All posts by Pulse Ruiz

Rock Blog #5 – Rock Summary list

Rock – 1960-Present

Rock music formed out of the “Golden Age of Rock & Roll” original music of the late 50s/early 60s. The Rock genre  encompasses a myriad of sub-genres like Folk Rock, Blues Rock, Psychedelic Rock, Hard Rock, Funk Rock, Prog Rock, Light Rock, Country Rock, California Rock, Arena Rock, Indie Rock, etc. as well as holding on to aspects of Surf Rock, Garage Rock, Doo Wop and R&B.

After the British Invasion in 1964, the music started to slow down and become more in tune with Americana, merging with Folk, Blues, Country & Western, Jazz, and even Classical music. Simultaneously, the recording techniques became more elaborate and sophisticated giving the listener a lot more to take in. Dancing was no longer the priority of music but rather the listening experience became an art form.

1: Americana & Rock – 1964-1970 – Here I discuss how the musicians in the mid-Sixties, studied and applied the music of Americana (Folk, Blues, Jazz, Country etc.) to the new sounds in Rock music. The music began to diversify and splinter into the many sub-genres within the genre called Rock.

2: The Beatles – 1964-1970 – I consider The Beatles, with their love of American music, a turning point in the progression of Rock & Roll to the new art form of Rock music and all it encompasses. I go into great detail as to how they absorbed much of the music of before to create this new sophisticated music, Rock, that would influence the rest of the remaining 20th-century pop and art music.

3: Rock – The New Sound – 1965 – There is a clear line between the music of 1964 and the music of 1965. In 1964 during the British Invasion, Rock & Roll was going through a revival brought on by the Brits to America. Then almost overnight the music changed and became a new sound or style at first, which was later labeled “Rock”. I explore these differences of what was the change, how it was implemented and why.

 

60s Recap

A: Folk Rock 1965-1970 – This genre evolved out of the Folk Music revival spearheaded by Pete Seeger, Peter Paul & Mary, and the Kingston Trio. Bob Dylan was one of the first to define what Folk Rock is, with his controversial switch to electric Folk as did the Byrds. Later, the Beatles would switch to a more Americana sound after taking America by storm and then further influencing the new music of the mid-Sixties.

B: Blues Rock 1964-1970 – Many of the older Bluesman was rediscovered during this further revival of the great music of the Blues. The British Invasion brought in an enthusiastic interest in the Blues by groups like the Rolling Stones, the Yardbirds, and Eric Clapton. Blues is essential to the sounds of R&B, Rock & Roll and of course Rock.

C: Psychedelic Rock 1966-1973 – The recording techniques were becoming more of an art form as well as the album art and the education of the groups that were experimenting in this sophisticated music. Groups like Grateful Dead, Frank Zappa & the Mothers and many of the groups of San Francisco started to experiment. Across the pond in the UK groups like Pink Floyd and the Beatles were also giving the US groups substantial competition in this new sub-genre.

Also, this is when drugs were being experimented with and were causing the music to “think outside the box” that up to this point had been produced by record producers and engineers. These new musicians were now taking over the engineering.

Country Rock 1968-Present – Dylan once again directed a trend to dig deep into Americana and C&W music to influence super-groups of the 70s. Diverse groups but with a common popular light country with rock and roll which led to the Eagles, the Doobie Brothers, Glen Campbell, Lynard Skynard, the Band, the Grateful Dead, Neil Young and much of the light rock sub-genre.

Hard Rock 1968-1990s – This genre was a natural progression from Blues Rock and the older Garage Rock. The guitar started using distortion as well as increasing levels of volume and the advent of the power trio. Blues rockers like Jimi Hendrix, Cream, the Who and Led Zeppelin took this new music to louder and louder levels. Where would the later genres of Metal, Punk, Thrash, Grunge and NuMetal be without this monster sub-genre of Rock?

