PREAMBLE

Welcome to my series in which I explore the history of hard rock, heavy rock, and heavy metal—including metal’s many subgenres. In it, you will find, and hopefully discover, key artists and records that will allow you to better understand and appreciate this fascinating facet of potent and often rebellious rock. The selections will be presented in chronological order based on their original release date. I will not go into great detail about the recordings’ sound quality; suffice to say that these types of rock releases are at times edgy and aggressive, which is apropos considering the nature of the beast. So don’t expect perfectly polished Steely Dan, Supertramp or Eagles demo-worthy sonics. Sound quality did not factor into my choices for inclusion in this series, which means it will run the gamut from very bad (often due to over-compression or bad EQ choices) to quite impressive, exciting, and engaging.

Like their fellow Londoners Led Zeppelin, King Crimson, and Deep Purple; Uriah Heep played a key role in shaping the sound of heavy metal—blending elements of hard rock, blues rock, and progressive rock into their own distinctive style.

13- Uriah Heep – …Very ‘Eavy …Very ‘Umble. Vertigo – 6360 006 (UK), (1970, June), 33 1/3 rpm. Genre: heavy metal, heavy rock, hard rock, prog rock, prog metal, blues rock.

Originally called Spice, the British band—featuring David Byron on lead vocals, Mick Box on guitar, Ken Hensley on organ, mellotron, and piano, Paul Newton on bass, and Ollie Olsson on drums and percussion, with occasional contributions from Alex Napier and Keith Baker on drums—soon changed their name to Uriah Heep, inspired by the character from Charles Dickens’ novel David Copperfield. Given the prominent use of organ in their music, David Byron’s high-pitched vocals, and the era in which they emerged, it’s no surprise that some of Uriah Heep’s songs bear a strong resemblance to early-1970s Deep Purple. “Gypsy” opens the eight track album, and is by far the strongest of the lot. Its intro sounds extremely tight and technical given this was released in June 1970, well ahead of the mid to late-1980s when complex rhythms were more prevalent. In fact, the sequential layering of organ, bass, drum, and electric guitar playing in unison, and then turning jerky, sounds 100% prog metal, with King Crimson’s “21st Century Schizoid Man” serving as instrumental inspiration. “Walking in Your Shadow” shows shades of Cream, and the rhythm-lead musical structure probably went on to influence early Kiss compositions. With its tuneful twin guitar / organ unison solo, “I’ll Keep On Trying” starts out sounding quite Deep Purple-ish. The album closes with “Wake Up (Set Your Sights)” which initially has a very rapid syncopated tempo before shifting to a smooth, atmospheric sound led by guitar and mellotron, reminiscent of King Crimson’s “Epitaph.” Produced by Gerry Bron, the album features a few weaker songs. Engineers Peter Gallen and Peter Olliff recorded and mixed the album at Lansdowne Studios in London, England, between July 1969 and April 1970. The original UK Vertigo, lacquer cut and pressed at Phonodisc Ltd. in Greater London, should be the favoured version. I have never heard it, due to its rather expensive selling price on the second hand market. 

Generals gathered in their masses
Just like witches at black masses
Evil minds that plot destruction
Sorcerer of death’s construction
In the fields the bodies burning
As the war machine keeps turning
Death and hatred to mankind
Poisoning their brainwashed minds
Oh, Lord, yeah…

These lyrics resonate just as powerfully today as they did in 1970, when the Vietnam War dominated television screens. Fifty-five years later, it’s the harrowing images of the Ukraine and Gaza wars that dominate our screens, only this time on those of our iPhones.

14- Black Sabbath – Paranoid. Vertigo – 6360 011 (UK), (1970, Sept.), 33 1/3 rpm. Genre: heavy metal, doom metal, proto-punk, proto-thrash metal, proto-speed metal, psychedelic.

Following the wailing sirens, “War Pigs”‘s intro, built on guitar and hihat, appears to borrow from Led Zeppelin’s intro to “Good Times Bad Times.” That is, until singer Ozzy Osbourne and guitarist Tony Iommi steer it in an entirely different direction, making it one of the best Black Sabbath and metal songs ever put on record. Fun fact: this anti-war protest song was originally titled “Walpurgis” before the band renamed it because their label feared it sounded too satanic. The tone of Iommi’s distortion-driven guitar / amp combo, combined with Geezer Butler’s bass and Bill Ward’s dynamic drumming, set in motion a series of irresistible motifs and grooves throughout the track, culminating in a studio-sped-up outro. Before long, “Paranoid”‘s famous fast riff commences. Led Zeppelin’s “Communication Breakdown” recorded two years prior played a strong influence on that track. Butler admitted that “Paranoid” almost wasn’t recorded because the band feared it sounded too much like the riff in “Communication Breakdown.” Initially a 3-minute filler to close the album, “Paranoid” ended up being the title track. With its relentless intensity and tempo, it is also now considered one of the most significant heavy metal tracks for being a precursor to punk rock and thrash metal. “Planet Caravan” presents a deep departure from the rest of the album, as Tony trades his guitar for a flute, while Ward plays congas, engineer Tom Allom is on piano, and Ozzy’s vocals are processed through a Leslie speaker, producing a strange tremolo effect.

