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>> THIS IS WACKEN OPEN AIR,

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THE WORLD'S BIGGEST HEAVY

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METAL FESTIVAL WHERE EACH YEAR,

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OVER 70,000 FANS FROM AROUND

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THE WORLD GATHER IN A FARM FIELD

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IN NORTHERN GERMANY

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TO CELEBRATE THEIR LOVE

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FOR HEAVY METAL.

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MY NAME IS SAM DUNN, AND THE

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FIRST TIME I VISITED WACKEN FOR

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MY FILM METAL: A HEADBANGER'S

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JOURNEY, I LEARNED THAT METAL

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IS MORE THAN JUST MUSIC.

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IT'S A CULTURE OF OUTSIDERS,

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AND I WAS BLOWN AWAY

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BY THE PASSION OF

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METAL MUSICIANS AND FANS.

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BUT MY FILM WAS ONLY AN OVERVIEW

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OF THE ANTHROPOLOGY

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OF HEAVY METAL.

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THERE IS A MUCH BIGGER STORY

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TO BE TOLD.

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OVER THE PAST FOUR DECADES,

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HEAVY METAL HAS EVOLVED

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INTO DOZENS OF SUBGENRES

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INCLUDING THRASH METAL,

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GLAM METAL, NU METAL,

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PROG METAL, GRUNGE,

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THE NEW WAVE OF BRITISH

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HEAVY METAL, AND MANY MORE.

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BUT WHY DID METAL SPLINTER INTO

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ALL THESE SUBGENRES AND WHAT

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HAS EACH SUBGENRE CONTRIBUTED

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TO THE EVOLUTION OF THIS MUSIC?

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YOU KNOW, MANY DOCUMENTARIES

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HAVE EXPLORED THE HISTORY OF

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JAZZ, CLASSICAL, AND THE BLUES,

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BUT STILL I FEEL METAL HAS NEVER

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REALLY GOT ITS DUE, SO THIS IS

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MY NEW JOURNEY,

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A JOURNEY INTO THE EVOLUTION

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OF HEAVY METAL.

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[energetic metal music]

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*

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>> * YOU'LL TAKE MY LIFE *

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* BUT I'LL TAKE YOURS TOO *

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* YOU FIRE YOUR MUSKET

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* BUT I'LL RUN YOU THROUGH *

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* SO WHEN YOU'RE WAITING *

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* FOR THE NEXT ATTACK

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* YOU BETTER STAND

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* THERE'S NO TURNING BACK *

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* THE BUGLE SOUNDS

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* THE CHARGE BEGINS

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* BUT ON THIS BATTLEFIELD

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* NO ONE WINS

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* THE SMELL OF ACRID SMOKE

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* AND HORSES BREATH

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* AS I PLUNGE ON INTO

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* CERTAIN DEATH

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* OH OH OH OH OH OH OH OH

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* OH OH OH OH OH OH OH OH

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>> MY JOURNEY INTO HEAVY METAL'S

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VAST 40-YEAR HISTORY IS

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A MASSIVE UNDERTAKING, BUT

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BEFORE I DELVE INTO THE ENTIRE

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EVOLUTION OF THIS MUSIC, I'M

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GONNA STEP BACK AND START WITH

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THE BIG QUESTION:

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WHY ARE PEOPLE DRAWN

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TO HEAVY METAL MUSIC?

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>> IT'S OUTSIDER MUSIC

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TO THE MAX.

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HEAVY METAL SOLVED A LOT

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OF MY PROBLEMS WHEN I WAS

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A TEENAGER WHEN I COULDN'T

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EXPRESS MYSELF

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OR I WAS JUST FRUSTRATED.

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I WOULD GO INTO MY ROOM

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AND PUT ON A METAL ALBUM

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AND FEEL INSTANT RELIEF.

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>> WE'RE ABOUT EXCITEMENT

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AND POWER AND MAKING YOU ANGRY

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TO THE POINT OF EXPLODING

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IN FRONT OF EVERYBODY ELSE,

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THAT'S WHAT METAL IS ABOUT.

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>> WHEN I BANG MY HEAD,

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IT FEELS GOOD.

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IT RELEASES SOME KIND OF

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CHEMICAL INSIDE OF ME.

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I'M NOT SURE WHAT IT IS,

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BUT HEAVY METAL IS THE GREATEST

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NOISE THAT EVER WAS CREATED.

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>> HEAVY METAL IS PUSHING

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YOUR LIFE TO THE MAXIMUM,

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PUSHING IT AS HARD AS YOU CAN

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[bleep] GET IT ONTO

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THE EDGE OF CHAOS.

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>> IT'S A CHANCE TO JUST RAIL,

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JUST TO GET IT OUT,

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TO EXPRESS THAT YOU'RE NOT

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GOING ALONG WITH THE PROGRAM.

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>> THERE'S AN AGGRESSION

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AND AN ATTITUDE AND INTENSITY

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TO EVERYTHING I DO IN LIFE,

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AND I THINK IT ALL COMES FROM

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THE WAY THAT MUSIC MADE ME FEEL

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SINCE I WAS A KID.

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>> A CERTAIN KIND OF ABANDON,

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YOU KNOW, LIKE, SORT OF TOSSING

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THE RULES OUT THE WINDOW

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AND JUST GOING FOR IT.

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I THINK ROCK & ROLL IN GENERAL

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IS A GREAT OUTLET, AND IT'S

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REALLY IMPORTANT.

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I THINK WITHOUT IT,

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WE'D HAVE A LOT MORE VIOLENCE

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AND A LOT MORE TROUBLE

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IN GENERAL WITH THE PEOPLE

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BETWEEN, YOU KNOW, 16 AND 25.

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* RIDING THROUGH DUST CLOUDS

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* AND BARREN WASTES

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* GALLOPING HARD ON THE PLAINS

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* CHASING THE REDSKINS

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* BACK TO THEIR HOLES

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* FIGHTING THEM

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* AT THEIR OWN GAME

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>> METAL IS TRIBAL.

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THERE'S SOMETHING TRIBAL ABOUT

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BEING IN ONE PLACE, JUMPING UP

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AND DOWN TO THE SAME BEAT,

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PEOPLE HEAD BANGING AND

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SWEATING AND SMACKING INTO

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EACH OTHER, AND AT THE END

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OF THAT CONCERT,

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THEY'VE GONE THROUGH SOMETHING

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TOGETHER.

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>> HEAVY METAL MUSIC HAS

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BECOME AN ESSENTIAL CATHARSIS.

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IT'S A RITE OF PASSAGE.

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METAL IS LIKE A CELEBRATION OF

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COMMUNITY AND FRIENDSHIP FOR

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PEOPLE WHO SIMPLY HAVE A GENETIC

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OR EMOTIONAL PREDISPOSITION

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TO GRAVITATE TOWARDS THAT KIND

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OF MUSIC AND THAT KIND OF

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AGGRESSION.

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YOU KNOW, THE AGGRESSION

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IS THERE, BUT IT'S CONTAINED,

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AND IT'S CONTROLLED,

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AND IT'S FOCUSED.

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* RUN TO THE HILLS

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* RUN FOR YOUR LIVES

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* RUN TO THE HILLS

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* RUN FOR YOUR LIVES

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>> MEETING WITH THESE HEAVY

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METAL MUSICIANS HAS MADE ME

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REALIZE THAT THE POWER,

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COMMUNITY, AND AGGRESSION IN

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METAL MUSIC CONNECTS WITH

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PEOPLE ON A VERY DEEP LEVEL,

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AND SO I'M CURIOUS TO FIND OUT

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WHAT'S ACTUALLY HAPPENING

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INSIDE OUR BRAINS

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WHEN WE FEEL AGGRESSIVE

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FROM LISTENING TO HEAVY METAL.

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SO I'VE TRACKED DOWN

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A NEUROSCIENTIST WHO TEACHES

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HERE AT MCMASTER UNIVERSITY,

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AND I WANT TO ASK HER

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WHERE DOES THIS FEELING OF

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AGGRESSION AND POWER COME FROM

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WHEN WE LISTEN TO METAL MUSIC?

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>> * RUN FOR YOUR LIVES

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>> HI, YOU MUST BE LAUREL,

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I'M SAM. NICE TO MEET YOU.

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>> WE'RE INTERESTED IN

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THE AUDITORY SYSTEM HERE

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AND HOW IT DEVELOPS

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AND WHAT THE EFFECTS

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OF EXPERIENCE ARE ON THE BRAIN

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AND HOW PEOPLE HEAR THINGS

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AND HOW THEY REACT TO THINGS,

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AND WE'RE PARTICULARLY

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INTERESTED IN MUSIC.

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SO WHEN YOU CAME IN,

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WE PUT THE SENSOR NET ON

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YOUR HEAD, AND AS YOU LISTENED

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TO DIFFERENT PIECES OF MUSIC,

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WE MEASURED YOUR

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BRAIN RESPONSES.

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[waltzing classical music]

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*

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[thrashing metal music]

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*

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PEOPLE TALK SOMETIMES ABOUT

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HEAVY METAL IN TERMS OF

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THE VIOLENCE AND THE SOUND

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INTENSITY, AND THE DISTORTION

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TENDS TO TURN OFF CONSCIOUS

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THOUGHTS, SO YOU'RE TURNING OFF

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INHIBITION.

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ALL OF US ARE CAPABLE

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OF VIOLENT BEHAVIOR.

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ON THE OTHER HAND, THE OTHER

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SIDE OF IT IS THAT WE DO LIKE

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TO FEEL A LACK OF CONTROL FROM

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TIME TO TIME, AND IF THIS IS

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DONE IN A SAFE ENVIRONMENT, THAN

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IT CAN BE A POSITIVE THING.

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>> THERE'S SOMETHING IN

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HEAVY METAL MUSIC THAT SPEAKS

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TO THE REPTILIAN BRAIN.

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IT DOESN'T SPEAK TO

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THE INTELLECT.

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IT DOESN'T SPEAK TO A THOUGHT

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PROCESS THAT'S ON THE SURFACE.

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THERE'S SOMETHING THAT

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CONNECTS VERY VISCERALLY

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WITH HEAVY METAL MUSIC

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THAT IT JUST FEELS AWESOME.

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>> CERTAINLY AN OUTLET,

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AN OUTLET THAT YOU COULDN'T GET

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ANYWHERE ELSE.

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YOU COME TO THE SHOW

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AND LOSE YOUR [bleep] MIND AND

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GET IN THE PIT AND GO CRAZY

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AND STAGE DIVE AND HAVE FUN.

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IT'S NOT ABOUT VIOLENCE.

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IT'S ABOUT FUN.

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YOU MIGHT BE BRUISED

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AND REALLY TIRED THE NEXT DAY,

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BUT, YOU KNOW WHAT, IT'S LIKE

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A GREAT MASSAGE.

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YOU'RE GONNA FEEL REALLY

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GOOD AFTERWARDS.

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>> SO IN THE METAL CONTEXT,

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IT'S LIKE YOU'RE EXERCISING THE

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PART OF YOU THAT IS AGGRESSIVE,

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THAT IS COMBATIVE,

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BUT WITHOUT ANY REAL DANGER.

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>> THAT'S RIGHT.

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[singing indistinctly]

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>> EVEN THOUGH HEAVY METAL

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CAN APPEAR VIOLENT AND

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AGGRESSIVE TO PEOPLE ON THE

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OUTSIDE, WHAT I'VE LEARNED IS

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THAT THE AGGRESSION IN

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METAL PROVIDES A POSITIVE

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EMOTIONAL RELEASE FOR ITS

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MUSICIANS AND FANS, AND SO I NOW

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HAVE A MUCH BETTER GRASP OF WHY

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PEOPLE ARE DRAWN TO THIS MUSIC,

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BUT SINCE THIS SERIES IS ABOUT

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THE EVOLUTION OF METAL,

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I NEED TO UNDERSTAND

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HOW METAL HAS CHANGED

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OVER ITS 40-YEAR HISTORY

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AND WHY IT'S BECOME THE COMPLEX

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PHENOMENON THAT IT IS TODAY.

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SO I'M EMBARKING ON A JOURNEY

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THAT WILL TAKE ME TO OVER 40

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CITIES IN 12 COUNTRIES

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ACROSS THREE CONTINENTS.

265
00:08:39,343 --> 00:08:40,276
I'LL TRAVEL FROM THE BACK

266
00:08:40,276 --> 00:08:41,510
STREETS OF BIRMINGHAM, ENGLAND,

267
00:08:41,510 --> 00:08:43,543
TO L.A.'S SUNSET STRIP AND FROM

268
00:08:43,543 --> 00:08:45,110
THE CROSSROADS IN MISSISSIPPI

269
00:08:45,110 --> 00:08:45,976
TO SOCCER STADIUMS

270
00:08:45,976 --> 00:08:48,143
IN SANTIAGO, CHILE.

271
00:08:48,143 --> 00:08:49,110
I'LL BE MEETING WITH OVER

272
00:08:49,110 --> 00:08:51,910
300 MUSICIANS, FANS, AND EXPERTS

273
00:08:51,910 --> 00:08:54,110
TO DIG DEEP INTO METAL'S ROOTS

274
00:08:54,110 --> 00:08:55,110
AND TO FIND OUT WHY IT'S

275
00:08:55,110 --> 00:08:56,676
DEVELOPED INTO OVER TWO DOZEN

276
00:08:56,676 --> 00:08:58,143
SUBGENRES.

277
00:08:58,143 --> 00:08:59,810
BUT TO GET STARTED,

278
00:08:59,810 --> 00:09:00,743
I'M GOING BACK TO THE VERY

279
00:09:00,743 --> 00:09:02,176
BEGINNING.

280
00:09:02,176 --> 00:09:03,110
WHAT OF THE SONIC ROOTS

281
00:09:03,110 --> 00:09:04,476
OF THIS MUSIC?

282
00:09:04,476 --> 00:09:05,610
WHERE DID HEAVY METAL

283
00:09:05,610 --> 00:09:06,810
ACTUALLY BEGIN?

284
00:09:06,810 --> 00:09:09,810
[guitar feedback]

285
00:09:17,810 --> 00:09:18,710
>> THE BIRTH OF HEAVY METAL

286
00:09:18,710 --> 00:09:20,143
IS A MUCH DEBATED TOPIC

287
00:09:20,143 --> 00:09:22,276
AMONG METAL FANS, MUSICIANS,

288
00:09:22,276 --> 00:09:23,776
AND EXPERTS.

289
00:09:23,776 --> 00:09:24,643
BUT MOST WILL AGREE THAT

290
00:09:24,643 --> 00:09:25,710
THE GENRE WAS BORN IN

291
00:09:25,710 --> 00:09:28,410
FEBRUARY 1970, WHEN BIRMINGHAM,

292
00:09:28,410 --> 00:09:29,576
ENGLAND'S BLACK SABBATH

293
00:09:29,576 --> 00:09:30,543
RELEASED THEIR DEBUT

294
00:09:30,543 --> 00:09:32,376
RECORD BLACK SABBATH.

295
00:09:32,376 --> 00:09:33,376
[playing brooding rock music]

296
00:09:33,376 --> 00:09:41,376
*

297
00:09:42,943 --> 00:09:44,310
>> THIS RECORD WAS FAR HEAVIER

298
00:09:44,310 --> 00:09:45,676
AND DARKER THAN ANY MUSIC

299
00:09:45,676 --> 00:09:47,476
THAT HAD COME BEFORE.

300
00:09:47,476 --> 00:09:48,276
SO I'VE ALWAYS WANTED TO

301
00:09:48,276 --> 00:09:49,143
ASK THEM ABOUT THEIR

302
00:09:49,143 --> 00:09:50,576
MUSICAL ROOTS.

