The episode on Early Metal US was a strange one. We included the stories of bands that, until I immersed myself in the research for the episode, I had never even considered heavy metal. But during this pro-cess it became clear that the story of early American metal couldn’t be properly told without Ted Nugent and The Amboy Dukes, one of America’s most celebrated “garage rock” bands. Although I wasn’t a

fan of Ted’s music (nor his politics!), I was excited to include him in the story, especially because he is such a larger-than-life character—to say the least. We drove to his “compound” near Waco, Texas (yes, this co-incidence was a bit creepy) and soon realized that the Nuge was gonna

be difficult to rein-in and keep focused on talking about music. He showed me his gun collection (I dropped a bunch of ammo on the floor while setting up the interview which freaked me out), shared some of his wild boar sausage (killed and cured by the man him-self), regaled me with

stories of embarking on African safaris during tour breaks, treated me to a lesson on musical burping (!), and berated me with opinions on the state of America under the Obama administration. Though Ted and I don’t see eye to eye on much, I left his house with a deeper appreciation of his musical legacy. Not to mention a newfound affinity for wild boar.

EPISODE 2:EARLY METAL US

Metal Evolution – Episode 102 – Early US Music- Sam Dunn: When people talk about the birth of heavy metal they generally talk about the great British bands like Black Sabbath and Led Zeppelin and Deep Purple but America also played a really important role in the origins of this music and you can’t talk about American metal without talking about Kiss. Music- But the question for this episode is, what are the origins of American metal and how do we get to Kiss? Music- (Intro) Music- (Surf Music) Narration: The evolution of heavy music in America goes back much further than the explosion of Kiss in the 1970’s and if there is one style of early American music that was heavy for its time it’s surf music especially the sound of the surf guitar. Sam Dunn: And I’ve been thinking back to the first guitar riff my Dad ever played for me and it was a surf guitar song by the legendary Dick Dale and I remember loving it because it had this real intense sort of shedding vibe to it. So I’m wondering what place does surf music have in the history of metal? I read the little write-up on Dick Dale here at the museum and one of the first things it says, father of heavy metal. Dick Dale: That’s what they called me, critics would say, this music sounds like the metallic galloping of two trains coming and just crashing. I didn’t consider myself a guitar player, I don’t know what an augmented ninth or thirteenth is and I don’t care. I just bang on that thing and I make it scream with pain or pleasure and I get sounds of Mother Nature. Music- Dick: I heard about a man called Leo Fender, he said well how come you got to play so loud, you’re blowing up my amplifiers. And I said, well, because I’m playing at a place called the Rendezvous Ballroom and I want my guitar and speaker to sound like Gene Krupa.

Drum Sounds Dick: So the Stratocaster was built with a thick body so that it would give it that fat sound and I put thick strings on it to gave it a fatter sound then Leo created the first 100-watt output transformer peaking 180 watts. To this day that’s never been matched and people’s ears started, whoa what is this? Don Branker (Concert Promoter): He took the guitar and turned it into a instrument not just a small part of the music, he was able to do things on the guitar that nobody had seen before. Now had he been playing on a wall of amps like Van Halen had, heavy metal may have been twenty years earlier. Music- Narration: Along with surf music another genre that was a distinctly American contribution to early heavy metal was garage rock and it doesn’t get much more American than Ted Nugent who long before he became the Motor City Madman he was the guitarist for 60’s garage rockers the Amboy Dukes. Sam Dunn: I’ve come all the way to his Spirit Wild Ranch deep in the heart of Texas and I think the real challenge is to not have Ted talk about hunting and politics and actually try to focus on the music. Ted Nugent: Barack, Barack Obama, you get that? Sam Dunn: Got it. Ted Nugent Take 3. Ted Nugent (Guitar, The Amboy Dukes): Open the show with that motherfucker. It’s the only decent use I found for those syllables, gas release. Sam Dunn: You heard it here at the ranch. (Ted Nugent starts getting loud and overpowering) Sam Dunn: Hang on, hang on, hang on, hang on, hang on. Goddammit. The Amboy Dukes, were you guys called garage rock?