Classic Rock 1966-1982 – The merging and mixing of Classical music with Rock started here around 1966. The Beatles started using strings sections accompaniments as well as full-blown orchestras to further color their music as well as new groups like the Moody Blues. Now anything could be used in Rock like choirs, string quartets, brass sections and orchestral rhythm sections. This genre would continue into the early 80s with music programs and concept albums.

 

Later Hybrid Rock – 1968-1989 – In the late 1960s, the new Rock music started to blend with the new Soul music with interesting results. It seems the further we progress into the music of the 60s, the more that all the limitations and rules were being broken.

Never before had there been such an innovative, daring, otherwise refreshing progression in experimentation with modern popular music with a remarkable longevity in that it went on well into the late 1990s and early into the 21st century.

 

 

 

Rock Blog #6 – Sub-genres of Rock

The many sub-genres of rock music

Even before the Beatles came and redefined rock & roll, the music was showing signs of splitting off into its own sub-genres, a good example of this is the male-oriented Surf Rock and Garage Rock versus the female-oriented dance vocal R&B and Gospel which would give birth to soul music around 1960, 1961 to about 1964.

It wasn’t until retrospect (many years after) that the term “rock” would become an umbrella term used to describe many mixes of rock & roll music with other genres.

Tony Iommi was influenced by “Blues” but in many of the songs that he created for Sabbath have a “Classic Music” feel to them like the Baroque or classical guitar (Segovia or Paganini). In fact, many of the Brits contributed a distinct classical music spin of influence to rock music in the late 60s/early 70s.

The Beatles, Stones, Who, Procol Harum, Moody Blues, Pink Floyd and on to Led Zeppelin, Yes and Sabbath were more classically influenced or had a more classical music slant than the Americana (folk, blues, gospel, country, etc.) groups like continental U.S.A regionally influenced Crosby, Stills, Nash & Young, Skynard, Dylan & the Band, Eagles, Doobies, Steely’s or Zappa’s influence to the whole of “classic rock”.

Classic rock as a whole encompasses both Britain & America, its richness is in its divergent sub-genres and its wide range appeal. With the exception of Frank Zappa and a couple of other classically trained jazz artists, the music of “Classic Rock” was primarily created and developed by amateur in some cases street-punks rock & roll bands, be they American or British the bands had a criss-cross influence on each other.over and above Jazz influenced pop music.

A: Prog Rock #1 – 60’s Origins

A: Progressive (Prog) Rock

1968-1982 –

This sub-genre was influenced by psychedelic rock, classic rock, hard rock and also jazz and fusion (the mix of rock & jazz). With the release of Sgt. Peppers, many loose concepts to full-on conceptual albums like the Small Faces 1968 “Ogden’s Nut Gone Flake” or The Who’s “Tommy” were released during the psychedelic phase and a newer subgenre emerged as “prog rock” or progressive rock.

Staring with Beatles, the Beach Boys, the Byrds, and The Who released programmatic albums throughout the psychedelic era .Newer bands like Pink Floyd, the Nice, the Grateful Dead gave way to even newer bands like Yes, King Crimson, Emerson Lake & Palmer, and Jethro Tull who were stretching the boundaries of rock music even further and perfected the “programmatic” album sophistication and art, starting in the psychedelic era.

 The Concept Album

 

 

B – Glam Rock

Glam Rock 1970-1974 – Related to Hard Rock and Heavy Metal, this genre had some very glittery moments.

David Bowie, Gary Glitter, Slade and Mott the Hoople would have hits in this sub-genre at a time when there was so much going on at once. Much of Glam Rock would go on to influence the Rock of the late 1970s and especially the Eighties.

 

3 – Funk Rock

Funk Rock 1967-1980s – The new “revolution” of funk music with its emphasis on the new styles of the bass guitar and rhythm section brought about a melding of the guitar-heavy rock music with a bass and rhythm funk music.

This new mixed music “funk rock” started out with many of the blues and hard rock groups of the UK like Led Zeppelin, Vanilla Fudge, Jeff Beck and Eric Clapton as well as the Beatles & the Stones did some experimenting with very pleasing results.