303
00:09:50,576 --> 00:09:51,543
WHERE DID BLACK SABBATH

304
00:09:51,543 --> 00:09:52,610
GET THE INSPIRATION TO

305
00:09:52,610 --> 00:09:55,743
CREATE THIS HEAVY SOUND?

306
00:09:55,743 --> 00:09:56,643
GOING BACK TO THAT FIRST

307
00:09:56,643 --> 00:09:59,110
RECORD, HOW WOULD YOU DESCRIBE

308
00:09:59,110 --> 00:10:00,776
THE SOUND THAT YOU GUYS

309
00:10:00,776 --> 00:10:02,943
WERE CREATING?

310
00:10:02,943 --> 00:10:03,810
>> IT'S HARD TO SAY,

311
00:10:03,810 --> 00:10:04,476
BECAUSE IT SEEMED

312
00:10:04,476 --> 00:10:05,476
TO WRITE ITSELF.

313
00:10:05,476 --> 00:10:07,110
YOU KNOW, WE'D JAM AROUND AND

314
00:10:07,110 --> 00:10:08,910
SEE WHAT WE CAME OUT WITH.

315
00:10:08,910 --> 00:10:10,410
ONE MORNING WE CAME OUT WITH

316
00:10:10,410 --> 00:10:11,876
THE SONG BLACK SABBATH.

317
00:10:11,876 --> 00:10:13,643
IT WAS JUST DONE IN A FLASH.

318
00:10:13,643 --> 00:10:14,610
LIKE, TONY CAME UP WITH THE

319
00:10:14,610 --> 00:10:16,743
RIFF, OZZY STARTED SINGING

320
00:10:16,743 --> 00:10:18,643
THE LYRICS, AND IT SORT OF

321
00:10:18,643 --> 00:10:19,510
REALLY DID WRITE ITSELF.

322
00:10:19,510 --> 00:10:22,510
[music continues]

323
00:10:33,076 --> 00:10:33,943
>> WHAT WERE THE MAIN

324
00:10:33,943 --> 00:10:35,676
INSPIRATIONS FOR THAT

325
00:10:35,676 --> 00:10:37,076
OPENING RIFF?

326
00:10:37,076 --> 00:10:39,076
>> I REMEMBER PLAYING

327
00:10:39,076 --> 00:10:40,976
MARS, THE PLANETS SUITE, THE

328
00:10:40,976 --> 00:10:42,610
* DUN DUN DUN

329
00:10:42,610 --> 00:10:43,710
ON THE BASS WHEN WE WERE

330
00:10:43,710 --> 00:10:46,076
REHEARSING, AND IT SEEMED TO

331
00:10:46,076 --> 00:10:47,376
INFLUENCE TONY TO GO

332
00:10:47,376 --> 00:10:50,510
* DUN DEEN DUN

333
00:10:50,510 --> 00:10:51,210
YOU KNOW, THE SAME SORT

334
00:10:51,210 --> 00:10:52,643
OF TRITONIC THING.

335
00:10:52,643 --> 00:10:53,776
>> I THINK GEEZER WAS TRYING

336
00:10:53,776 --> 00:10:55,910
TO PLAY--

337
00:10:55,910 --> 00:10:56,743
GEEZER WAS TRYING TO PLAY

338
00:10:56,743 --> 00:10:59,410
THE NOTES TO HOLTZ'S MARS,

339
00:10:59,410 --> 00:11:01,743
AND TONY SHOWED UP, AND HE

340
00:11:01,743 --> 00:11:03,243
LENGTHENED THE NOTES,

341
00:11:03,243 --> 00:11:04,443
AND HE HELD THEM OUT.

342
00:11:04,443 --> 00:11:05,776
* BAM

343
00:11:05,776 --> 00:11:08,376
* BAM BAM

344
00:11:08,376 --> 00:11:10,210
IT SENT SHIVERS DOWN MY BACK.

345
00:11:10,210 --> 00:11:11,410
AND I'M NOT SAYING THAT TONY

346
00:11:11,410 --> 00:11:13,210
TOOK THAT RIFF FROM HOLTZ.

347
00:11:13,210 --> 00:11:14,210
YOU LISTEN TO THE MUSIC,

348
00:11:14,210 --> 00:11:15,843
AND YOU CAN HEAR IT,

349
00:11:15,843 --> 00:11:16,510
VERY MUCH SO.

350
00:11:16,510 --> 00:11:17,510
[dramatic orchestral music]

351
00:11:17,510 --> 00:11:25,510
*

352
00:11:33,543 --> 00:11:34,410
>> CLASSICAL MUSIC WAS

353
00:11:34,410 --> 00:11:35,910
OBVIOUSLY AN INSPIRATION FOR

354
00:11:35,910 --> 00:11:36,776
BLACK SABBATH IN

355
00:11:36,776 --> 00:11:38,610
THEIR EARLY YEARS.

356
00:11:38,610 --> 00:11:39,476
SO I'M CURIOUS TO KNOW IF

357
00:11:39,476 --> 00:11:40,743
CLASSICAL MUSIC HAS BEEN

358
00:11:40,743 --> 00:11:41,876
AN INFLUENCE ON OTHER

359
00:11:41,876 --> 00:11:43,843
METAL MUSICIANS?

360
00:11:43,843 --> 00:11:44,643
>> AND SO I'VE COME BACK TO

361
00:11:44,643 --> 00:11:45,643
GERMANY TO MEET WITH

362
00:11:45,643 --> 00:11:47,810
ULI JON ROTH, WHO'S A CLASSICAL

363
00:11:47,810 --> 00:11:49,343
MUSIC EXPERT AND FORMER

364
00:11:49,343 --> 00:11:51,176
GUITARIST OF THE SCORPIONS,

365
00:11:51,176 --> 00:11:52,110
TO TALK WITH HIM ABOUT

366
00:11:52,110 --> 00:11:53,276
THIS CONNECTION BETWEEN

367
00:11:53,276 --> 00:11:55,343
CLASSICAL MUSIC AND HEAVY METAL.

368
00:11:55,343 --> 00:11:56,343
[playing warm guitar tones]

369
00:11:56,343 --> 00:12:01,176
*

370
00:12:01,176 --> 00:12:02,443
WHY HAVE SO MANY HARD ROCK

371
00:12:02,443 --> 00:12:04,143
OR HEAVY METAL GUITARISTS

372
00:12:04,143 --> 00:12:06,210
INCORPORATED THE INFLUENCES

373
00:12:06,210 --> 00:12:07,410
OF CLASSICAL COMPOSERS

374
00:12:07,410 --> 00:12:08,143
INTO THEIR MUSIC?

375
00:12:08,143 --> 00:12:09,210
I THINK OF EDDIE VAN HALEN.

376
00:12:09,210 --> 00:12:10,143
I THINK OF RANDY RHOADS.

377
00:12:10,143 --> 00:12:10,943
I THINK OF YOURSELF

378
00:12:10,943 --> 00:12:12,510
AND MANY OTHERS.

379
00:12:12,510 --> 00:12:13,643
>> I THINK BECAUSE IT'S

380
00:12:13,643 --> 00:12:16,510
A NATURAL, IN-BORN DESIRE

381
00:12:16,510 --> 00:12:17,610
TO EVOLVE.

382
00:12:17,610 --> 00:12:19,976
YOU KNOW, YOU HAVE THIS ENORMOUS

383
00:12:19,976 --> 00:12:21,743
RESERVOIR AND REPERTOIRE OF

384
00:12:21,743 --> 00:12:23,843
GREAT MUSICIANS IN THE PAST.

385
00:12:23,843 --> 00:12:26,243
YOU LOOK AT THAT, AND YOU GO,

386
00:12:26,243 --> 00:12:27,243
"WOW, WHAT ARE THESE PEOPLE

387
00:12:27,243 --> 00:12:28,110
DOING, YOU KNOW?

388
00:12:28,110 --> 00:12:28,976
MAYBE WE CAN DO SOMETHING

389
00:12:28,976 --> 00:12:30,910
SIMILAR."

390
00:12:30,910 --> 00:12:31,876
AND PARTICULARLY WHEN YOU'RE

391
00:12:31,876 --> 00:12:33,343
A YOUNG PLAYER, YOU FIND THAT

392
00:12:33,343 --> 00:12:35,176
EXCITING, YOU KNOW, THE

393
00:12:35,176 --> 00:12:37,210
DEXTERITY ANGLE, BECAUSE YOU'RE

394
00:12:37,210 --> 00:12:38,810
INTERESTED IN SPEED,.

395
00:12:38,810 --> 00:12:40,543
YOU WANT TO BE FLUENT

396
00:12:40,543 --> 00:12:42,243
IN WHAT YOU DO, AND CLASSICAL

397
00:12:42,243 --> 00:12:43,310
MUSIC TEACHES YOU THAT.

398
00:12:43,310 --> 00:12:44,310
[music continues]

399
00:12:44,310 --> 00:12:52,143
*

400
00:12:52,143 --> 00:12:53,443
>> AS A YOUNG FAN OF METAL,

401
00:12:53,443 --> 00:12:54,376
I THOUGHT ALL OTHER MUSIC

402
00:12:54,376 --> 00:12:55,610
SUCKED, YOU KNOW, LIKE,

403
00:12:55,610 --> 00:12:57,543
CLASSICAL MUSIC, JAZZ MUSIC.

404
00:12:57,543 --> 00:12:59,210
IT'S TOTALLY WIMPY, MAN.

405
00:12:59,210 --> 00:12:59,943
BUT THEN WHEN I BECAME

406
00:12:59,943 --> 00:13:02,276
A GUITAR PLAYER AND I REALIZED

407
00:13:02,276 --> 00:13:03,476
THAT THE EXCELLENCE OF

408
00:13:03,476 --> 00:13:05,010
AN EDDIE VAN HALEN

409
00:13:05,010 --> 00:13:06,010
AND YNGWIE MALMSTEEN AND THE

410
00:13:06,010 --> 00:13:08,543
EXCELLENCE OF A NICCOLO PAGANINI

411
00:13:08,543 --> 00:13:09,876
HAD SOMETHING IN COMMON.

412
00:13:09,876 --> 00:13:10,810
I APPRECIATED NOT JUST THE

413
00:13:10,810 --> 00:13:12,576
MUSICIANSHIP BUT THE EXPRESSION

414
00:13:12,576 --> 00:13:14,176
THAT VERY TALENTED NON-METAL

415
00:13:14,176 --> 00:13:15,310
MUSICIANS BROUGHT TO THEIR OWN

416
00:13:15,310 --> 00:13:16,510
GENRES, AND IT WAS VERY

417
00:13:16,510 --> 00:13:17,443
INSPIRING TO ME.

418
00:13:17,443 --> 00:13:18,443
[playing speedy guitar solo]

419
00:13:18,443 --> 00:13:26,443
*

420
00:13:32,610 --> 00:13:34,210
>> FOR SOME HEAVY METALERS,

421
00:13:34,210 --> 00:13:35,410
CLASSICAL MUSICIANS LIKE

422
00:13:35,410 --> 00:13:36,910
PAGANINI ARE MORE THAN AN

423
00:13:36,910 --> 00:13:38,443
INSPIRATION.

424
00:13:38,443 --> 00:13:39,943
THEY'RE AN OBSESSION.

425
00:13:39,943 --> 00:13:41,710
AND IF PAGANINI WERE ALIVE

426
00:13:41,710 --> 00:13:42,943
TODAY AND PLAYED A FENDER STRAT

427
00:13:42,943 --> 00:13:44,543
THROUGH A MARSHALL STACK,

428
00:13:44,543 --> 00:13:45,676
HE WOULD BE SWEDISH GUITAR

429
00:13:45,676 --> 00:13:48,276
VIRTUOSO YNGWIE MALMSTEEN.

430
00:14:01,943 --> 00:14:02,610
WHEN YOU BROUGHT THE

431
00:14:02,610 --> 00:14:05,143
CLASSICAL SOUND QUITE BOLDLY

432
00:14:05,143 --> 00:14:07,210
INTO THE ROCK AND METAL FORMAT

433
00:14:07,210 --> 00:14:08,376
THAN WHAT ANYBODY ELSE--

434
00:14:08,376 --> 00:14:09,143
>> WHAT IT WAS

435
00:14:09,143 --> 00:14:10,576
WAS THAT I SAW IT ON TV.

436
00:14:10,576 --> 00:14:11,776
IT WAS THIS RUSSIAN VIOLINIST

437
00:14:11,776 --> 00:14:13,610
WHO WAS GOING MAD ON THE VIOLIN.

438
00:14:13,610 --> 00:14:14,576
I COULDN'T BELIEVE IT.

439
00:14:14,576 --> 00:14:15,576
[playing complex violin music]

440
00:14:15,576 --> 00:14:19,643
*

441
00:14:19,643 --> 00:14:20,476
AND THEY SAID AT THE END OF

442
00:14:20,476 --> 00:14:21,310
THE PROGRAM, IT WAS

443
00:14:21,310 --> 00:14:23,543
NICCOLO PAGANINI'S 24 CAPRICES,

444
00:14:23,543 --> 00:14:25,143
AND I JUST SAID, "WOW, YOU KNOW,

445
00:14:25,143 --> 00:14:26,643
IF I COULD GET ANY OF THAT,

446
00:14:26,643 --> 00:14:28,743
YOU KNOW THE LINEAR SINGING

447
00:14:28,743 --> 00:14:31,243
NOTES, ARPEGGIOS, ALL THAT STUFF

448
00:14:31,243 --> 00:14:32,410
AND PUT THAT IN THE GUITAR,

449
00:14:32,410 --> 00:14:33,376
THAT WOULD BE AMAZING,"

450
00:14:33,376 --> 00:14:34,110
YOU KNOW.

451
00:14:34,110 --> 00:14:34,710
SO ONCE I HEARD THAT,

452
00:14:34,710 --> 00:14:35,376
THAT WAS IT.

453
00:14:35,376 --> 00:14:36,110
I KNEW THAT'S WHAT

454
00:14:36,110 --> 00:14:38,110
I WANTED TO DO.

455
00:14:38,110 --> 00:14:40,576
JUST TECHNICALLY, IT'S AMAZING

456
00:14:40,576 --> 00:14:42,443
WHAT PAGANINI DID, AND I FELT

457
00:14:42,443 --> 00:14:43,943
THAT I NEEDED TO CHALLENGE

458
00:14:43,943 --> 00:14:45,443
MYSELF, AND I DIDN'T WANT TO

459
00:14:45,443 --> 00:14:46,643
TAKE THE EASY WAY OUT.

460
00:14:46,643 --> 00:14:47,676
I THINK THAT'S THE MAIN REASON

461
00:14:47,676 --> 00:14:48,376
FOR ME.

462
00:14:48,376 --> 00:14:49,543
I ALWAYS FELT LIKE I HAD TO BE

463
00:14:49,543 --> 00:14:50,743
BETTER THAN I AM,

464
00:14:50,743 --> 00:14:52,243
AND TO ME, TO BE BETTER WOULD BE

465
00:14:52,243 --> 00:14:53,910
TO PLAY MORE DIFFICULT,

466
00:14:53,910 --> 00:14:55,343
MORE COMPLEX CLASSICAL-TYPE

467
00:14:55,343 --> 00:14:58,643
MUSIC.

468
00:14:58,643 --> 00:14:59,443
YOU KNOW, I DON'T WANT TO JUST

469
00:14:59,443 --> 00:15:01,243
PLAY IT SAFE, TWO STRINGS,

470
00:15:01,243 --> 00:15:01,976
IT COULD BE THREE STRINGS,

471
00:15:01,976 --> 00:15:02,776
FOUR STRINGS, FIVE STRINGS,

472
00:15:02,776 --> 00:15:03,910
SIX-STRING ARPEGGIOS.