Ted: Sure the Amboy dukes were the quintessential garage band. We had all the flailing kerrang outrage, the uninhibitedness, the furiousness of my Chuck Berry Bo Diddley dreams was as raw and unrefined as possible. All of us garage bands, all of us kids taught every band okay we can’t play like pussies anymore. Music- John Drake (Vocals, The Amboy Dukes): It was a bad boy attitude, you know just like a swaggering attitude, this is what we do. The volume kept going up that was another thing you know, you just happen to notice it, now you really just started getting this feeling. Music- Lenny Kaye (Journalist): When the English bands came over here all brandishing guitars of some form or another, it was like, oh we have to get back to where we started and that’s when you have all these garage bands in America suddenly taking root in every town all across the USA that would certainly lay the ground work for the next stage of what the music would become. Music- Narration: The American garage rock movement created fertile ground for bands to experiment with heavy sounds in the mid 60’s and it was the Steppenwolf song “Born To Be Wild” that not only pushed music in a heavier direction but also featured the phrase, “heavy metal”. Was Steppenwolf the first band to use the term “heavy metal”? John Kay (Vocals, Steppenwolf): To be honest with you it doesn’t really matter very much, I do know that from that time on there were people who thought of Steppenwolf as being the band that was perhaps kind of a prototype for other bands to come which eventually became heavy metal. Music- Corky Laing (Vocals, Mountain): The drums are there pulsing away kicking ass you know, you get shivers when you hear the organ, the guitar is rolling, John Kay had that leadership voice of the generation, he didn’t just tell you about it he made a point of it you know, it wasn’t just a lecture. He beat people up in terms of telling them how they’re gonna live their life now and how things are gonna change. Music-

John Kay: When we started playing some of the tunes that we kicking around we realized that our sound was not only more aggressive and rocking heavier but also we were not stretching out into these kind of ethereal sounding, you know eight minute songs that had long sweeping solos that you know etc. we were more like, make your statement and do it in a compact fashion and hit hard and then move on. Music- Sam Dunn: In the late sixties rock music in America was becoming increasingly heavy and aggressive and loud and one of the bands that often get cited as the loudest of all time is California’s Blue Cheer. Music- Sam: And so I’m meeting with guitarist Randy Holden because I want to ask him, what was the attraction to playing at such punishing volume? Music- Sam: Tell me about San Francisco at the time and to what extent you guys were breaking free from the typical San Francisco scene. Randy Holden (Guitar, Blue Cheer): The psychedelic vibe kind of co-mingled with folk music and rock and that was you know, had it’s place I suppose, for myself I was always attracted to minor key and powerful notes, I was tuning my guitar to “D”, a whole step note down from the time I was playing surf music and I did it because I just love the sound of that thunder. Dickie Peterson (1948-2009, Bass/Vocals Blue Cheer): When Blue Cheer started, in San Francisco at the time the music scene was so wide open, I mean there were no rules and it was the only way a band like Blue Cheer could have surfaced was in that environment because we were going against all the grains, we were too loud, we were, our music was too simple, we weren’t sophisticated enough, we were rowdy, we were obnoxious little punks. Geddy Lee (Vocals/Bass, Rush): In many ways they were the first metal band but they didn’t think in terms of metal, it was volume that they were all about and fury. Music-

Sam Dunn: What was the appeal to you of playing so loud? Randy Holden: I don’t know I’m born with that, that’s just something that totally takes me away. There’s something, there’s beauty in that. I would sit and imagine what would it sound like if you were right there when a nuclear explosion went off and I thought if you had enough amplifiers you could come close to that maybe. Music- ACT2 Music- Narration: Perhaps the most important city in the development of early metal in the U.S. is Detroit. So I’ve come to the motor city to meet with Wayne Kramer guitarist for the legendary Detroit band the MC5 to find out why this city became the epicenter of heavy music back in the late sixties. Sam Dunn: Can you describe what things were like back then? Wayne Kramer (Guitar, MC5): There was a sense of urgency in finding a militant position to take to oppose the disastrous direction things were going in. Every day there were developments on the national and international scene, political developments that poured gasoline on the fire. Flower power was nice but that wasn’t enough power, my generation was in agreement that the way our parents were doing things completely was a disaster and the only chance we got is to say something about it and say it as loud as we can and we found that electric guitars were a good way to do that. Music- Wayne Kramer: There was an esthetic that developed in Detroit unique in the world and it kind of gave me the sense that you know I don’t have to live in New York, I don’t have to live in London you know, I don’t have to live in San Francisco, we’ve got something going on here and we were all influenced by the industrial base of Detroit. This idea of metal and the noise showed up in the music. James Williamson (Guitar, The Stooges): I think the music really more than anything else was a reaction to the industrial nature of Detroit. You were either working on cars or selling cars or thinking about cars.