Then with American groups like Grandfunk Railroad, Chicago, Bachman Turner Overdrive and even Crosby Stills Nash & Young had a mix of funk rock and created sounds that would forever keep the phrase from Wild Cherry’s “play that funky music, white boy”.

Groups like the Temptations, Earth Wind & Fire, and Funkadelic would mix rock with funk with some very extraordinary results that led to arena-sized, magnificent, deeply creative, theatrically extravagant show tours.

 

Heavy Metal 1

Heavy Metal

Summertime Blues

Heavy metal is a loud and aggressive kind of music that grew out of the genre “hard rock” around 1968. Heavy Metal has a very distinctive sound that was in its embryonic state when the band called Blue Cheer did a version of “Summertime Blues” that exemplified the heavy metal sound.

Many agree that psychedelic rock band Blue Cheer’s version of “Summertime Blues” is considered to be one of the first “heavy metal” songs along with the first “metal” album “Vincibus Eruptum”. The “heavy metal” sound seems to have come out of the “power trio” experimentations, that is to say a band consisting of a bass guitarist, a drummer and guitarist doubling as a rhythm and a lead guitarist, who collectively rely on amplification, electronics and sheer volume.

In “Summertime Blues”, Blue Cheer puts its own spin of extra riffs complete with tempo changes, solos sections for all three instruments (bass, drums and guitar) and a more street level, “do it yourself” ethos recording that added to the mystique. The distortion feedback on the song was amazing for the day in 1968 but was a culmination in a “heavy” sound that had been pursued in rock & roll since the days of Link Wray.

Dick Dale in 1962-63 spearheaded the riff & power chord techniques and surfed a wave of popular “surf rock & pop” music along with the Beach Boys which had a great influence on British “hard rock” bands like The Who, the Stones and the Beatles. The speed of a song like “Miserlou” by Dick Dale & the Del-Tones were a particular favorite because of the finger picking dexterity and electronics usage that were vital in “Heavy Metal’s” development. Metal would be formed by a constant tug of war across “the big lake” (Atlantic Ocean) with the UK on one side and the US on the other, just like with many other rock genres (ie: Punk).

 

In-A-Gadda-Da-Vida

Another great example of the heavy metal riff and structures in early “heavy metal” is the sprawling epic song “In-A-Gadda-Da-Vida” by Iron Butterfly and its album by the same name “In-A-Gadda-Da-Vida”. The song takes up the whole b-side of the LP at more than 17 minutes long beating out Zappa on his twelve minute “The Return of the Son of Monster Magnet” from his 1966 LP “Freak”.

A big feature in Heavy Metal is in song length and structure with songs layered by several elaborate riffs and alternate versions and songs frequently breaking the 3 minute length. Heavy Metal shares this feature of breaking the song length barrier, with genres like “Progress Rock” or “Prog Rock” and/or Jazz Fusion.

 

Heavy Metal Thunder

Steppenwolf’s “Born To Be Wild” and the memorable second verse line of “heavy metal thunder” only name checks the genre but is not truly “Metal”. “Born to be Wild” is a hard rock song that was number one in 1968 but as the music style is concerned, it is classic hard rock unlike Blue Cheer or Iron Butterfly.

British psychedelic rock group Vanilla Fudge’s Supremes cover “You Keep Me Hangin’ On” on tour along with new Yardbirds group Led Zeppelin were bands that were occasionally referred to as “heavy metal” in 1968, along with other “hard rock” bands Deep Purple, Cream, Hendrix, Jeff Beck. Hard Rock was starting to win over the air waves with rock band Free and the iconic “All Right Now”.

Then there were other bands from both sides of the pond being referred to as “heavy metal” like Humble Pie, Spooky Tooth, Budgie, UFO, Uriah Heep, Jethro Tull, Hawkwind, Alice Cooper, James Gang and Mountain. In retrospect, only some of the above named bands became true “Heavy Metal” but most would be considered to be great bands of the genre “Hard Rock”. At this point rock was fragmenting into all these different genres like country rock, funk rock, southern rock, etc.