473
00:15:03,910 --> 00:15:04,910
PEOPLE KEPT ON TELLING ME

474
00:15:04,910 --> 00:15:06,143
TO SLOW DOWN, YOU KNOW,

475
00:15:06,143 --> 00:15:07,210
"HEY, SLOW DOWN."

476
00:15:07,210 --> 00:15:09,276
I'M LIKE, "OH, WELL."

477
00:15:09,276 --> 00:15:10,143
"REMEMBER, LESS IS MORE,"

478
00:15:10,143 --> 00:15:11,110
AND I ALWAYS SAID,

479
00:15:11,110 --> 00:15:12,743
"HOW CAN THAT BE?

480
00:15:12,743 --> 00:15:14,143
HOW CAN LESS BE MORE?"

481
00:15:14,143 --> 00:15:15,643
IT'S IMPOSSIBLE.

482
00:15:15,643 --> 00:15:17,643
MORE IS MORE.

483
00:15:22,143 --> 00:15:23,110
>> THE VIRTUOSITY OF

484
00:15:23,110 --> 00:15:24,676
CLASSICAL MUSIC HAS BEEN HUGELY

485
00:15:24,676 --> 00:15:25,943
INSPIRATIONAL FOR METAL

486
00:15:25,943 --> 00:15:28,576
GUITARISTS, BUT SINCE VIRTUOSITY

487
00:15:28,576 --> 00:15:29,910
IN HEAVY METAL IS NOT LIMITED

488
00:15:29,910 --> 00:15:31,343
TO THE GUITAR,

489
00:15:31,343 --> 00:15:32,510
I'VE COME TO LONDON, ENGLAND,

490
00:15:32,510 --> 00:15:34,110
TO MEET WITH ROB HALFORD,

491
00:15:34,110 --> 00:15:35,243
THE LEGENDARY VOCALIST OF

492
00:15:35,243 --> 00:15:37,476
JUDAS PRIEST, TO EXPLORE HOW

493
00:15:37,476 --> 00:15:39,310
CLASSICAL MUSIC HAS INFLUENCED

494
00:15:39,310 --> 00:15:41,443
HIS APPROACH TO METAL VOCALS.

495
00:15:41,443 --> 00:15:42,243
>> BEFORE I BECAME

496
00:15:42,243 --> 00:15:43,543
A PROFESSIONAL SINGER,

497
00:15:43,543 --> 00:15:44,710
I WORKED IN THE THEATER FOR

498
00:15:44,710 --> 00:15:45,943
A WHILE, AND I LOOKED FROM

499
00:15:45,943 --> 00:15:47,476
THE SIDE OF THE STAGE,

500
00:15:47,476 --> 00:15:49,110
AND I WOULD WATCH OPERA.

501
00:15:49,110 --> 00:15:49,810
YOU KNOW, AND I'D LOOK AT

502
00:15:49,810 --> 00:15:50,776
THE AUDIENCE, AND I'D LOOK

503
00:15:50,776 --> 00:15:51,910
AT THE PERFORMER AND BACK AND

504
00:15:51,910 --> 00:15:54,110
FORTH, AND IT WAS INTRIGUING

505
00:15:54,110 --> 00:15:55,243
TO SEE, AND I WAS JUST

506
00:15:55,243 --> 00:15:57,276
MESMERIZED BY THE POWER

507
00:15:57,276 --> 00:15:58,210
OF THE VOICE AND WHAT IT

508
00:15:58,210 --> 00:15:58,876
CAN DO.

509
00:15:58,876 --> 00:15:59,876
[singing operatically]

510
00:15:59,876 --> 00:16:08,476
*

511
00:16:08,476 --> 00:16:09,410
YOU LISTEN TO SOMEBODY LIKE

512
00:16:09,410 --> 00:16:10,710
PAVAROTTI, WHO IS MY

513
00:16:10,710 --> 00:16:12,010
ULTIMATE GOD,

514
00:16:12,010 --> 00:16:13,943
LOOK AT THE SCOPE THAT CAN BE

515
00:16:13,943 --> 00:16:16,143
CREATED BY THESE VOCAL CORDS

516
00:16:16,143 --> 00:16:17,176
IN YOU THROAT.

517
00:16:17,176 --> 00:16:18,476
IT'S ABSOLUTELY SENSATIONAL.

518
00:16:18,476 --> 00:16:19,843
SO I'VE ALWAYS HAD FUN

519
00:16:19,843 --> 00:16:21,476
AS A SINGER TO TRY AND DO

520
00:16:21,476 --> 00:16:22,876
AS MANY DRAMATIC THINGS

521
00:16:22,876 --> 00:16:24,876
AS I POSSIBLY CAN.

522
00:16:24,876 --> 00:16:26,010
* ANOTHER WOMAN'S GOT *

523
00:16:26,010 --> 00:16:27,743
* HER MAN

524
00:16:27,743 --> 00:16:28,543
* SHE WON'T GET A *

525
00:16:28,543 --> 00:16:33,576
[sustained high note]

526
00:16:33,576 --> 00:16:35,310
>> ROB HALFORD HAS THAT ABILITY

527
00:16:35,310 --> 00:16:36,443
TO SORT OF PROJECT

528
00:16:36,443 --> 00:16:37,476
LIKE AN OPERA SINGER,

529
00:16:37,476 --> 00:16:38,910
THAT KIND OF VOCAL STYLE,

530
00:16:38,910 --> 00:16:39,610
WHAT DOES IT ADD TO METAL?

531
00:16:39,610 --> 00:16:42,643
>> OPERA IS A VERY CHALLENGING

532
00:16:42,643 --> 00:16:44,576
STYLE OF MUSIC TO PERFORM

533
00:16:44,576 --> 00:16:47,576
AS A SINGER ESPECIALLY.

534
00:16:47,576 --> 00:16:48,943
MUCH MORE CHALLENGING, I THINK,

535
00:16:48,943 --> 00:16:50,143
THAN ROCK MUSIC, YOU KNOW?

536
00:16:50,143 --> 00:16:51,843
ONE OF THE THINGS THAT I NOTICE

537
00:16:51,843 --> 00:16:53,176
ABOUT, LIKE, ROB AND BRUCE AND

538
00:16:53,176 --> 00:16:55,110
MYSELF IS, THERE IS A HUGE

539
00:16:55,110 --> 00:16:56,376
AMOUNT OF THEATRICS IN OUR

540
00:16:56,376 --> 00:16:58,110
DELIVERY, YOU KNOW, TRYING TO

541
00:16:58,110 --> 00:16:58,943
GET YOUR POINT ACROSS TO THE

542
00:16:58,943 --> 00:17:00,143
AUDIENCE AND AFFECT THEM AND

543
00:17:00,143 --> 00:17:01,643
ILLICIT SOME SORT OF EMOTION.

544
00:17:01,643 --> 00:17:04,143
>> * INTO THE ABYSS I'LL FALL *

545
00:17:04,143 --> 00:17:08,810
* THE EYE OF HORUS

546
00:17:08,810 --> 00:17:11,276
* INTO THE EYES OF THE NIGHT

547
00:17:11,276 --> 00:17:13,343
* WATCHING ME GO

548
00:17:13,343 --> 00:17:15,143
WHENEVER I SING A SONG,

549
00:17:15,143 --> 00:17:16,876
THERE'S ALWAYS A BIG PART OF

550
00:17:16,876 --> 00:17:18,143
IT IS WHAT I WOULD DESCRIBE

551
00:17:18,143 --> 00:17:19,776
AS THEATER OF THE MIND.

552
00:17:19,776 --> 00:17:22,143
IT'S LIKE APPLIED DRAMATICS

553
00:17:22,143 --> 00:17:23,910
THROUGH MUSIC ,AND I WOULDN'T

554
00:17:23,910 --> 00:17:25,143
LIKE TO SAY WE WERE ON ANY

555
00:17:25,143 --> 00:17:26,210
KIND OF LEVEL WITH ANY GREAT

556
00:17:26,210 --> 00:17:28,010
OPERA OR CLASSICAL ANYTHING

557
00:17:28,010 --> 00:17:28,676
YOU KNOW?

558
00:17:28,676 --> 00:17:30,143
IT'S SIMPLY A DESIRE

559
00:17:30,143 --> 00:17:31,410
TO DO A GOOD JOB AT MESSING

560
00:17:31,410 --> 00:17:33,110
WITH PEOPLE'S IMAGINATION.

561
00:17:33,110 --> 00:17:35,443
>> TRAUMA, AN INTENSITY,

562
00:17:35,443 --> 00:17:38,243
JEALOUSY AND RAGE AND REVENGE,

563
00:17:38,243 --> 00:17:39,676
LIKE OPERA, METAL HAS GOT ALL

564
00:17:39,676 --> 00:17:41,110
OF THOSE THINGS GOING FOR IT.

565
00:17:41,110 --> 00:17:44,143
WE'RE ABOUT EXCITEMENT AND POWER

566
00:17:44,143 --> 00:17:47,110
AND MAKING YOU VERY EMOTIONAL.

567
00:17:47,110 --> 00:17:48,243
THAT'S WHAT METAL IS ABOUT,

568
00:17:48,243 --> 00:17:49,376
THAT WHOLE VISUAL,

569
00:17:49,376 --> 00:17:51,776
LARGER-THAN-LIFE EXPERIENCE.

570
00:17:51,776 --> 00:17:53,843
>> HEAVY METAL AT ITS CORE

571
00:17:53,843 --> 00:17:56,110
IS MARSHALL MUSIC.

572
00:17:56,110 --> 00:17:58,643
IT'S BIG, HEAVY, MILITARY,

573
00:17:58,643 --> 00:18:00,143
SCARE-YOU-TO-DEATH MUSIC.

574
00:18:00,143 --> 00:18:01,710
HEAVY METAL WAS A TERM THAT

575
00:18:01,710 --> 00:18:02,910
CAME MUCH LATER ON, BUT THE

576
00:18:02,910 --> 00:18:04,943
IDEA OF HEAVY MUSIC, THAT'S

577
00:18:04,943 --> 00:18:06,110
BEEN THERE SINCE THE BEGINNING

578
00:18:06,110 --> 00:18:06,910
OF TIME.

579
00:18:06,910 --> 00:18:08,243
IT'S THE MUSIC THAT WAGNER

580
00:18:08,243 --> 00:18:09,576
PLAYED IN CONCERT HALLS

581
00:18:09,576 --> 00:18:11,443
WITH HIS OUTSIZED INSTRUMENTS

582
00:18:11,443 --> 00:18:12,776
AND HIS HUGE ORCHESTRAS.

583
00:18:12,776 --> 00:18:14,110
THE WHOLE IDEA WAS,

584
00:18:14,110 --> 00:18:15,243
SHAKE THE WALLS,

585
00:18:15,243 --> 00:18:16,210
SHAKE THE WORLD THROUGH

586
00:18:16,210 --> 00:18:18,576
THE POWER OF THIS MUSIC.

587
00:18:18,576 --> 00:18:20,643
[aggressive guitar riff]

588
00:18:43,943 --> 00:18:44,943
[blues guitar riff]

589
00:18:44,943 --> 00:18:48,410
*

590
00:18:48,410 --> 00:18:51,210
* NOW MAUDIE

591
00:18:51,210 --> 00:18:55,243
* BABY, I LOVE YOU

592
00:18:55,243 --> 00:18:58,576
* OH, MAUDIE

593
00:18:58,576 --> 00:18:59,776
>> MOST MUSICIANS AGREE THAT

594
00:18:59,776 --> 00:19:01,110
THE FOUNDATION FOR ALL

595
00:19:01,110 --> 00:19:03,476
ROCK MUSIC IS THE BLUES,

596
00:19:03,476 --> 00:19:04,276
WHICH WAS BORN WHEN

597
00:19:04,276 --> 00:19:05,510
ROBERT JOHNSON STOOD AT

598
00:19:05,510 --> 00:19:06,843
THE CROSSROADS IN CLARKSDALE,

599
00:19:06,843 --> 00:19:08,743
MISSISSIPPI, AND SOLD HIS SOUL

600
00:19:08,743 --> 00:19:10,110
TO THE DEVIL BY CHOOSING

601
00:19:10,110 --> 00:19:12,410
A LIFE OF MUSIC.

602
00:19:12,410 --> 00:19:14,176
BUT GROWING UP, HEAVY METAL

603
00:19:14,176 --> 00:19:15,476
BANDS THAT I LOVED

604
00:19:15,476 --> 00:19:17,310
LIKE IRON MAIDEN AND METALLICA

605
00:19:17,310 --> 00:19:18,376
SEEMED LIKE THE FURTHEST THING

606
00:19:18,376 --> 00:19:20,110
FROM THE BLUES.

607
00:19:20,110 --> 00:19:21,210
SO WHAT EXACTLY IS THE

608
00:19:21,210 --> 00:19:22,243
CONNECTION BETWEEN THE

609
00:19:22,243 --> 00:19:24,110
BLUES AND HEAVY METAL?

610
00:19:24,110 --> 00:19:25,543
SO WITH THE BLUES AND

611
00:19:25,543 --> 00:19:27,110
HEAVY METAL, IS THERE ANY

612
00:19:27,110 --> 00:19:28,376
KINSHIP THERE?

613
00:19:28,376 --> 00:19:29,110
>> I MEAN, HOW?

614
00:19:29,110 --> 00:19:29,943
I THINK THEY'RE INTRINSICALLY

615
00:19:29,943 --> 00:19:30,743
LINKED.

616
00:19:30,743 --> 00:19:31,543
I MEAN, IF YOU LOOK AT ANY

617
00:19:31,543 --> 00:19:33,243
OF THE BRITISH MUSICIANS FROM

618
00:19:33,243 --> 00:19:34,376
THE STONES ALL THE WAY TO

619
00:19:34,376 --> 00:19:36,576
THE YARDBIRDS AND MOTORHEAD,

620
00:19:36,576 --> 00:19:38,110
ALL THAT WAVE OF GUYS,

621
00:19:38,110 --> 00:19:39,343
THEY ALL LISTEN TO THE BLUES.

622
00:19:39,343 --> 00:19:41,343
>> ALL HARD ROCK/METAL BANDS

623
00:19:41,343 --> 00:19:44,276
STARTED OUT WITH SOME SORT OF

624
00:19:44,276 --> 00:19:45,643
FOUNDATION THAT STARTED

625
00:19:45,643 --> 00:19:47,710
WITH A BLUES RIFF.

626
00:19:47,710 --> 00:19:49,110
THAT'S WHERE WE ALL STARTED

627
00:19:49,110 --> 00:19:51,876
PLAYING, MY PLAYING IN A SHED IN

628
00:19:51,876 --> 00:19:52,543
MY DAD'S GARDEN

629
00:19:52,543 --> 00:19:54,943
PLAYING, YOU KNOW,

630
00:19:54,943 --> 00:19:56,910
[imitates blues riff]

631
00:19:56,910 --> 00:19:57,910
[playing blues riff]

632
00:19:57,910 --> 00:20:02,010
*

633
00:20:02,010 --> 00:20:04,710
* NOW MAUDIE

634
00:20:04,710 --> 00:20:06,543
* BABY, I LOVE YOU

635
00:20:06,543 --> 00:20:07,210
>> I KNOW YOU'RE A FAN

636
00:20:07,210 --> 00:20:07,876
OF THE BLUES AND HAVE

637
00:20:07,876 --> 00:20:08,810
STUDIED THE BLUES.

638
00:20:08,810 --> 00:20:10,676
WHAT'S THE SHARED DNA

639
00:20:10,676 --> 00:20:12,210
BETWEEN EARLY BLUES AND

640
00:20:12,210 --> 00:20:14,243
MODERN DAY METAL?