Heavy boots of lead

That famous five note intro says it all. “Iron Man” is the quintessential heavy metal track. If that song ain’t the definition of heavy, I don’t know what is. With its slow-motion drag, thick tone, and thunderously pounding bass drum, it foreshadows doom. Again, we can trace patterns of early-Zeppelin’s influence, this time from “Dazed and Confused,” where both tracks start out slow and dissonant, then midway shift gears into overdrive before making a final return to the main motif and ending, in the case of “Iron Man”, with splashy cymbals and double kick—a technique presaging the advent of speed metal. Side two begins with “Electric Funeral,” which follows a similar formula to the preceding song. “Hand of Doom” starts out real soft with Butler’s bass, light drums, and Ozzy sounding calm, when, two-minutes in, the guitar takes charge, Ozzy turns into Mr. Hyde, and everything has turned harder and heavier. Midway, there’s a punchy, propulsive chase-like momentum where psychedelic lead solos pile on, before the track returns to the soft style of the main theme. Finally, “Fairies Wear Boots” belts out a similar slower riff to Led Zep’s “Moby Dick,” with added echo effects, and great heavy drum fills throughout the track. The record was produced by Roger Bain and engineered by Brian Humphries and Tom Allom at Regent Sound Studios and Island Studios in London, while the lacquer was cut and pressed at Phonodisc Ltd. in Greater London. The original UK “swirl” Vertigo pressing “with management credits/Big Bear” is hard to find in great shape, and extremely expensive if you do, but it’s the best sounding version with the most powerful and dynamic drum and bass renderings, eclipsing all other pressings. When recommending one album that best represents heavy metal, and is musically strong from start to finish; this is my top choice, bar none!

We come from the land of ice and snow
From the midnight sun where the hot springs flow…

15- Led Zeppelin – Led Zeppelin III. Atlantic – 2401-002 (UK), Atlantic – SD 7201 (1970, Oct.), Classic Records – SD 7201 (2000), 33 1/3 rpm, 180g, or (2001) 200g. Genre: heavy metal, raga rock, psychedelia, hard rock, blues rock, heavy rock, folk blues, bluegrass, country rock, folk rock, skiffle, delta blues.

Never one to repeat the same winning formula, on their third release, Led Zeppelin venture into new musical territory. They launch with a bang into the immortal “Immigrant Song,” a signature track if ever there was one. Inspired by a short tour in Iceland in June 1970, and lasting barely two and a half minutes, Page’s iconic riff riding under Plant’s plaintive wail produces a toe-tapping, booty-shaking experience. This is the only heavy metal song on this ten track album. Influenced by Holst’s The Planets and Indian classical music, “Friends” fits more into psychedelia and raga rock with Page playing acoustic guitars, John Paul Jones on bass and string arrangements, and Bonham on congas. It ends with a descending drone that segues into the third track, “Celebration Day”—a hard rock song driven by a highly original bluesy, rootsy, groovy guitar hook. Things come to a crawl with “Since I’ve Been Loving You,” a powerful blues track that highlights the tight interplay between Page and Plant. “Out on the Tiles” leans toward filler, echoing the style of “Good Times Bad Times” without being as good. If side one is rooted in rock, side two is rooted in folk, bluegrass, country, skiffle, and delta blues. Produced by Page, the album was recorded in May and June 1970 at Headley Grange mansion using the Rolling Stones Mobile Studio, and at Olympic Studios and Island Studios in London and Notting Hill, respectively. Engineers Andrew Johns and Terry Manning mixed it at Ardent Studios in Memphis, Tennessee, later in August. I haven’t heard the original UK pressing nor the US one cut by Paul Richmond at Mastercraft in Memphis. The first Canadian red-label pressing is good, but I prefer the Classic Records 180g reissue, remastered and cut by Bernie Grundman in 2000. it offers a well-balanced sound, with side two standing out as particularly impressive. Fortunately, Classic Records also faithfully reproduced the original intricate, rotatable laminated card disc artwork designed by Zacron.

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Reference List (Singles, albums, and labels):

13- Uriah Heep – …Very ‘Easy …Very ‘Umble.                                                        
Vertigo – 6360 006 (UK), (1970, June), 33 1/3 rpm. Genre: heavy metal, heavy rock, hard rock, prog rock, prog metal, blues rock.

14- Black Sabbath – Paranoid.                                                         
Vertigo – 6360 011 (UK), (1970, Sept.), 33 1/3 rpm. Genre: heavy metal, doom metal, proto-punk, proto-thrash metal, proto-speed metal, psychedelic.

15- Led Zeppelin – Led Zeppelin III.                                                           
Atlantic – 2401-002 (UK), Atlantic – SD 7201 (1970, Oct.), Classic Records – SD 7201 (2000), 33 1/3 rpm, 180g, or (2001) 200g. Genre: heavy metal, raga rock, psychedelia, hard rock, blues rock, heavy rock, folk blues, bluegrass, country rock, folk rock, skiffle, delta blues.