC Radio 1.
[edit] List of NWOBHM artists
This is a list of bands signed to record labels who emerged during the NWOBHM era of music:
[edit] The Soundhouse
The Soundhouse was London’s first heavy rock disco based initially at The Bandwagon, a disco/nightclub venue attached to the Prince of Wales public house in Kingsbury, North West London. The Soundhouse’s popularity really took off with the arrival in 1975 of Neal Kay, a rock DJ with a talent for showmanship and publicity who transformed the venue into the centre of the new movement. In addition to rock disco nights, Neal would promote early live performances of NWOBHM bands such as Samson, Angel Witch, Praying Mantis, Saxon and Iron Maiden, who titled their debut EP release “The Soundhouse Tapes” in honour of the venue.
The Soundhouse also gained approval from the more established rock bands and Motörhead, Sammy Hagar, April Wine, Rainbow and Judas Priest all turned up to mingle with punters and enjoy an evening of metal and beer; many of them being cajoled into judging headbanging and air guitar competitions featuring "imaginary bands" made up of the club's regular punters. Among these was one Robin Yeatman, a local wedding photographer and heavy rock fanatic, who went by the nickname of Rob Loonhouse. Rob fashioned a cardboard (and later hardboard) guitar which he took to the club and pretended to play during his favourite songs. The craze caught on, with other club goers following suit and the development of various ad-hoc headbanging bands: Willy Flasher & The Raincoats being among the most popular. Loonhouse himself was to feature in many of the music press articles about the Soundhouse - cutting a distinctive look in canvas fishing hat and sweat-soaked Blue Öyster Cult T-shirt, while wiedling his homemade axe. An edition of the pop culture TV show, 20th century Box, included footage from the Soundhouse and interviews with Loonhouse, in which, sadly, his tongue-in-cheek humour was lost. Wisely, Loonhouse ditched the hardboard guitar soon after and retreated from the media spotlight.
Kay successfully grew The Soundhouse franchise beyond Kingsbury helping to spread the NWOBHM word through “Heavy Metal Crusade” tours with the likes of Saxon and Iron Maiden and warming up the crowds at other London venues such as Camden’s Music Machine.
In 1980, a disagreement with the brewery led to “The Soundhouse” moving to “The Headstone” public house in North Harrow and subsequently, “The Queen’s Arms” in Harrow and Wealdstone, “The Royal Standard” in Walthamstow and “The Clay Pigeon” in Eastcote which hosted the final Soundhouse night in 1992. The new millennium, however, has seen Kay perform at annual Soundhouse reunion events at “The Rayners” public house in Rayners Lane, near Harrow, although with the closure of this venue in 2006 the organisers are now searching for a suitable alternative venue.
[edit] References
- ^ Musical origins of NWOBHM. Allmusic. Retrieved on 2007-08-21.
- ^ Cultural origins of NWOBHM. Allmusic. Retrieved on 2007-08-21.
- ^ Styles related to NWOBHM. Allmusic. Retrieved on 2007-08-21.
- ^ New Wave of British Heavy Metal at Allmusic.com. Allmusic. Retrieved on 2007-08-19.
[edit] External links
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