641
00:20:14,243 --> 00:20:15,476
>> WELL, RIGHT OFF THE BAT,

642
00:20:15,476 --> 00:20:19,010
THEY'RE BOTH RIFF-BASED MUSIC.

643
00:20:19,010 --> 00:20:20,843
A LOT OF BLUES SONGS HAVE

644
00:20:20,843 --> 00:20:22,676
A RIFF, AND YOU JUST SIT ON

645
00:20:22,676 --> 00:20:23,476
THAT RIFF.

646
00:20:23,476 --> 00:20:24,843
HEAVY METAL IS THE SAME WAY.

647
00:20:24,843 --> 00:20:26,410
YOU SIT ON A RIFF.

648
00:20:26,410 --> 00:20:28,910
YOU JUST SOAK IT FOR AS MUCH

649
00:20:28,910 --> 00:20:31,376
EMOTION AS YOU CAN.

650
00:20:31,376 --> 00:20:32,176
>> THE RIFF

651
00:20:32,176 --> 00:20:33,976
IS A HUGE PART OF THE

652
00:20:33,976 --> 00:20:36,210
ARSENAL OF VIRTUALLY

653
00:20:36,210 --> 00:20:37,376
EVERY ROCK GUITARIST.

654
00:20:37,376 --> 00:20:38,543
LOOK AT METALLICA AND A SONG

655
00:20:38,543 --> 00:20:41,576
LIKE HIT THE LIGHTS.

656
00:20:41,576 --> 00:20:43,643
>> * HIT THE LIGHTS

657
00:20:44,476 --> 00:20:46,976
* HIT THE LIGHTS

658
00:20:46,976 --> 00:20:49,010
* HIT THE LIGHTS

659
00:20:49,010 --> 00:20:50,176
HA HA!

660
00:20:50,176 --> 00:20:54,210
[guitar solo]

661
00:20:54,210 --> 00:20:55,210
>> YOU GOT RIFFS ALL OVER THAT

662
00:20:55,210 --> 00:20:55,876
SONG.

663
00:20:55,876 --> 00:20:57,310
YOU GOT THREE DIFFERENT TEMPOS.

664
00:20:57,310 --> 00:20:58,010
SO YOU SHIFT FROM

665
00:20:58,010 --> 00:20:59,410
ONE SECTION TO ANOTHER.

666
00:20:59,410 --> 00:21:00,443
THE RIFFS CHANGE, AND YOU GET

667
00:21:00,443 --> 00:21:02,443
THIS INCREDIBLE RELEASE.

668
00:21:09,210 --> 00:21:10,276
>> LIKE IN HEAVY METAL, BLUES

669
00:21:10,276 --> 00:21:12,210
IS ALSO JUST DARK IN NATURE.

670
00:21:12,210 --> 00:21:14,310
THEY'RE SINGING ABOUT THINGS

671
00:21:14,310 --> 00:21:15,810
THAT NO ONE ELSE WOULD EVEN

672
00:21:15,810 --> 00:21:17,776
TOUCH BACK IN THOSE DAYS.

673
00:21:17,776 --> 00:21:19,343
IT HAD AN EDGE TO IT.

674
00:21:19,343 --> 00:21:20,576
IT WASN'T GLOSSY.

675
00:21:20,576 --> 00:21:22,810
THE REAL BLUES OF ROBERT JOHNSON

676
00:21:22,810 --> 00:21:24,210
AND HOWLIN' WOLF, IT SOUNDED

677
00:21:24,210 --> 00:21:24,876
DARK.

678
00:21:24,876 --> 00:21:25,876
IT SOUNDED DIRTY.

679
00:21:25,876 --> 00:21:26,910
IT SOUNDED EVIL.

680
00:21:26,910 --> 00:21:28,710
THESE OLD BLUES GUYS, THEY HAD

681
00:21:28,710 --> 00:21:30,776
A GROWL TO THEIR VOICE.

682
00:21:30,776 --> 00:21:32,510
* OH

683
00:21:32,510 --> 00:21:35,910
* LITTLE BITTY BOY

684
00:21:35,910 --> 00:21:39,476
* BETTER TELL, BE ON

685
00:21:39,476 --> 00:21:42,843
* WHY DON'T YOU HEAR ME CRYIN' *

686
00:21:42,843 --> 00:21:45,010
* WHOO OOH OOH

687
00:21:45,010 --> 00:21:45,676
>> IF THERE'S ONE BLUES

688
00:21:45,676 --> 00:21:47,310
VOCALIST WHO SOUNDS LIKE A

689
00:21:47,310 --> 00:21:48,910
METAL FRONT MAN, IT'S HOWLIN'

690
00:21:48,910 --> 00:21:49,976
WOLF.

691
00:21:49,976 --> 00:21:51,510
SO I'VE TRACKED DOWN GUITARIST

692
00:21:51,510 --> 00:21:52,510
HUBERT SUMLIN,

693
00:21:52,510 --> 00:21:53,743
THE LAST SURVIVING MEMBER

694
00:21:53,743 --> 00:21:55,110
OF HOWLIN' WOLF'S ORIGINAL

695
00:21:55,110 --> 00:21:56,876
MISSISSIPPI BLUES BAND,

696
00:21:56,876 --> 00:21:58,276
TO GET A FIRSTHAND PERSPECTIVE

697
00:21:58,276 --> 00:22:00,110
ON WHAT WOLF WAS LIKE.

698
00:22:00,110 --> 00:22:01,110
[playing blues riff]

699
00:22:01,110 --> 00:22:08,976
*

700
00:22:12,610 --> 00:22:14,610
>> CAN I ASK YOU HOW DID HOWLIN'

701
00:22:14,610 --> 00:22:17,176
WOLF INFLUENCE OR INSPIRE YOU

702
00:22:17,176 --> 00:22:19,176
IN TERMS OF YOUR GUITAR PLAYING?

703
00:22:19,176 --> 00:22:21,176
>> OH, MAN.

704
00:22:36,110 --> 00:22:36,810
>> CAN YOU TELL ME ABOUT

705
00:22:36,810 --> 00:22:38,843
THE BIG VOICE THAT HE HAD.

706
00:22:52,243 --> 00:22:53,110
>> THE HOWLIN' WOLF NAME

707
00:22:53,110 --> 00:22:53,876
WAS NOT A JOKE.

708
00:22:53,876 --> 00:22:55,010
HIS VOICE SOUNDS LIKE IT'S

709
00:22:55,010 --> 00:22:57,410
COMING FROM--FROM HELL.

710
00:22:57,410 --> 00:22:59,276
IT WAS AN ANIMALISTIC SOUND.

711
00:22:59,276 --> 00:23:00,676
SO THERE IS A DIRECT LINE

712
00:23:00,676 --> 00:23:02,343
BETWEEN HEAVY METAL GUYS WHO

713
00:23:02,343 --> 00:23:04,410
ARE THE ARCHETYPES, WHO REALLY

714
00:23:04,410 --> 00:23:05,743
CREATED THE THING, AND WHAT YOU

715
00:23:05,743 --> 00:23:06,776
HEARD OUT OF HOWLIN' WOLF,

716
00:23:06,776 --> 00:23:08,810
NO DOUBT ABOUT IT.

717
00:23:08,810 --> 00:23:10,243
>> * IF YOU LIKE TO GAMBLE

718
00:23:10,243 --> 00:23:11,910
* I TELL YOU I'M YOUR MAN *

719
00:23:11,910 --> 00:23:13,643
* YOU WIN SOME LOSE SOME

720
00:23:13,643 --> 00:23:16,276
* IT'S ALL THE SAME TO ME *

721
00:23:16,276 --> 00:23:16,943
>> IN THE TRADITION OF

722
00:23:16,943 --> 00:23:18,276
WHAT LEAD SINGERS DO,

723
00:23:18,276 --> 00:23:19,510
METAL IS FROM THE BLUES IN

724
00:23:19,510 --> 00:23:21,776
TERMS OF ITS ABSOLUTE ROOTS.

725
00:23:21,776 --> 00:23:22,810
THE EMOTIONAL MESSAGE

726
00:23:22,810 --> 00:23:25,110
OF THE BLUES, I THINK, IS STILL

727
00:23:25,110 --> 00:23:26,676
RELEVANT IN METAL.

728
00:23:26,676 --> 00:23:27,710
IT'S FROM THE SOUL.

729
00:23:27,710 --> 00:23:29,310
IT'S VERY, YOU KNOW,

730
00:23:29,310 --> 00:23:30,476
VERY PRIMORDIAL.

731
00:23:30,476 --> 00:23:31,710
IT'S JUST GOT THIS KIND OF

732
00:23:31,710 --> 00:23:34,276
VERY GUT INSTINCTIVE TYPE

733
00:23:34,276 --> 00:23:38,110
OF CAVEMAN-ESQUE ATTITUDE

734
00:23:38,110 --> 00:23:38,943
ABOUT IT.

735
00:23:38,943 --> 00:23:40,476
* YOU KNOW I'M BORN TO LOSE *

736
00:23:40,476 --> 00:23:42,176
* AND GAMBLING'S FOR FOOLS *

737
00:23:42,176 --> 00:23:43,110
* BUT THAT'S THE WAY *

738
00:23:43,110 --> 00:23:44,110
* I LIKE IT, BABY

739
00:23:44,110 --> 00:23:46,876
* I DON'T WANT TO LIVE FOREVER *

740
00:23:46,876 --> 00:23:47,876
>> THE BLUES CLEARLY HAS SOME

741
00:23:47,876 --> 00:23:49,476
STRONG MUSICAL CONNECTIONS

742
00:23:49,476 --> 00:23:50,910
WITH HEAVY METAL, BUT THERE'S

743
00:23:50,910 --> 00:23:52,243
STILL ONE MORE GENRE IN THE

744
00:23:52,243 --> 00:23:53,776
PRE-HISTORY OF METAL THAT I

745
00:23:53,776 --> 00:23:58,276
WANT EXPLORE, AND THAT'S JAZZ.

746
00:23:58,276 --> 00:23:59,910
BUT I GOT TO SAY I NEVER

747
00:23:59,910 --> 00:24:01,976
CONSIDERED JAZZ AND METAL

748
00:24:01,976 --> 00:24:03,976
TO HAVE ANYTHING IN COMMON.

749
00:24:03,976 --> 00:24:06,510
SO IS JAZZ AN INFLUENCE ON

750
00:24:06,510 --> 00:24:08,110
HEAVY METAL MUSICIANS?

751
00:24:08,110 --> 00:24:10,876
[jazzy trumpet solo]

752
00:24:10,876 --> 00:24:12,876
>> A LOT OF JAZZ IS [bleep],

753
00:24:12,876 --> 00:24:14,010
AND IT SOUNDS LIKE

754
00:24:14,010 --> 00:24:15,310
WHAT IT SOUNDS LIKE, WHAT IT

755
00:24:15,310 --> 00:24:19,476
IS LIKE, POORLY THOUGHT OUT

756
00:24:19,476 --> 00:24:20,943
MASTURBATION, RIGHT?

757
00:24:20,943 --> 00:24:21,643
GUYS THAT CAN...

758
00:24:21,643 --> 00:24:22,576
[imitates noodling]

759
00:24:22,576 --> 00:24:24,276
SO IT HAS A BAD REPUTATION

760
00:24:24,276 --> 00:24:25,610
FOR THAT, BUT THERE ARE

761
00:24:25,610 --> 00:24:27,443
CERTAIN GUYS WITHIN IT THAT

762
00:24:27,443 --> 00:24:29,543
HAVE JUST BEEN ASTONISHING.

763
00:24:29,543 --> 00:24:30,410
>> WAS JAZZ AN INFLUENCE?

764
00:24:30,410 --> 00:24:32,643
>> WELL, YEAH.

765
00:24:32,643 --> 00:24:34,710
OH, YEAH, YEAH, DEFINITELY.

766
00:24:34,710 --> 00:24:35,610
GROWING UP, WE HAD A HUGE

767
00:24:35,610 --> 00:24:38,110
COLLECTION OF AMERICAN RECORDS,

768
00:24:38,110 --> 00:24:39,410
AND EVERY SATURDAY NIGHT,

769
00:24:39,410 --> 00:24:40,376
MY DAD WOULD SING TO THEM,

770
00:24:40,376 --> 00:24:41,276
AND MY MUM WOULD PLAY

771
00:24:41,276 --> 00:24:42,210
LITTLE BIT OF PIANO,

772
00:24:42,210 --> 00:24:43,176
AND I LISTENED

773
00:24:43,176 --> 00:24:45,176
TO ALL THOSE SONGS.

774
00:24:45,176 --> 00:24:48,976
[imitates jazz riff]

775
00:24:48,976 --> 00:24:49,843
THERE WAS A SONG BY GLENN

776
00:24:49,843 --> 00:24:50,776
MILLER.

777
00:24:50,776 --> 00:24:51,776
IT'D DIMINISH, DIMINISH,

778
00:24:51,776 --> 00:24:52,976
DIMINISH, AND THEN SUDDENLY IT

779
00:24:52,976 --> 00:24:53,643
WOULD...

780
00:24:53,643 --> 00:24:54,510
* BOO BOO BA BOO BOO BA

781
00:24:54,510 --> 00:24:55,476
* BOO BOO BA BOO BOO BA

782
00:24:55,476 --> 00:24:56,743
IN THE MOOD, I THINK IT WAS,

783
00:24:56,743 --> 00:24:58,743
AND I LOVED IT.

784
00:25:03,110 --> 00:25:04,876
SO I WAS TERRIBLY INFLUENCED

785
00:25:04,876 --> 00:25:06,576
BY THAT MUSIC.

786
00:25:06,576 --> 00:25:07,410
>> AND DID YOU TAKE THAT

787
00:25:07,410 --> 00:25:08,276
AND TRY TO BRING THAT TO

788
00:25:08,276 --> 00:25:08,976
SABBATH'S MUSIC?

789
00:25:08,976 --> 00:25:11,510
>> OH, IT'S IN SABBATH'S MUSIC.

790
00:25:11,510 --> 00:25:12,410
YOU CAN HEAR ALL THE SWINGING

791
00:25:12,410 --> 00:25:13,343
IN THERE.

792
00:25:13,343 --> 00:25:17,510
YOU CAN HEAR IT IN FAIRIES.

793
00:25:17,510 --> 00:25:18,210
WHEN YOU'RE DOING THOSE

794
00:25:18,210 --> 00:25:21,243
KIND OF CHOPS, IT'S SWING,

795
00:25:21,243 --> 00:25:22,243
AND THE BAND COULD SWING

796
00:25:22,243 --> 00:25:22,910
REAL WELL.

797
00:25:22,910 --> 00:25:23,910
[bluesy rock guitar]

798
00:25:23,910 --> 00:25:31,410
*

799
00:25:31,410 --> 00:25:33,543
>> BILL WARD WAS A JAZZ DRUMMER.

800
00:25:33,543 --> 00:25:34,810
IF YOU LISTEN TO THE STUFF

801
00:25:34,810 --> 00:25:35,876
HE'S DOING ON THE DRUMS,

802
00:25:35,876 --> 00:25:37,776
IT'S NOT, YOU KNOW--

803
00:25:37,776 --> 00:25:39,876
IT'S NOT THUD, WHACK, CRASH.

804
00:25:39,876 --> 00:25:41,643
IT'S ALL REALLY JAZZY,

805
00:25:41,643 --> 00:25:43,343
AND IOMMI WAS A VERY JAZZY

806
00:25:43,343 --> 00:25:45,843
PLAYER, AS IS GEEZER BUTLER.