 

Black Sabbath

The best example of “heavy metal” is by far Black Sabbath who released their first album “Black Sabbath” on February, Friday the 13th, 1970 which contained the song “Black Sabbath“. The song broke many boundaries and started the dark genre in its purest form. Basically all the components of what makes up “heavy metal” are contained in this song.

One of the main features of “heavy metal” is the sound of the electric guitars. Feedback distortion and the overloading of the circuitry of amplifiers and electronic gadgets led to another rock “revolution” in sound. In the passing of the baton with this sound’s experimentation, it went from Link Wray to Dick Dale, from Dave Davies of the Kinks to John Lennon, then to Pete Townshend, to Keith Richards, to Clapton, Beck and Page and to Jimi Hendrix and then finally landing in the hands of Tony Iommi.

 

The Guitar

The “heavy metal” sound is in the way a song is played rhythmically and its structure harmonically. Rhythm guitar in “metal’ chugs or crunches along with the beat rather than a 12 bar blues style of swing that rock & roll often incorporates in its vamp or jamming patterns. Metal tends to crunch along with staccato impatience, marking time for the bouts of jumping in the pit with extended athletic bursts of energy.

“Metal” revolves around the “flatted fifth”, also known as the “tri-tone”, also known as “the devils chord” or “diabolus in musica”. Remember, “Metal” is all things taboo. The music also thrives on minor chords, complex chords, a technique known as down-tuning or drop tuning and does not shy away from dis-chordancy or dissonance in general.

After careful tweaking, a guitar can take on the quality of a large, billowing and towering sound that puts up a walls of canons or stacked Marshall Amps capable of high level long range ballistics of decibel destruction. Power, rhythm, and the devil’s chords are what make up the metal guitaring technique. Everything comes in threes or pentagrams and three sixes. Many other factors go into a metal guitarists sound such as type of amp, electronics, guitar make, style, wood choice, pick-ups, strings, miking techniques etc.

So, my argument is that Tony Iommi’s guitar sound and style of playing is the sound of ‘heavy metal”. Of all the aspects that differentiate “metal” from “hard rock”, its the guitar with its distortion sound, staccatto crunch playing, use of flatted 5ths and general dissonance that defines the genre separate from the genre of “Rock”. The other guitarists I named above all were hard rock guitarists who helped germinate “heavy metal” and had elements of “metal” in their sound, but, as far as song structure and feel, they are all Hard Rock. Sabbath is different.

 

The Lyrics

The subject matter that Geezer Butler’s universe had to offer was one of no limitations. Nothing was taboo. One could write about whatever the imagination could think of. Geezer Butler would go on to test the boundaries by starting off with the extreme subject matter. Satan, the occult, and evil in general along with the horror show audio effects put forth a multi-dimensional sensory explosion for those who dared to enter Black Sabbaths “house of horrors”. Geezer’s imaginative lyrics complimented the “diabolus in musica”; the devils chord shunned since the days of ancient Greece in music.

It seems as though nothing was taboo in subject matter and there were many songs on the occult, drug addiction, nuclear war, religion, insanity in the beginning and, as time went on, more lyrical barriers were to be broken. The freedom to sing about any topic no matter how disturbing is a major feature of heavy metal and why it has such a mystique. Black Sabbath helped tear down a lot of walls early on in its career and tested how far it could go with the sensors, the critics and the general public.

 

The Vocals

Ozzy Osbourne and his blood curdling wail of hopelessness on the song “Black Sabbath” raised the hairs on many necks and ears, completely eclipsing Arthur Browns hit single “Fire”, as the most outrageous song. Ozzy Osbourne would go on to show the world just what Heavy Metal was all about, being the leading solo figure in the face of the genre to orchestrate the successful Ozfest tours which currently keep “metal” alive. Along with Robert Plant, Roger Daltrey and Ian Gillian contributed to the quintessential rock front man image, but it was Ozzy’s outrageousness that helped give the heavy metal front man a unique mystique.