Scott Asheton (Drums, The Stooges): Or stealing cars. James Williamson: Or stealing cars. Wayne Kramer: Every weeknight clubs would be full of workers that were working days or working afternoons and they could stay in the bars till 2 in the morning and so bands could play. So there was a lot going on for a musician. Jaan Uhelzski (Co-Founder, Creem Magazine We had all the California bands like the Grateful Dead, Janis Joplin and Big Brother but the Summer of Love never made it to Detroit. We liked things that really got us off, you know, simple direct over the top make you move, make you want to dance stuff. The MC5 especially Wayne Kramer, they would go, “Kick out the jams motherfucker, get off the stage”, meaning this is a weak performance, just get out of here and that just became kind of their tag phrase, their motto. Music- Sam Dunn: So why does The MC5 get included in the conversation about heavy metal? Wayne Kramer: Well The MC5 gets the credit or the blame, and I’ll take both, for what came to be known as metal and punk rock, wasn’t my plan (laughs). Guys like Townshend, Jeff Beck, Jimmy Page, I was heavy influenced by these guys and when I combined that with what I was hearing from the free jazz movement, I thought well this is clearly the next step. I can do things with the guitar to make it sound very unguitar like. Music- Ted Nugent (Guitar, The Amboy Dukes) I thought I was a bad motherfucker on the guitar, I thought the Amboy Dukes were bad motherfuckers they had that James Brown Wilson Pickett Sammy Davis shake going on and then I saw The MC5, it was stupefying. Lenny Kaye (Journalist): My life changed by The MC5, a great show band, beyond politics, beyond anything, a great loud roar of high energy, complimented on the other side by the complete simplicity and directness of The Stooges. Music-

Narration: While The MC5 created a sound that hadn’t been heard before in America, another Detroit band that took music to new levels of rawness and intensity in the late sixties was Iggy and the Stooges. Iggy Pop: When we were forming our group The Stooges before we were ever on stage, we’d all liked heavier rock, that just made me feel like it had an inner unstated message. To insert myself in a primal way, to take the sex when I wanted it, to take money when I wanted it, to be somebody not to have a job and to be somebody. Music- Iggy Pop: When we first played those songs, people would do this, I mean literally, if there was any room to get back most people got back but didn’t want to leave and some people, the type that later became called “stoners” or “sluts”, those are our two big fan bases and then a few “intellectuals”, they’d come forward and the others would peek in horror from the back of the place and the shit sounded heavy. That’s what it was desperately important to me to be. Music- Iggy Pop: I think the one thing that allows people to find all sorts of stuff in our music is that we never really stuck it out in your face too much. It was in your face in one way but in another way it had kind of a sullen, an inward quality that you also find in goth music, grunge music, in metal music. Music- Narration: The Detroit bands established a new direction in heavy music in the late sixties but Detroit’s reign as the epicenter of American hard rock was short lived. By the early seventies the legendary Grande Ballroom had closed and The MC5 and Iggy and the Stooges had fallen apart due to drug problems. But there would be one Detroit musician who would eventually drag American hard rock out of the underground and into the mainstream. ACT 3 Music- Narration: The story of American heavy metal would not be complete without the Alice Cooper Band. They’re one of the most extreme live acts of all time and they’ve also written some