807
00:25:45,843 --> 00:25:48,110
SO THIS REALLY HEAVY BAND BUT

808
00:25:48,110 --> 00:25:49,810
WITH A BIT OF A JAZZY FEEL

809
00:25:49,810 --> 00:25:51,476
TO IT MORE OR LESS

810
00:25:51,476 --> 00:25:53,243
INVENTED HEAVY METAL.

811
00:25:53,243 --> 00:25:54,476
>> WHY ARE SO MANY METAL

812
00:25:54,476 --> 00:25:55,676
MUSICIANS INFLUENCED BY JAZZ?

813
00:25:55,676 --> 00:25:57,110
>> BECAUSE THOSE WERE

814
00:25:57,110 --> 00:25:58,310
THE MASTERS OF THEIR

815
00:25:58,310 --> 00:25:59,643
INSTRUMENT, REALLY.

816
00:25:59,643 --> 00:26:01,310
YOU KNOW, YOU WOULD TAKE STUFF

817
00:26:01,310 --> 00:26:04,743
THAT THEY DID AND ROCKIFY IT

818
00:26:04,743 --> 00:26:05,876
TO USE THE WAY YOU WANT TO

819
00:26:05,876 --> 00:26:06,543
USE IT.

820
00:26:06,543 --> 00:26:07,843
I MEAN, ROCK DRUMMING IS AN

821
00:26:07,843 --> 00:26:08,510
ART FORM JUST LIKE

822
00:26:08,510 --> 00:26:10,843
JAZZ DRUMMING IS AN ART FORM.

823
00:26:10,843 --> 00:26:13,110
BUDDY RICH WAS A GOD-GIFTED

824
00:26:13,110 --> 00:26:14,910
ANIMAL.

825
00:26:14,910 --> 00:26:16,176
HE WAS VERY VICIOUS IN

826
00:26:16,176 --> 00:26:18,443
HIS PLAYING, VERY AGGRESSIVE.

827
00:26:18,443 --> 00:26:20,176
HE WAS A DRUM STAR,

828
00:26:20,176 --> 00:26:25,110
A DRUM HERO, AN ICON.

829
00:26:25,110 --> 00:26:27,376
>> I SAW ON TV BUDDY RICH,

830
00:26:27,376 --> 00:26:28,410
I REMEMBER, AT A VERY YOUNG

831
00:26:28,410 --> 00:26:30,976
AGE, AND I WAS AMAZED AT HIS

832
00:26:30,976 --> 00:26:33,110
ENERGY, YOU KNOW, AND HOW

833
00:26:33,110 --> 00:26:35,376
HE PLAYED--YOU KNOW, THE

834
00:26:35,376 --> 00:26:37,410
VELOCITY HE WOULD HIT THE DRUMS.

835
00:26:37,410 --> 00:26:38,976
THE DRUMS DOMINATE THE MOMENT.

836
00:26:38,976 --> 00:26:40,176
>> HE WAS THRASH BEFORE THRASH

837
00:26:40,176 --> 00:26:41,576
WAS EVER THRASH.

838
00:26:41,576 --> 00:26:42,443
IF YOU WATCH SOME OF HIS

839
00:26:42,443 --> 00:26:43,810
SOLOING, HOW FAST HIS HANDS ARE

840
00:26:43,810 --> 00:26:45,943
GOING, WHAT HE'S DOING.

841
00:26:45,943 --> 00:26:47,676
I MEAN, PROBABLY NOT A BETTER

842
00:26:47,676 --> 00:26:48,976
DRUMMER THAN HIM EVER

843
00:26:48,976 --> 00:26:54,110
TO TOUCH A DRUM SET.

844
00:26:54,110 --> 00:26:55,643
SO GETTING INTO HEAVY METAL,

845
00:26:55,643 --> 00:26:57,176
I WAS LIKE, "THAT'S FOR ME,

846
00:26:57,176 --> 00:26:57,976
BECAUSE I WANT TO DO SOMETHING

847
00:26:57,976 --> 00:26:58,643
DIFFERENT,"

848
00:26:58,643 --> 00:26:59,310
IT WAS EXCITING.

849
00:26:59,310 --> 00:27:00,510
THAT PUSHED MY DRUMMING

850
00:27:00,510 --> 00:27:01,410
TO ANOTHER LEVEL.

851
00:27:01,410 --> 00:27:02,410
[aggressive thrash metal]

852
00:27:02,410 --> 00:27:11,210
*

853
00:27:11,210 --> 00:27:12,676
>> WHETHER IT'S JAZZ, BLUES,

854
00:27:12,676 --> 00:27:14,243
OR CLASSICAL, I NOW HAVE A

855
00:27:14,243 --> 00:27:15,643
MUCH BETTER UNDERSTANDING OF

856
00:27:15,643 --> 00:27:18,476
METAL'S DEEPEST MUSICAL ROOTS,

857
00:27:18,476 --> 00:27:19,776
BUT ALL THESE GENRES ARE MISSING

858
00:27:19,776 --> 00:27:20,776
ONE OF THE MOST IMPORTANT

859
00:27:20,776 --> 00:27:22,510
ELEMENTS OF HEAVY METAL:

860
00:27:22,510 --> 00:27:23,676
THE SOUND OF THE DISTORTED

861
00:27:23,676 --> 00:27:25,576
ELECTRIC GUITAR.

862
00:27:25,576 --> 00:27:26,510
SO WHAT ARE THE ROOTS OF

863
00:27:26,510 --> 00:27:28,510
METAL'S ELECTRIFIED SOUND?

864
00:27:36,843 --> 00:27:38,176
>> AND JUST ONE QUICK REMINDER,

865
00:27:38,176 --> 00:27:39,110
YOU MUST REMAIN SEATED

866
00:27:39,110 --> 00:27:39,843
THROUGHOUT THE REST OF THE

867
00:27:39,843 --> 00:27:40,510
FLIGHT.

868
00:27:40,510 --> 00:27:41,176
THANK YOU.

869
00:27:41,176 --> 00:27:42,176
[rockabilly piano riff]

870
00:27:42,176 --> 00:27:47,343
*

871
00:27:47,343 --> 00:27:48,110
* YOU WOMEN HAVE HEARD

872
00:27:48,110 --> 00:27:48,776
* OF JALOPIES

873
00:27:48,776 --> 00:27:49,643
* YOU'VE HEARD THE NOISE *

874
00:27:49,643 --> 00:27:50,310
* THEY MAKE

875
00:27:50,310 --> 00:27:51,876
* BUT LET ME INTRODUCE

876
00:27:51,876 --> 00:27:53,910
* MY NEW ROCKET 88

877
00:27:53,910 --> 00:27:55,376
* YES IT'S GREAT *

878
00:27:55,376 --> 00:27:57,110
* JUST WON'T WAIT *

879
00:27:57,110 --> 00:27:59,710
* EVERYBODY LIKES MY ROCKET 88

880
00:27:59,710 --> 00:28:01,710
* BABY WE'LL RIDE IN STYLE *

881
00:28:01,710 --> 00:28:04,810
* MOVIN' ALL ALONG *

882
00:28:04,810 --> 00:28:06,010
>> CLASSICAL, JAZZ,

883
00:28:06,010 --> 00:28:07,410
AND THE BLUES ALL HELPED

884
00:28:07,410 --> 00:28:08,810
LAY THE FOUNDATION FOR

885
00:28:08,810 --> 00:28:10,310
HEAVY METAL.

886
00:28:10,310 --> 00:28:11,676
BUT PROBABLY THE MOST OBVIOUS

887
00:28:11,676 --> 00:28:13,443
MUSICAL ANTECEDENT OF METAL

888
00:28:13,443 --> 00:28:15,143
IS ROCK & ROLL, AND SO I'VE

889
00:28:15,143 --> 00:28:16,843
COME TO SUN STUDIOS IN

890
00:28:16,843 --> 00:28:18,776
MEMPHIS, TENNESSEE, THE HOME OF

891
00:28:18,776 --> 00:28:20,743
ROCK MUSIC TO FIND OUT WHAT

892
00:28:20,743 --> 00:28:22,210
WERE THE SPECIFIC MUSICAL

893
00:28:22,210 --> 00:28:23,976
ELEMENTS OF ROCK THAT LATER

894
00:28:23,976 --> 00:28:25,976
BECAME ESSENTIAL COMPONENTS

895
00:28:25,976 --> 00:28:27,976
OF THE HEAVY METAL SOUND.

896
00:28:37,876 --> 00:28:39,110
WHY IS SUN STUDIO THE BIRTHPLACE

897
00:28:39,110 --> 00:28:40,510
OF ROCK & ROLL?

898
00:28:40,510 --> 00:28:41,843
>> WELL, IT ALL STEMS FROM

899
00:28:41,843 --> 00:28:43,010
A PARTICULAR RECORDING

900
00:28:43,010 --> 00:28:44,276
THAT TOOK PLACE HERE BACK

901
00:28:44,276 --> 00:28:46,743
IN 1951, ROCKET 88,

902
00:28:46,743 --> 00:28:47,843
BY A BAND BY THE NAME OF

903
00:28:47,843 --> 00:28:49,476
JACKIE BRENSTON AND HIS DELTA

904
00:28:49,476 --> 00:28:52,343
CATS, AND I'VE GOT THE ABSOLUTE

905
00:28:52,343 --> 00:28:54,110
VERY FIRST COPY THAT WAS EVER

906
00:28:54,110 --> 00:28:55,343
RECORDED DOWN HERE ON

907
00:28:55,343 --> 00:28:58,143
SAM PHILLIPS' LATHE RECORDER.

908
00:28:58,143 --> 00:28:59,110
>> SAM PHILLIPS, YOU KNOW,

909
00:28:59,110 --> 00:28:59,910
PRODUCER AT SUN RECORDS

910
00:28:59,910 --> 00:29:01,176
IN MEMPHIS, TENNESSEE, IS

911
00:29:01,176 --> 00:29:02,343
INCREDIBLY IMPORTANT

912
00:29:02,343 --> 00:29:03,110
IN THE HISTORY OF AMERICAN

913
00:29:03,110 --> 00:29:04,510
MUSIC, PERIOD.

914
00:29:04,510 --> 00:29:05,476
SAM WANTED THINGS THAT

915
00:29:05,476 --> 00:29:06,743
SOUNDED DIFFERENT,

916
00:29:06,743 --> 00:29:07,976
THAT WAS ALWAYS HIS GOAL.

917
00:29:07,976 --> 00:29:09,610
HE'S THE GUY THAT WHEN, YOU

918
00:29:09,610 --> 00:29:11,443
KNOW, IKE TURNER ARRIVES AT

919
00:29:11,443 --> 00:29:13,110
THE SUN STUDIO IN '51 TO CUT

920
00:29:13,110 --> 00:29:14,876
ROCKET 88, AND THE SPEAKER

921
00:29:14,876 --> 00:29:16,676
CONE IS CRACKED AND CONSEQUENTLY

922
00:29:16,676 --> 00:29:18,110
HAS THIS DISTORTED SOUND,

923
00:29:18,110 --> 00:29:19,376
HE'S THE ONE WHO GOES,

924
00:29:19,376 --> 00:29:20,543
"THAT'S INCREDIBLE.

925
00:29:20,543 --> 00:29:21,810
I WANT THAT SOUND!"

926
00:29:21,810 --> 00:29:23,010
>> AS THE STORY GOES,

927
00:29:23,010 --> 00:29:25,010
THE GUITARIST WILLIE KIZART

928
00:29:25,010 --> 00:29:26,776
WAS TAKING HIS AMP OUT OF THE

929
00:29:26,776 --> 00:29:27,943
CAR AND PUTTING IT UP ON TOP

930
00:29:27,943 --> 00:29:29,743
OF THE CAR, AMP FELL OFF

931
00:29:29,743 --> 00:29:31,510
THE BACK, PUNCHED A HOLE IN

932
00:29:31,510 --> 00:29:32,476
THE SPEAKER CONE.

933
00:29:32,476 --> 00:29:33,410
SO THEY WENT INSIDE.

934
00:29:33,410 --> 00:29:34,110
THEY STUFFED IT FULL

935
00:29:34,110 --> 00:29:35,310
OF NEWSPAPER.

936
00:29:35,310 --> 00:29:36,710
SAM LOVED THE SOUND

937
00:29:36,710 --> 00:29:38,110
OF THE PUNCTURED SPEAKER CONE

938
00:29:38,110 --> 00:29:39,676
OF THE AMPLIFIER ITSELF

939
00:29:39,676 --> 00:29:40,843
AND IT WAS, ACCORDING TO

940
00:29:40,843 --> 00:29:41,876
MOST MUSIC HISTORIANS,

941
00:29:41,876 --> 00:29:43,110
THE FIRST RECORDED USE OF

942
00:29:43,110 --> 00:29:44,576
DISTORTED ELECTRIC GUITAR

943
00:29:44,576 --> 00:29:46,576
IN MUSIC IN GENERAL.

944
00:29:52,776 --> 00:29:53,810
>> BESIDES THE DISTORTED

945
00:29:53,810 --> 00:29:55,176
ELECTRIC GUITAR, ANOTHER

946
00:29:55,176 --> 00:29:57,143
CONTRIBUTION OF '50s MUSIC

947
00:29:57,143 --> 00:29:58,143
TO THE DEVELOPMENT OF HEAVY

948
00:29:58,143 --> 00:29:59,710
METAL WAS THE ARRIVAL OF THE

949
00:29:59,710 --> 00:30:02,143
WILD ROCK & ROLL FRONT MAN.

950
00:30:02,143 --> 00:30:03,443
* COME ON OVER BABY

951
00:30:03,443 --> 00:30:04,610
* WHOLE LOT OF SHAKIN' *

952
00:30:04,610 --> 00:30:06,543
* GOIN' ON *

953
00:30:06,543 --> 00:30:07,576
* YEAH

954
00:30:07,576 --> 00:30:08,743
* COME ON OVER BABY

955
00:30:08,743 --> 00:30:11,910
* BABY YOU CAN'T GO WRONG *

956
00:30:11,910 --> 00:30:14,043
* HONEY, I AIN'T FAKIN' *

957
00:30:14,043 --> 00:30:16,643
* WHOLE LOTTA SHAKIN' GOIN' ON *

958
00:30:16,643 --> 00:30:17,410
>> WHEN I FIRST HEARD

959
00:30:17,410 --> 00:30:19,210
JERRY LEE DOING WHOLE LOTTA

960
00:30:19,210 --> 00:30:20,743
SHAKIN GOIN ON, BY GOD,

961
00:30:20,743 --> 00:30:22,143
I WANTED TO SOUND LIKE THAT.

962
00:30:22,143 --> 00:30:23,410
THERE WAS KIND OF A RAW ANIMAL,

963
00:30:23,410 --> 00:30:26,610
UNTEXTURED, UNTUTORED FEEL TO IT

964
00:30:26,610 --> 00:30:28,176
ALL, AND THAT TO ME,

965
00:30:28,176 --> 00:30:30,243
AS A VERY TEXTURED, TUTORED

966
00:30:30,243 --> 00:30:32,343
YOUNG MAN WHO, YOU KNOW, HAD

967
00:30:32,343 --> 00:30:33,676
BEEN POURING OVER BEETHOVEN,

968
00:30:33,676 --> 00:30:35,543
BACH, AND THE LIKE,

969
00:30:35,543 --> 00:30:37,543
THIS WAS MASSIVELY EXCITING.

970
00:30:37,543 --> 00:30:38,310
>> I THINK THERE'S ONE THING

971
00:30:38,310 --> 00:30:39,176
YOU GET FROM THE ROCK & ROLL

972
00:30:39,176 --> 00:30:40,910
GUYS, YOU KNOW, FROM THAT ERA

973
00:30:40,910 --> 00:30:42,343
IS AMERICA DURING A TIME WHEN

974
00:30:42,343 --> 00:30:43,843
THERE'S A RED SCARE GOING ON

975
00:30:43,843 --> 00:30:44,943
AND THERE'S A LOT OF FEAR THE

976
00:30:44,943 --> 00:30:46,176
COMMUNISTS ARE GONNA GET US.