Bass & Drums

The rhythm section of Black Sabbath is bombastic and explosive to say the least. It was like that metal rhythm section was born as a fully formed adult. The way Bill Ward uses a primordial battle attack along with Tony Iommi’s tri-chord slowly growing louder but with using dynamic tact in the build-up to the climax of the song, which breaks into full gallop utilizing the fight or flight response.

Ward, who was a great blues and jazz drummer, used a very symphonic or operatic crescendo in his rolls and fills while sometimes laying down a funky groove. Geezer’s bass playing shows his influence on metal bass guitar, not only as a rhythm instrument but a melodic instrument occasionally taking up the lead. His mastery of timing blending in with the rhythms and counter-rhythms of the guitar and the drums is impeccable.

The song, Black Sabbath, is but one song in a vast canon of music that would explore many heights and depths of the human condition. The first eight albums show a pioneering of unexplored topography in sound and concept, an alternate land where nothing is taboo and anything goes.

Just the Beginning

In the beginning the phrase “heavy metal” referred to several bands who played an aggressive form of hard rock in the late sixties (Vanilla Fudge, Led Zeppelin, Deep Purple, Uriah Heep, Jethro Tull, Alice Cooper, Mountain, James Gang, Grand Funk Railroad even Neil Young), but as the seventies progressed the term “heavy metal” would apply to a specific form of music that Black Sabbath spearheaded and that would eventually explode in a new scene in the late seventies and early eighties, as if in response to the punk movement. Early on there were several bands who would carry the “heavy metal” torch throughout the early seventies. However two bands would come forth as being true heavy metal bands within the parameters set by Black Sabbath, those bands were Judas Priest and Motorhead.

 

Black Sabbath

 

To me, true “heavy metal” begins with Black Sabbath; it is with Tony Iommi’s distinct dark and distorted style of guitar playing and amplified sound, along with Geezer’s depth in bass and haunting lyrical content, the indomitable Ward’s violent aggressive blues approach to the drums and then there was Ozzy, as was Elvis to Rock & Roll so was Ozzy to heavy metal.

Tony Iommi was influenced by “Blues” but in many of the songs that he created for Sabbath have a “Classic Music” feel to them like Baroque or classical guitar (Segovia or Paganini). In fact many of the Brits contributed a distinct classical music influence to rock music (Beatles, Stones, Procul Harum, Moody Blues, Pink Floyd and on to Led Zeppelin, Yes and Sabbath) quite different than America’s Americana (folk, blues, gospel, country, etc.) influence to Rock music. With the exception of Frank Zappa and a couple of others, the music of “Classic Rock” was created by the mix of British Bands with the United States Americana bands.

Tony Iommi simultaneously started a sound. A distinct sound of heavily distorted, dropped tuned, guitar using repeating riffs, motifs or themes (or Ostinato, in classical music), with strong emphasis on syncopated rhythms. The musical phrases or riffs of the guitars, when strummed give a big wall of sound (especially with a wall of stacked Marshalls), and then when played muted, the sound gives a distorted kind of chug chugging or crunch sound. This crunch sound of an extended musical repeating riff is what really differentiates “Heavy Metal” from “Hard Rock’s” 12-bar blues phrasing.

Another important differentiator between hard rock and heavy metal is the absence of the 12 bar blues, or the happy chord structures derived from I, IV, V chords that is so well used in rock. Now in place are original riffs being played over the vocalists extended melodies or rhythmic chants.

Also, the chord structures were in unexplored regions of minor, diminished, augmented, altered and complex chords, dissonance now ruled the songs along with the forbidden tri tone (Augmented fourth/Diminished 5th chords, “Devil’s Chord” or Diabolis en Musica, if you will), “heavy metal” crunches along in sometimes one key only or an ascending or descending or elaborate scalar riff off a low drone note (Jimmy Page is famous for this) or an elaborate riff that jumps, twists or winds through strange arpeggios (like the arpeggios accompanying that dark riff at the end of The Beatles song “I Want You (She’s So Heavy)” on the Abbey Road album or the arpeggios on Sabbath’s “Snowblind” off of the Vol. 4 album.

The drums had been getting more aggressive with a line of drummers starting from early instrumental and “surf rock” songs through to Ringo’s innovative close miked or ringing sounds. Next, Keith Moon of the Who popularized the (in his case) excessive or extensive usage of drum fills as did Cream’s Ginger Baker. Mr. Baker also roused us with his jazz influenced attack, as did the Jimi Hendrix Experience’s, Mitch Miller who was an eclectic and innovative compliment to Jimi’s genius. Then Led Zeppelin’s John Bonham perfected “Hard Rock” drumming while Black Sabbath’s Bill Ward invented “Heavy Metal” drumming. Both Bonham and Ward were jazz and blues influenced yet they were both in what would be seen as two different genres Rock & Metal respectively.

As far as “heavy metal’ drumming is concerned, jazz and blues were a big influence on the genre. In particular, how Sabbaths musicians (Bass, drums, and multiple guitars) used a slower tempo interspersed with wild, fast paced, freak outs only to come down again and use a great technique in metal song building of “recurring themes”, built out of a growing vast library of metal riffs.

The bass guitar is heavily influenced by the mix of blues but also of classical music. With much of the British Invasion the bass guitar was taking an active role in being a lead instrument as well as doubling as a rhythm instrument. Many heavy metal bands use Geezer’s pioneering style of bass playing by being proficient as a lead but with an ear to the classics and the whole picture. The UK in my opinion invented “Heavy Metal” by mixing classical music element with blues based psychedelic hard rock.

The lyrical content and imagery are quite extreme, far from the “I Want To Hold Your Hand” standard rock & roll pop tunes. “Metal’s” songs are basically from horror films, Halloween, the Occult, magic, anti-social philosophy, insanity and any taboo. Yes, the lyrical content is macabre, and downright disturbing, obscure and in many cases too harsh for modern society, especially in the early seventies despite the changes. Black Sabbath lived in obscurity for a long time in the early 70s, reveling in anti-social lifestyles and was re-discovered by a younger generation (the Baby Boomer’s children) in the 80s. With “heavy metal” lyrical topics, there is an “anything goes” attitude. The more shocking, horrifying, grotesque the better; anything goes even if society isn’t ready for it!

So, to recap “Hard rock” uses blues or R&B derived rock & roll phrasing. Listen to the 70s bands like in songs by Kiss in its original lineup and much of Queen in its early work, Boston, Aerosmith, Styx, Kansas, Thin Lizzy, Bachman Turner Overdrive, UFO, Rainbow , Bad Company, Foreigner and on they have heavy elements and some have outright true heavy metal songs, but for the most part these bands were hard rock bands, not metal (with the exceptions of Deep Purple which eventually would become strictly metal and Rush which would start out metal and go the other way to rock and even pop later) .

Whereas bands like, Budgie, Deep Purple’s (Mach II), Judas Priest, some of Lemy era Hawkwind progressing on to when Lemy founded Motorhead, Iron Maiden, early Rush, Dio era Rainbow, all adhere to ethos the original lineup of Black Sabbath established with specific parameters to the newer unexplored dimensions of music sound and composition.

Black Sabbath, is where, in my opinion, heavy metal started to be distinct and different in sound, culture and tradition from the more rock & roll oriented genre “hard rock”. There are many genre defining bands that played hard rock and dabbled in what was until then described as “that heavy sound” as Lennon had referred to it. That heavy sound, utilized through volume and distortion effects in the late 60’s, was what gave birth to two distinct genres, Hard Rock & Heavy Metal.

 


War Pigs / Luke’s Wall – Black Sabbath