977
00:30:46,176 --> 00:30:47,110
YOU KNOW, THE BOMB IS GONNA

978
00:30:47,110 --> 00:30:48,943
BLOW US ALL UP, AND THESE GUYS

979
00:30:48,943 --> 00:30:51,076
REPRESENTED A KIND OF WILDNESS

980
00:30:51,076 --> 00:30:52,543
AND FREEDOM THAT WAS NOT

981
00:30:52,543 --> 00:30:53,843
EXPRESSED IN ANY OTHER, REALLY,

982
00:30:53,843 --> 00:30:55,543
FORMS OF THE POPULAR CULTURE.

983
00:30:55,543 --> 00:30:56,876
* WOP BOP A LOOM A

984
00:30:56,876 --> 00:30:58,143
* BA LOP BA

985
00:30:58,143 --> 00:31:00,776
* GOT A GIRL NAME SUE

986
00:31:00,776 --> 00:31:02,943
* SHE KNOW JUST WHAT TO DO

987
00:31:02,943 --> 00:31:05,776
* GOT A GIRL NAMED SUE

988
00:31:05,776 --> 00:31:07,376
* SHE KNOW JUST WHAT TO DO

989
00:31:07,376 --> 00:31:08,176
>> THE HEAVIEST THING WHEN

990
00:31:08,176 --> 00:31:08,843
I WAS GROWING UP

991
00:31:08,843 --> 00:31:09,543
WAS LITTLE RICHARD.

992
00:31:09,543 --> 00:31:11,410
HE DIDN'T, LIKE, TRY AND MAKE

993
00:31:11,410 --> 00:31:13,376
HIS VOICE NICE, YOU KNOW,

994
00:31:13,376 --> 00:31:14,476
ACCEPTABLE.

995
00:31:14,476 --> 00:31:16,143
HE JUST SANG IT HOW HE FELT IT,

996
00:31:16,143 --> 00:31:17,810
YOU KNOW, AND I ALWAYS

997
00:31:17,810 --> 00:31:18,543
ADMIRED THAT.

998
00:31:18,543 --> 00:31:19,910
THAT'S WHY I SING LIKE I DO.

999
00:31:19,910 --> 00:31:21,410
YOU KNOW, I DON'T TRY AND PUT ON

1000
00:31:21,410 --> 00:31:23,810
ANY SPECIAL AIRS AND GRACES.

1001
00:31:23,810 --> 00:31:25,143
WHAT YOU SEE IS WHAT YOU GET.

1002
00:31:25,143 --> 00:31:25,910
>> SO THERE'S A CONNECTION

1003
00:31:25,910 --> 00:31:27,243
FROM LITTLE RICHARD TO LEMMY?

1004
00:31:27,243 --> 00:31:30,843
>> YEAH, A BIG ONE, YOU KNOW,

1005
00:31:30,843 --> 00:31:31,943
BECAUSE IF I HAD A HERO

1006
00:31:31,943 --> 00:31:32,676
IN THOSE DAYS IT WOULD HAVE

1007
00:31:32,676 --> 00:31:33,343
BEEN HIM.

1008
00:31:33,343 --> 00:31:34,443
>> LITTLE RICHARD, YOU KNOW,

1009
00:31:34,443 --> 00:31:35,843
YOU LISTEN TO TUTTI FRUTTI,

1010
00:31:35,843 --> 00:31:37,776
HIS FIRST BIG HIT IN '55,

1011
00:31:37,776 --> 00:31:39,610
AND IT'S LIKE IT'S TRANSGRESSIVE

1012
00:31:39,610 --> 00:31:41,110
IN ALL SORTS OF WAYS.

1013
00:31:41,110 --> 00:31:42,743
HE IS SHREDDING HIS LARYNX

1014
00:31:42,743 --> 00:31:43,576
IN THOSE TWO BARS,

1015
00:31:43,576 --> 00:31:44,676
AND THE SOUND JUST LEAPS

1016
00:31:44,676 --> 00:31:46,176
OUT OF THOSE SPEAKERS.

1017
00:31:46,176 --> 00:31:47,810
* SHE KNOWS HOW TO LOVE ME

1018
00:31:47,810 --> 00:31:49,110
* YES, INDEED

1019
00:31:49,110 --> 00:31:50,143
* BOY, YOU DON'T KNOW *

1020
00:31:50,143 --> 00:31:53,510
* WHAT YOU DO TO ME

1021
00:31:53,510 --> 00:31:54,176
>> I WANT TO GO BACK TO

1022
00:31:54,176 --> 00:31:55,743
ANOTHER EARLY ROCK & ROLLER.

1023
00:31:55,743 --> 00:31:57,410
WHAT WAS ELVIS' CONTRIBUTION

1024
00:31:57,410 --> 00:31:58,243
TO THIS STORY?

1025
00:31:58,243 --> 00:32:00,876
>> ELVIS WAS THE METALLICA

1026
00:32:00,876 --> 00:32:02,243
OF HIS TIME.

1027
00:32:02,243 --> 00:32:04,610
ELVIS TOOK ROCK & ROLL

1028
00:32:04,610 --> 00:32:08,776
OUT OF ITS SMALL FAN BASE

1029
00:32:08,776 --> 00:32:09,776
AND MADE IT SAFE FOR

1030
00:32:09,776 --> 00:32:11,276
THE REST OF AMERICA.

1031
00:32:11,276 --> 00:32:13,276
ELVIS SOLD ROCK & ROLL,

1032
00:32:13,276 --> 00:32:15,410
WITHOUT ELVIS, I DON'T KNOW

1033
00:32:15,410 --> 00:32:16,343
WHAT WOULD HAVE HAPPENED

1034
00:32:16,343 --> 00:32:17,143
TO ROCK & ROLL.

1035
00:32:17,143 --> 00:32:18,310
>> ELVIS TO ME WAS BALLS TO

1036
00:32:18,310 --> 00:32:20,310
THE WALL, YOU KNOW, AND HE WAS

1037
00:32:20,310 --> 00:32:21,843
INCREDIBLY INFLUENTIAL.

1038
00:32:21,843 --> 00:32:23,143
I DIDN'T WANT TO DO ANYTHING

1039
00:32:23,143 --> 00:32:24,310
ELSE OTHER THAN GET A JOB

1040
00:32:24,310 --> 00:32:25,810
LIKE ELVIS.

1041
00:32:25,810 --> 00:32:27,276
YOU KNOW, IN GREAT BRITAIN,

1042
00:32:27,276 --> 00:32:29,176
WE WERE USED TO SAFE LISTENING,

1043
00:32:29,176 --> 00:32:30,676
SO WHEN ELVIS COMES UP, SHAKING

1044
00:32:30,676 --> 00:32:32,510
HIS ASS, AND, YOU KNOW, SAYING,

1045
00:32:32,510 --> 00:32:33,643
"THE WARDEN THREW A PARTY IN

1046
00:32:33,643 --> 00:32:34,410
THE COUNTY JAIL.

1047
00:32:34,410 --> 00:32:35,410
THE PRISON BAND WAS THERE,

1048
00:32:35,410 --> 00:32:36,543
AND THEY BEGAN TO WAIL,"

1049
00:32:36,543 --> 00:32:37,843
YOU KNOW, IT'S JUST LIKE, WHOA.

1050
00:32:37,843 --> 00:32:38,810
>> * WENT TO A PARTY

1051
00:32:38,810 --> 00:32:40,110
* IN THE COUNTY JAIL

1052
00:32:40,110 --> 00:32:42,243
YOU KNOW, IF YOU LISTEN TO THAT

1053
00:32:42,243 --> 00:32:43,510
AND THEN JUST TRANSPOSE IT TO

1054
00:32:43,510 --> 00:32:44,376
* SATURDAY NIGHT

1055
00:32:44,376 --> 00:32:45,710
* AND I JUST GOT PAID

1056
00:32:45,710 --> 00:32:46,743
* GONNA FOOL AROUND

1057
00:32:46,743 --> 00:32:47,843
* AIN'T GONNA SAVE *

1058
00:32:47,843 --> 00:32:49,543
I MEAN, IT'S ELVIS!

1059
00:32:49,543 --> 00:32:50,343
>> * SATURDAY NIGHT

1060
00:32:50,343 --> 00:32:51,976
* AND I JUST GOT PAID

1061
00:32:51,976 --> 00:32:53,110
* GONNA FOOL ABOUT

1062
00:32:53,110 --> 00:32:54,410
* AIN'T GONNA SAVE *

1063
00:32:54,410 --> 00:32:55,476
* PEOPLE GONNA ROCK

1064
00:32:55,476 --> 00:32:56,810
* PEOPLE GONNA ROLL

1065
00:32:56,810 --> 00:32:57,810
* GONNA HAVE A PARTY

1066
00:32:57,810 --> 00:32:59,110
* TO SAVE MY SOUL

1067
00:32:59,110 --> 00:33:00,276
>> SO JAILHOUSE ROCK AND

1068
00:33:00,276 --> 00:33:01,176
THINGS LIKE THAT, YOU JUST

1069
00:33:01,176 --> 00:33:02,910
TRANSPOSE THEM AND PUT SOME

1070
00:33:02,910 --> 00:33:04,776
METAL TO IT, AND ALL OF A SUDDEN

1071
00:33:04,776 --> 00:33:06,376
IT BECOMES KIND OF A

1072
00:33:06,376 --> 00:33:08,143
BLUES-BASED METALLY TYPE THING.

1073
00:33:08,143 --> 00:33:08,810
* GOOD GOLLY SAID

1074
00:33:08,810 --> 00:33:10,210
* LITTLE MISS MOLLY

1075
00:33:10,210 --> 00:33:11,010
* WELL SHE WAS ROCKIN' *

1076
00:33:11,010 --> 00:33:12,810
* IN THE HOUSE OF BLUE LIGHT

1077
00:33:12,810 --> 00:33:13,576
* TUTTI FRUTTI

1078
00:33:13,576 --> 00:33:15,476
* OH, SO ROODY

1079
00:33:15,476 --> 00:33:16,376
* ROCKIN' TO THE EAST *

1080
00:33:16,376 --> 00:33:17,143
* AND THE WEST

1081
00:33:17,143 --> 00:33:18,143
* HARD HEADED WOMAN

1082
00:33:18,143 --> 00:33:19,576
* AND A SOFT HEARTED MAN

1083
00:33:19,576 --> 00:33:20,643
>> BEFORE ICONIC HEAVY METAL

1084
00:33:20,643 --> 00:33:21,910
BANDS LIKE DEEP PURPLE

1085
00:33:21,910 --> 00:33:23,876
EMERGED ONTO THE SCENE, IN THE

1086
00:33:23,876 --> 00:33:26,143
EARLY 1960s, ROCK & ROLL WENT

1087
00:33:26,143 --> 00:33:27,576
THROUGH A PHASE THAT FELT LIKE

1088
00:33:27,576 --> 00:33:28,410
THE FURTHEST THING

1089
00:33:28,410 --> 00:33:29,710
FROM HEAVY METAL.

1090
00:33:29,710 --> 00:33:30,910
ELVIS JOINED THE ARMY.

1091
00:33:30,910 --> 00:33:33,143
LITTLE RICHARD WENT RELIGIOUS.

1092
00:33:33,143 --> 00:33:34,376
BUDDY HOLLY DIED.

1093
00:33:34,376 --> 00:33:36,110
WHAT WAS THE STATE OF ROCK

1094
00:33:36,110 --> 00:33:37,110
AT THAT TIME?

1095
00:33:37,110 --> 00:33:38,276
>> ROCK & ROLL WAS SCARY

1096
00:33:38,276 --> 00:33:39,110
AND CREEPY.

1097
00:33:39,110 --> 00:33:41,310
ELVIS HAD GONE INTO THE ARMY.

1098
00:33:41,310 --> 00:33:42,676
EVERYBODY ELSE WAS IN PRISON.

1099
00:33:42,676 --> 00:33:44,476
SUDDENLY, FRANKIE AVALON

1100
00:33:44,476 --> 00:33:45,276
SHOWED UP SINGING

1101
00:33:45,276 --> 00:33:47,310
"VENUS IF YOU WILL, PLEASE SEND

1102
00:33:47,310 --> 00:33:49,843
A LITTLE GIRL FOR ME TO THRILL"

1103
00:33:49,843 --> 00:33:52,576
>> * VENUS IF YOU WILL

1104
00:33:52,576 --> 00:33:54,110
* PLEASE SEND A LITTLE GIRL

1105
00:33:54,110 --> 00:33:56,610
* FOR ME TO THRILL

1106
00:33:56,610 --> 00:33:58,643
* A GIRL WHO WANTS MY KISSES

1107
00:33:58,643 --> 00:33:59,910
* AND MY ARMS

1108
00:33:59,910 --> 00:34:01,676
* A GIRL WITH ALL THE CHARMS

1109
00:34:01,676 --> 00:34:02,710
* OF YOU

1110
00:34:02,710 --> 00:34:04,143
>> SO I GUESS MUSIC IN AMERICA

1111
00:34:04,143 --> 00:34:06,376
HAD BECOME FAIRLY SAFE.

1112
00:34:06,376 --> 00:34:07,576
>> VERY SAFE AND VERY

1113
00:34:07,576 --> 00:34:09,343
MANUFACTURED.

1114
00:34:09,343 --> 00:34:10,310
SOMETIMES WE'RE NOT EVEN SURE

1115
00:34:10,310 --> 00:34:11,776
THAT THAT PARTICULAR ARTIST

1116
00:34:11,776 --> 00:34:12,510
SANG THAT SONG.

1117
00:34:12,510 --> 00:34:13,443
THEY HAD A CERTAIN LOOK TO

1118
00:34:13,443 --> 00:34:15,210
THEM, AN EASTERN SLICKED BACK

1119
00:34:15,210 --> 00:34:15,876
LOOK.

1120
00:34:15,876 --> 00:34:17,243
THE SONGS WERE VERY SIMPLE.

1121
00:34:17,243 --> 00:34:18,176
THE SONGS WERE ABOUT

1122
00:34:18,176 --> 00:34:19,643
TEDDY BEARS AND FALLING IN

1123
00:34:19,643 --> 00:34:20,510
LOVE WITH YOUR GIRLFRIEND

1124
00:34:20,510 --> 00:34:21,910
AND SIMPLE THINGS.

1125
00:34:21,910 --> 00:34:22,943
>> SO THERE WAS A LOT OF FAKE

1126
00:34:22,943 --> 00:34:23,776
ROCK & ROLL.

1127
00:34:23,776 --> 00:34:25,343
PEOPLE WERE FAKING THE FUNK,

1128
00:34:25,343 --> 00:34:26,110
SO TO SPEAK,

1129
00:34:26,110 --> 00:34:27,643
AND THERE'S A SPACE.

1130
00:34:27,643 --> 00:34:28,310
THERE'S A KIND OF

1131
00:34:28,310 --> 00:34:29,276
SUDDEN EMPTINESS, WHERE

1132
00:34:29,276 --> 00:34:30,410
THERE'S--WHAT'S THE NEW

1133
00:34:30,410 --> 00:34:31,343
EXCITEMENT GOING TO BE IN THE

1134
00:34:31,343 --> 00:34:32,010
CULTURE.

1135
00:34:32,010 --> 00:34:34,643
>> * MAKE MY WISH COME TRUE

1136
00:34:47,943 --> 00:34:49,543
>> IN THE EARLY '60s,

1137
00:34:49,543 --> 00:34:50,243
ROCK & ROLL CROSSED

1138
00:34:50,243 --> 00:34:51,643
THE ATLANTIC FROM AMERICA

1139
00:34:51,643 --> 00:34:53,276
TO BRITAIN, KICKING OFF

1140
00:34:53,276 --> 00:34:54,476
WHAT IS FAMOUSLY KNOWN AS THE

1141
00:34:54,476 --> 00:34:56,376
BRITISH INVASION, AND IF THERE'S

1142
00:34:56,376 --> 00:34:57,976
ONE BAND FROM THIS INVASION

1143
00:34:57,976 --> 00:34:59,010
THAT IS PART OF THE STORY OF

1144
00:34:59,010 --> 00:35:01,110
HEAVY METAL, IT'S THE KINKS

1145
00:35:01,110 --> 00:35:02,410
AND THE GROUNDBREAKING SOUND

1146
00:35:02,410 --> 00:35:03,176
ON THEIR SONG

1147
00:35:03,176 --> 00:35:04,776
YOU REALLY GOT ME.

1148
00:35:04,776 --> 00:35:06,243
WHAT WAS YOUR INSPIRATION

1149
00:35:06,243 --> 00:35:07,876
FOR THE GUITAR SOUND ON THE

1150
00:35:07,876 --> 00:35:09,110
FIRST KINKS RECORD?

1151
00:35:09,110 --> 00:35:10,443
>> WELL, WE HAD THAT SOUND

1152
00:35:10,443 --> 00:35:11,476
ABOUT SIX MONTHS

1153
00:35:11,476 --> 00:35:13,376
BEFORE WE RECORDED,

1154
00:35:13,376 --> 00:35:14,743
BEFORE YOU REALLY GOT ME

1155
00:35:14,743 --> 00:35:16,010
WAS AROUND.

1156
00:35:16,010 --> 00:35:17,310
I USED TO EXPERIMENT WITH

1157
00:35:17,310 --> 00:35:19,210
A GUITAR, BUT THE GUITAR

1158
00:35:19,210 --> 00:35:20,976
SOUNDS WERE VERY LIMITED,

1159
00:35:20,976 --> 00:35:22,910
YOU KNOW, JUST TONE CONTROL

1160
00:35:22,910 --> 00:35:24,876
AND VOLUME, AND THAT WAS ABOUT

1161
00:35:24,876 --> 00:35:26,410
IT, AND I CAME ACROSS THIS

1162
00:35:26,410 --> 00:35:28,276
LITTLE AMP IN A SHOP UP THE

1163
00:35:28,276 --> 00:35:29,610
ROAD, AND IT WAS CALLED AN

1164
00:35:29,610 --> 00:35:31,610
ELPICO AND I JUST GOT A

1165
00:35:31,610 --> 00:35:34,010
RAZORBLADE AND STARTED TO CUT

1166
00:35:34,010 --> 00:35:38,110
THE CONE SPEAKER.

1167
00:35:38,110 --> 00:35:39,676
I DON'T KNOW WHY.

1168
00:35:39,676 --> 00:35:40,943
AND I PLUGGED IT IN,

1169
00:35:40,943 --> 00:35:41,676
AND IT MADE A...

1170
00:35:41,676 --> 00:35:42,443
[growling sound]

1171
00:35:42,443 --> 00:35:43,876
THAT AMAZING SOUND.

1172
00:35:43,876 --> 00:35:44,876
[fuzzy guitar riff]

1173
00:35:44,876 --> 00:35:51,110
*

1174
00:35:51,110 --> 00:35:52,276
* GIRL

1175
00:35:52,276 --> 00:35:54,176
* YOU REALLY GOT ME GOIN' *

1176
00:35:54,176 --> 00:35:55,510
* YOU GOT ME SO I DON'T KNOW *

1177
00:35:55,510 --> 00:35:57,476
* WHAT I'M DOIN' *

1178
00:35:57,476 --> 00:35:58,543
AND SO I'M STILL DOING THESE

1179
00:35:58,543 --> 00:36:00,243
THREE FINGER CHORDS ON MY

1180
00:36:00,243 --> 00:36:02,176
GUITAR, AND NOW I GOT THIS

1181
00:36:02,176 --> 00:36:05,410
REALLY GRITTY, TWANGY, RAUNCHY

1182
00:36:05,410 --> 00:36:07,143
SOUND FROM MY AMP WITH THE

1183
00:36:07,143 --> 00:36:08,476
SPEAKER SLASHED.

1184
00:36:08,476 --> 00:36:10,210
SO THIS CHORD NOW SOUNDS

1185
00:36:10,210 --> 00:36:11,243
IMMENSE.

1186
00:36:11,243 --> 00:36:12,443
IT WAS LIKE DISCOVERING

1187
00:36:12,443 --> 00:36:14,376
SOMETHING, FELT MORE LIKE AN

1188
00:36:14,376 --> 00:36:17,143
INVENTOR THAN A MUSICIAN.

1189
00:36:17,143 --> 00:36:18,910
* YOU REALLY GOT ME

1190
00:36:18,910 --> 00:36:20,643
* YOU REALLY GOT ME

1191
00:36:20,643 --> 00:36:22,243
* YOU REALLY GOT ME

1192
00:36:22,243 --> 00:36:23,710
>> THE FIRST DIRTY GUITAR

1193
00:36:23,710 --> 00:36:24,410
I'D EVER HEARD WAS

1194
00:36:24,410 --> 00:36:25,376
YOU REALLY GOT ME.

1195
00:36:25,376 --> 00:36:26,143
THAT VERY EARLY

1196
00:36:26,143 --> 00:36:27,610
* DUN-DUN-DUN DUN DUN

1197
00:36:27,610 --> 00:36:31,610
WAS SO, LIKE, DEMONIC,

1198
00:36:31,610 --> 00:36:32,876
MADE MOMS AND DADS GO,

1199
00:36:32,876 --> 00:36:33,876
"OH, TURN IT OFF.

1200
00:36:33,876 --> 00:36:35,276
IT'S SO--IT'S EVIL."

1201
00:36:35,276 --> 00:36:36,110
>> YOU REALLY GOT ME

1202
00:36:36,110 --> 00:36:37,243
IS ABOUT GRIT.

1203
00:36:37,243 --> 00:36:39,443
IT'S ABOUT RAW EXPRESSION

1204
00:36:39,443 --> 00:36:40,476
AND FEELING.

1205
00:36:40,476 --> 00:36:41,543
IT'S NOT ABOUT WINING AND

1206
00:36:41,543 --> 00:36:42,676
DINING OR MIDDLE CLASS

1207
00:36:42,676 --> 00:36:43,976
BEHAVIOR.

1208
00:36:43,976 --> 00:36:45,876
IT'S ABOUT, "I LIKE YOU.

1209
00:36:45,876 --> 00:36:46,876
I WANT TO [bleep] YOU."

1210
00:36:46,876 --> 00:36:52,743
* OH NO

1211
00:36:52,743 --> 00:36:54,276
>> IN THE EARLY '60s,

1212
00:36:54,276 --> 00:36:55,876
WHEN THE SCENE IN ENGLAND

1213
00:36:55,876 --> 00:36:57,876
WAS ON THE UPSWING, THE CLUBS

1214
00:36:57,876 --> 00:36:58,643
WERE GETTING BIGGER,

1215
00:36:58,643 --> 00:36:59,876
THE CROWDS WERE GETTING BIGGER,

1216
00:36:59,876 --> 00:37:01,743
AND IT WAS ALSO GETTING LOUDER.

1217
00:37:01,743 --> 00:37:03,176
THE ENVIRONMENT WAS LOUDER, AND

1218
00:37:03,176 --> 00:37:05,876
MUSICIANS WANTED TO BE HEARD.

1219
00:37:05,876 --> 00:37:06,876
GIVE ME SOMETHING THAT'S--

1220
00:37:06,876 --> 00:37:07,876
I WANT TO KEEP THAT SOUND,

1221
00:37:07,876 --> 00:37:08,943
BUT I JUST WANT IT LOUDER.

1222
00:37:08,943 --> 00:37:11,110
>> THE WHOLE AESTHETIC OF LOUD,

1223
00:37:11,110 --> 00:37:12,776
I MEAN, IF--YOU KNOW, WHO WOULD

1224
00:37:12,776 --> 00:37:14,910
YOU CITE AS THE MOST IMPORTANT

1225
00:37:14,910 --> 00:37:17,176
PRE-CURSOR OF METAL?

1226
00:37:17,176 --> 00:37:19,210
I WOULD CITE JIM MARSHALL,

1227
00:37:19,210 --> 00:37:20,776
WHO DEVELOPED THE MARSHALL AMPS

1228
00:37:20,776 --> 00:37:25,443
TO MAKE FOR LOUDNESS.

1229
00:37:25,443 --> 00:37:26,776
>> AS ROCK MUSIC DEVELOPED IN

1230
00:37:26,776 --> 00:37:28,743
THE '60s, MUSICIANS STARTED

1231
00:37:28,743 --> 00:37:30,110
TO PLAY IN LARGER VENUES,

1232
00:37:30,110 --> 00:37:31,476
AND SO THEY NEEDED TECHNOLOGY

1233
00:37:31,476 --> 00:37:32,610
AND EQUIPMENT TO FILL THOSE

1234
00:37:32,610 --> 00:37:34,143
VENUES, AND THERE'S NO NAME

1235
00:37:34,143 --> 00:37:35,543
THAT IS MORE ASSOCIATED

1236
00:37:35,543 --> 00:37:37,176
WITH HEAVINESS AND VOLUME

1237
00:37:37,176 --> 00:37:38,110
THAN MARSHALL.

1238
00:37:38,110 --> 00:37:39,410
SO WE'VE COME TO THE FACTORY

1239
00:37:39,410 --> 00:37:40,376
HERE IN ENGLAND

1240
00:37:40,376 --> 00:37:41,376
TO FIND OUT WHY IT IS

1241
00:37:41,376 --> 00:37:42,510
THAT MARSHALL BECAME

1242
00:37:42,510 --> 00:37:43,943
THE AMPLIFIER THAT WAS ICONIC

1243
00:37:43,943 --> 00:37:45,376
OF HEAVY METAL MUSIC.

1244
00:37:45,376 --> 00:37:46,243
I'VE ALSO HEARD THEY'VE GOT

1245
00:37:46,243 --> 00:37:48,010
AN AMP THAT GOES UP TO 11,

1246
00:37:48,010 --> 00:37:49,110
AND THAT'S JUST SOMETHING

1247
00:37:49,110 --> 00:37:50,410
I HAVE TO SEE.

1248
00:37:50,410 --> 00:37:51,543
CAN YOU TELL ME HOW

1249
00:37:51,543 --> 00:37:53,643
MARSHALL AMPS GOT STARTED?

1250
00:37:53,643 --> 00:37:55,910
>> DAD, LONG BEFORE HE DREAMED

1251
00:37:55,910 --> 00:37:57,776
OF MAKING AN AMPLIFIER,

1252
00:37:57,776 --> 00:37:58,976
HIS PASSION WAS DRUMMING.

1253
00:37:58,976 --> 00:38:00,610
SO HE STARTED A DRUM SHOP,

1254
00:38:00,610 --> 00:38:01,743
AND FROM THAT, A LOT OF

1255
00:38:01,743 --> 00:38:02,776
THE BANDS WOULD COME IN.

1256
00:38:02,776 --> 00:38:03,443
A LOT OF THE DRUMMERS

1257
00:38:03,443 --> 00:38:04,610
WOULD COME IN, AND, YOU KNOW,

1258
00:38:04,610 --> 00:38:05,276
THEY WOULD BRING THEIR

1259
00:38:05,276 --> 00:38:06,243
GUITARISTS IN, AND A YOUNG

1260
00:38:06,243 --> 00:38:07,976
LAD CAME IN, A LOCAL LAD,

1261
00:38:07,976 --> 00:38:08,843
PETE TOWNSHEND.

1262
00:38:08,843 --> 00:38:09,743
HE ACTUALLY USED TO HANG AROUND

1263
00:38:09,743 --> 00:38:10,543
IN THE SHOP,

1264
00:38:10,543 --> 00:38:11,610
AND THEY USED TO TALK ABOUT

1265
00:38:11,610 --> 00:38:12,543
THE FENDER BASSMAN.

1266
00:38:12,543 --> 00:38:13,543
IT WASN'T QUITE GIVING PETE

1267
00:38:13,543 --> 00:38:14,843
QUITE THE SOUND HE WANTED.

1268
00:38:14,843 --> 00:38:16,343
SO DAD SET ABOUT CHANGING IT,

1269
00:38:16,343 --> 00:38:17,543
REALLY, AND I THINK THEY BUILT

1270
00:38:17,543 --> 00:38:19,110
FOUR OR FIVE PROTOTYPES IN THE

1271
00:38:19,110 --> 00:38:20,943
EARLY DAYS, IN '62, AND THEY

1272
00:38:20,943 --> 00:38:21,610
FINALLY BUILT ONE,

1273
00:38:21,610 --> 00:38:22,310
AND PETE TOWNSHEND SAID,

1274
00:38:22,310 --> 00:38:23,276
"THAT'S A GREAT SOUND"

1275
00:38:23,276 --> 00:38:24,410
AND OFF HE WENT TO USE IT.

1276
00:38:24,410 --> 00:38:26,643
SO, YEAH, THAT'S HOW IT STARTED.

1277
00:38:26,643 --> 00:38:28,176
>> * PEOPLE TRY TO PUT US

1278
00:38:28,176 --> 00:38:29,176
* D-D-DOWN

1279
00:38:29,176 --> 00:38:29,876
>> * TALKIN' BOUT *

1280
00:38:29,876 --> 00:38:31,276
* MY GENERATION

1281
00:38:31,276 --> 00:38:32,543
>> * JUST BECAUSE WE

1282
00:38:32,543 --> 00:38:33,676
* G-G-GET AROUND

1283
00:38:33,676 --> 00:38:34,510
>> * TALKIN' ABOUT *

1284
00:38:34,510 --> 00:38:35,710
* MY GENERATION

1285
00:38:35,710 --> 00:38:37,576
>> * THINGS THEY DO LOOK AWFUL

1286
00:38:37,576 --> 00:38:38,410
* C-C-COLD

1287
00:38:38,410 --> 00:38:39,110
>> * TALKIN' BOUT *

1288
00:38:39,110 --> 00:38:40,476
* MY GENERATION

1289
00:38:40,476 --> 00:38:41,443
>> * HOPE I DIE

1290
00:38:41,443 --> 00:38:45,010
* BEFORE I GET OLD

1291
00:38:45,010 --> 00:38:46,610
>> JIM MARSHALL BASICALLY

1292
00:38:46,610 --> 00:38:48,576
TOOK THE FENDER AMP

1293
00:38:48,576 --> 00:38:51,010
AND THE VOX AC30, AND HE CREATED

1294
00:38:51,010 --> 00:38:53,210
A NEW ANIMAL, A MARSHALL,

1295
00:38:53,210 --> 00:38:55,943
100 WATTS, WHICH WAS UNHEARD OF.

1296
00:38:55,943 --> 00:38:57,776
IT WAS A BEAST, BASICALLY.

1297
00:38:57,776 --> 00:38:58,943
>> ORIGINALLY, HIS STACK WAS

1298
00:38:58,943 --> 00:39:01,243
ALL ONE PIECE, YOU KNOW,

1299
00:39:01,243 --> 00:39:02,443
AND, LIKE, IT WAS [bleep]

1300
00:39:02,443 --> 00:39:04,143
MURDER TO CARRY ABOUT.

1301
00:39:04,143 --> 00:39:04,876
THERE WAS NO VAN IN THE

1302
00:39:04,876 --> 00:39:06,243
WORLD YOU COULD FIT IT INTO.

1303
00:39:06,243 --> 00:39:07,176
>> DAD SAID TO PETE,

1304
00:39:07,176 --> 00:39:08,110
AT THE TIME,

1305
00:39:08,110 --> 00:39:08,943
THAT THIS IS JUST GONNA BE TOO

1306
00:39:08,943 --> 00:39:10,376
HEAVY, AND PETE SAID TO HIM,

1307
00:39:10,376 --> 00:39:11,110
"IT'S OKAY.

1308
00:39:11,110 --> 00:39:12,010
I'VE GOT ROADIES NOW."

1309
00:39:12,010 --> 00:39:13,410
SO HE BUILT THIS 8x12 CABINET.

1310
00:39:13,410 --> 00:39:14,476
SO HE BUILT 12 OF THEM, AND I

1311
00:39:14,476 --> 00:39:15,443
THINK IT WAS A COUPLE MONTHS

1312
00:39:15,443 --> 00:39:17,110
LATER PETE CAME BACK IN AND

1313
00:39:17,110 --> 00:39:18,510
SAID, "THESE ARE TOO HEAVY."

1314
00:39:18,510 --> 00:39:19,610
AND THAT'S WHEN HE ACTUALLY

1315
00:39:19,610 --> 00:39:20,943
BUILT THE FIRST STACK.

1316
00:39:20,943 --> 00:39:22,576
SO HE BUILT THE 4x12 BOTTOM CAB

1317
00:39:22,576 --> 00:39:23,610
AND ANGLED CAB.

1318
00:39:23,610 --> 00:39:24,943
>> THEY SAWED IT IN HALF,

1319
00:39:24,943 --> 00:39:25,576
AND THAT'S WHEN YOU

1320
00:39:25,576 --> 00:39:26,443
GOT THE STACK AS IT

1321
00:39:26,443 --> 00:39:28,010
IS NOW, YOU KNOW.

1322
00:39:28,010 --> 00:39:28,710
>> SO YOU WOULDN'T REALLY

1323
00:39:28,710 --> 00:39:29,710
HAVE METAL OR HARD ROCK

1324
00:39:29,710 --> 00:39:31,576
WITHOUT THAT INVENTION, I GUESS.

1325
00:39:31,576 --> 00:39:32,276
>> NO, THAT'S RIGHT.

1326
00:39:32,276 --> 00:39:33,110
TOWNSHEND DID YOU A GREAT

1327
00:39:33,110 --> 00:39:34,410
SERVICE.

1328
00:39:34,410 --> 00:39:37,710
[distorted guitar noise]

1329
00:39:37,710 --> 00:39:38,710
>> WHEN THE WHO CAME ON WITH

1330
00:39:38,710 --> 00:39:40,010
THESE FIRST MARSHALL STACKS

1331
00:39:40,010 --> 00:39:41,410
ANYBODY HAD EVER SEEN,

1332
00:39:41,410 --> 00:39:42,810
WHOA, YOU WERE PINNED,

1333
00:39:42,810 --> 00:39:45,310
PINNED BACK WITH THE SHEER POWER

1334
00:39:45,310 --> 00:39:47,576
OF IT, I MEAN, PHYSICAL AIR

1335
00:39:47,576 --> 00:39:49,110
MOVING, AND IT WAS SHOCKING

1336
00:39:49,110 --> 00:39:51,010
AND DAZZLING AND FANTASTIC,

1337
00:39:51,010 --> 00:39:52,243
AND, OF COURSE, THAT STARTED

1338
00:39:52,243 --> 00:39:53,343
THE REVOLUTION, YOU KNOW.

1339
00:39:53,343 --> 00:39:54,276
THE NEXT BAND HAD TO BE

1340
00:39:54,276 --> 00:39:56,343
JUST AS LOUD OR LOUDER.

1341
00:40:01,310 --> 00:40:03,076
>> BACKED BY MARSHALL STACKS,

1342
00:40:03,076 --> 00:40:04,510
THE WHO SET IN MOTION A VOLUME

1343
00:40:04,510 --> 00:40:05,976
RACE, AND BANDS WERE NOW

1344
00:40:05,976 --> 00:40:07,310
COMPETING TO BE THE LOUDEST

1345
00:40:07,310 --> 00:40:09,043
IN ALL OF BRITAIN,

1346
00:40:09,043 --> 00:40:10,376
BUT THEN THERE WAS ONE MUSICIAN

1347
00:40:10,376 --> 00:40:11,976
FROM AMERICA WHO WOULD EXPAND

1348
00:40:11,976 --> 00:40:13,376
THE SOUND OF ROCK GUITAR

1349
00:40:13,376 --> 00:40:14,343
BEYOND JUST VOLUME

1350
00:40:14,343 --> 00:40:15,976
AND DISTORTION.

1351
00:40:15,976 --> 00:40:17,543
WHAT WAS IT THAT HENDRIX DID

1352
00:40:17,543 --> 00:40:19,143
THAT PUSHED THAT CONCEPT OF

1353
00:40:19,143 --> 00:40:20,943
HEAVINESS IN MUSIC?

1354
00:40:20,943 --> 00:40:24,210
>> WHAT HENDRIX DID WAS EXPAND

1355
00:40:24,210 --> 00:40:25,643
THE MUSICAL HORIZON

1356
00:40:25,643 --> 00:40:27,176
OF THE ELECTRIC GUITAR TO THE

1357
00:40:27,176 --> 00:40:28,776
DEGREE THAT NO ONE ELSE HAS,

1358
00:40:28,776 --> 00:40:30,776
THE GREATEST INNOVATIVE SOUNDS,

1359
00:40:30,776 --> 00:40:32,143
THE PLAYING, STRETCHING THE

1360
00:40:32,143 --> 00:40:33,176
BOUNDARIES, YOU KNOW.

1361
00:40:33,176 --> 00:40:34,110
WHEN HE BROKE ON THE SCENE

1362
00:40:34,110 --> 00:40:35,710
IN '66, PEOPLE WERE GOING,

1363
00:40:35,710 --> 00:40:37,110
"WOW, WE'VE NEVER HEARD ANYTHING

1364
00:40:37,110 --> 00:40:37,776
LIKE THIS."

1365
00:40:37,776 --> 00:40:39,043
IT WAS LIKE WILDFIRE.

1366
00:40:39,043 --> 00:40:39,776
THE MESSAGE SPREAD.

1367
00:40:39,776 --> 00:40:40,776
"HEY, YOU GOT TO COME CHECK OUT

1368
00:40:40,776 --> 00:40:41,710
THIS GUY JIMI HENDRIX.

1369
00:40:41,710 --> 00:40:42,376
HE'S INCREDIBLE.

1370
00:40:42,376 --> 00:40:43,043
HE PLAYS LEFT HANDED,

1371
00:40:43,043 --> 00:40:44,176
AND IT'S UPSIDE DOWN,

1372
00:40:44,176 --> 00:40:45,143
AND HE DOES STUFF WITH HIS

1373
00:40:45,143 --> 00:40:46,443
TEETH AND BEHIND HIS HEAD.

1374
00:40:46,443 --> 00:40:47,210
YOU'VE NEVER SEEN ANYTHING

1375
00:40:47,210 --> 00:40:47,876
LIKE IT.

1376
00:40:47,876 --> 00:40:48,676
YOU'VE NEVER HEARD ANYTHING

1377
00:40:48,676 --> 00:40:49,343
LIKE IT."

1378
00:40:49,343 --> 00:40:50,276
>> WHEN HENDRIX CAME,

1379
00:40:50,276 --> 00:40:51,110
FORGET ABOUT IT.

1380
00:40:51,110 --> 00:40:51,876
IT WAS JUST A WHOLE NOTHER

1381
00:40:51,876 --> 00:40:53,476
WORLD, AND EVERYTHING GOT

1382
00:40:53,476 --> 00:40:55,076
VERY ELECTRIC AND VERY

1383
00:40:55,076 --> 00:40:57,476
DISTORTED, AND PEOPLE TRIED

1384
00:40:57,476 --> 00:40:59,110
TO PUSH THE LEVELS EVEN FARTHER,

1385
00:40:59,110 --> 00:41:00,410
BECAUSE NOW THEY HAD THE

1386
00:41:00,410 --> 00:41:01,243
FUZZ-TONES.

1387
00:41:01,243 --> 00:41:02,243
ALL THESE SOUNDS THAT THEY WERE

1388
00:41:02,243 --> 00:41:03,576
DEVELOPING IN THE STUDIO,

1389
00:41:03,576 --> 00:41:04,810
THEY NOW MADE GIZMOS

1390
00:41:04,810 --> 00:41:05,743
THAT YOU COULD TAKE

1391
00:41:05,743 --> 00:41:06,676
ON THE ROAD WITH YOU, PLUG THEM

1392
00:41:06,676 --> 00:41:07,376
IN, AND ALL OF A SUDDEN,

1393
00:41:07,376 --> 00:41:08,776
YOU CAN BE THE MOST DISTORTED

1394
00:41:08,776 --> 00:41:10,010
GUITAR PLAYER IN THE WORLD.

1395
00:41:10,010 --> 00:41:10,676
>> IT'S AN INTERESTING

1396
00:41:10,676 --> 00:41:12,510
QUESTION WHY DISTORTION BECAME

1397
00:41:12,510 --> 00:41:14,443
DESIRABLE IN MUSIC.

1398
00:41:14,443 --> 00:41:15,310
I REMEMBER THE FIRST TIME

1399
00:41:15,310 --> 00:41:17,210
THAT I BOUGHT A BIG MUFF

1400
00:41:17,210 --> 00:41:18,176
DISTORTION PEDAL,

1401
00:41:18,176 --> 00:41:19,010
UNTIL THEN I HAD BEEN PLAYING

1402
00:41:19,010 --> 00:41:20,443
THESE HORRIBLE SORT OF TINKLING,

1403
00:41:20,443 --> 00:41:21,776
JANGLING THINGS, AND AS SOON AS

1404
00:41:21,776 --> 00:41:23,276
I STEPPED ON THAT THING, IT WAS

1405
00:41:23,276 --> 00:41:24,110
ROCK & ROLL.

1406
00:41:24,110 --> 00:41:25,143
I MEAN, LIKE, IT WAS INSTANTLY

1407
00:41:25,143 --> 00:41:26,476
ROCK & ROLL MUSIC,

1408
00:41:26,476 --> 00:41:27,343
AND THAT I THINK IS SOMETHING,

1409
00:41:27,343 --> 00:41:28,443
TOO, THAT I DON'T THINK THERE'S

1410
00:41:28,443 --> 00:41:30,576
A WAY TO INTELLECTUALIZE IT.

1411
00:41:30,576 --> 00:41:32,143
THERE'S SOMETHING DEEP IN THE

1412
00:41:32,143 --> 00:41:35,110
DNA THAT RESPONDS TO THE SOUND

1413
00:41:35,110 --> 00:41:37,743
OF AN OVERRIDDEN AMPLIFIER.

1414
00:41:37,743 --> 00:41:39,210
ALL OF A SUDDEN, THE WORLD

1415
00:41:39,210 --> 00:41:41,010
IS A LITTLE BIT MORE EXCITING.

1416
00:41:41,010 --> 00:41:42,510
[laughs]

1417
00:41:42,510 --> 00:41:43,743
>> JUST TURNING UP THE VOLUME

1418
00:41:43,743 --> 00:41:44,910
AND GETTING SOME DISTORTION

1419
00:41:44,910 --> 00:41:45,943
THROUGH THE AMPS, THROUGH THE

1420
00:41:45,943 --> 00:41:46,876
GUITARS.

1421
00:41:46,876 --> 00:41:48,876
IT'S ALL KIND OF LITTLE EMBRYOS

1422
00:41:48,876 --> 00:41:50,943
OF SOUND, AND OTHER MUSICIANS

1423
00:41:50,943 --> 00:41:51,876
ARE PICKING IT UP

1424
00:41:51,876 --> 00:41:52,743
AND THINKING, "WELL, IF I TAKE

1425
00:41:52,743 --> 00:41:54,276
A BIT OF THAT GUITAR DISTORTION

1426
00:41:54,276 --> 00:41:55,576
AND PUT THAT WITH A BIG BASS

1427
00:41:55,576 --> 00:41:57,510
DRUM SOUND AND PUT A THUNDERING

1428
00:41:57,510 --> 00:41:59,310
BASS GUITAR AND A SCREAMING

1429
00:41:59,310 --> 00:42:00,376
VOCAL, WHAT IS THAT GOING

1430
00:42:00,376 --> 00:42:01,810
TO SOUND LIKE?"

1431
00:42:01,810 --> 00:42:03,010
WELL, TO ME, IT'S GONNA SOUND

1432
00:42:03,010 --> 00:42:03,943
LIKE A HEAVY METAL BAND'S

1433
00:42:03,943 --> 00:42:04,543
BEGINNING.

1434
00:42:04,543 --> 00:42:05,543
[distorted guitar noise]

1435
00:42:05,543 --> 00:42:13,476
*

1436
00:42:24,276 --> 00:42:25,443
>> WHAT I'VE LEARNED SO FAR

1437
00:42:25,443 --> 00:42:27,210
IS THAT THE ORIGINS OF METAL

1438
00:42:27,210 --> 00:42:29,176
ARE WAY MORE COMPLEX THAN I

1439
00:42:29,176 --> 00:42:30,510
FIRST THOUGHT.

1440
00:42:30,510 --> 00:42:31,676
PEOPLE HAVE BEEN CREATING

1441
00:42:31,676 --> 00:42:33,210
BOMBASTIC SOUNDS THAT

1442
00:42:33,210 --> 00:42:36,176
CHANNEL FEELINGS OF REBELLION

1443
00:42:36,176 --> 00:42:37,876
AND AGGRESSION FOR HUNDREDS OF

1444
00:42:37,876 --> 00:42:39,976
YEARS, AND SO, ON A CONCEPTUAL

1445
00:42:39,976 --> 00:42:43,110
LEVEL, METAL ISN'T NEW AT ALL.

1446
00:42:43,110 --> 00:42:44,110
BUT I THINK WHAT SURPRISES ME

1447
00:42:44,110 --> 00:42:45,476
MOST IS THAT THE SENSE OF

1448
00:42:45,476 --> 00:42:47,876
COMMUNITY THAT I FEEL IN METAL

1449
00:42:47,876 --> 00:42:49,710
AND AT PLACES LIKE WACKEN ISN'T

1450
00:42:49,710 --> 00:42:50,710
NEW EITHER.

1451
00:42:50,710 --> 00:42:52,276
EVER SINCE ELVIS GYRATED HIS

1452
00:42:52,276 --> 00:42:54,176
HIPS OR LITTLE RICHARD SCREAMED

1453
00:42:54,176 --> 00:42:55,276
INTO THE MICROPHONE,

1454
00:42:55,276 --> 00:42:56,876
MUSIC HAS PROVIDED YOUNG PEOPLE

1455
00:42:56,876 --> 00:42:58,943
WITH A COMMUNITY TO BELONG TO,

1456
00:42:58,943 --> 00:43:00,943
AND SO ULTIMATELY, WHAT I FEEL

1457
00:43:00,943 --> 00:43:02,776
I'M FACED WITH IN THIS SERIES

1458
00:43:02,776 --> 00:43:04,943
IS THE REALIZATION THAT METAL

1459
00:43:04,943 --> 00:43:06,876
AND US METAL HEADS ARE PART OF

1460
00:43:06,876 --> 00:43:08,110
A MUCH BIGGER STORY THAN

1461
00:43:08,110 --> 00:43:10,110
I EVER COULD HAVE IMAGINED.