of heavy metal’s most memorable radio anthems. So how did this outrageous underground band from Detroit get their start? Alice Cooper: Every weekend at the Grande or the Eastown or these great rock dungeons, it was like, you know, The MC5, Iggy and Alice. Iggy was the king of the punks and I was this other thing, I was this sort of, you know, Phantom of the Opera kind of character. We loved it, you know, we could go as far as we wanted to go on stage, and I mean, it was always who’s crazier Iggy or Alice? Sam Dunn: What do you think enabled you guys to achieve that marriage between a harder sound and yet also be accessible on radio at the same time? Alice Cooper: It was time and we had a producer named Bob Ezrin who got it, he heard us at Max’s Kansas City, he heard Eighteen and he went ohh, he said, “what’s that song I’m Edgey”? and I said there’s no, you mean Eighteen? And he goes, yah yah yah. He says that song is so dumb, it’s a hit. We would play it and he would go no no no no, dumb it down, the song is about a guy that’s I’m eighteen, I’m a boy, I’m a man ahh and I dig it. Music- Bob Ezrin (Producer): I didn’t have a clue what I was doing in the early days of Alice Cooper. Mike Bruce was writing great pop stuff that then the band would take and make into hard rock and then Alice had these you know strange ideas and sensibilities that he would inject into the lyrics. The job that I had was to take all of those elements and to organize them in a way that brought a kind of spine to each of the songs. Alice Cooper: Bob knew how to take our insanity and make it into a real palatable package. Song’s like “Eighteen” and “School’s Out”, even if you hate Alice Cooper you have to like those records because they’re fun to listen to. Music- Sam Dunn: Did radio have a significant role in catapulting Alice? Bob Ezrin: The Alice Cooper group owe their career to radio, it was actually Rosalie Trombley who was at CKLW “The Big 8” in Windsor, Ontario, the other side of the river from Detroit who heard our sad little rendition of “I’m Eighteen”.

Alice Cooper: She heard this record and her son liked it, her teenage son, her son said that’s the coolest record, so she added it and the next thing you know, it got request, request, request and it was a major hit. Now if you were to hit on CKLW that means you, that was the biggest station in the Midwest, if you got a hit on CKLW you had a national hit. Radio wise we were a bit of an oddity. The hardest rock thing on the radio at that time probably was The Guess Who. To crack the Top 40 you were up against Motown, Burt Bacharach. In order to get into that Top 40 you had to have a record really made a dent, that made people go, what was that? You know and that’s what “Eighteen” did. Bob Ezrin: Then after that we were looked at like a radio act. It was kind of expected, it wasn’t a matter of trying to get radio anymore, it was radio was waiting for the next thing we were going to do. Music- Narration: With “I’m Eighteen” on the charts and “School’s Out” hitting number one in the UK, Alice Cooper was now a household name. But radio success was an anomaly for hard rock bands during the 1970’s. For most bands, touring was the only way to reach audiences and there’s no better example than the successful touring act than Kiss. Music- Sam Dunn: I wanted to get you perspective on how touring became so critical during the seventies. Ace Frehley (Guitar, Kiss): In the early days I remember playing certain places where I knew the people weren’t huge fans when we walked in. People in the audience after you know the first couple songs, some of them would be sitting like this going, all right prove it. Half way through the show you know people were up and you know by the time the drums levitated and everything blew up, they walked out of the club you know, fans. Peter Criss (Drums, Kiss): You know we do these shows, sell it out, there were cheering and smiling, we got a lot of girls at night, had a great party and then go back and go, why aren’t we on the radio? Next day we would read the papers, it said we sucked, we were loud, we were boisterous, we were out of control, they don’t understand us, this band should be killed or shot or hung. What’s wrong here? Christopher Knowles (Author, The Secret History Of Rock N’ Roll): If you’re not getting played on the radio you have to play it to the people directly. This is before MTV, this is before You Tube, touring was really the only way that they could get their music out to the people. So these guys are touring incessantly.

Sammy Hagar (Vocals, Montrose/Van Halen): There was a cult thing to where a band would come to town and you had 500 or 600 people that were saying, I’m gonna see this band but even Kiss didn’t explode on their first record, you know they went out and worked and opened for people and busted their balls out on the road. Larry Harris (Casablanca Records): Here’s a band who was only played on FM radio, got very little Top 40 airplay which is what most bands in those days had to get to explode, and we had left Warner Brothers who was our distributor and we had none of our own money and we couldn’t afford to put them back into the studio so what we did was do a live album because we really had no other choice. Music- Sam Dunn: Why do a live record at that point? Peter Criss: Desperation, and yah, we were like at the end of our rope, we were so frustrated that we could not get our sound ?? You have a lot of other English bands, you have from Zeppelin to The Who, all these other bands, a few bands by then did do live albums and they sounded phenomenal, why can’t we do this? And finally Eddie Kramer came into the picture, we went out on the road with Eddie with a bunch of trucks and we recorded every night live. When we went and listened every night in the trailer, that it was so exciting, what we were missing was the audience, the screaming, the kids involved in the energy of the music, we thought now this is what kids will bring home to their living room and get partied out and get crazed and stoned, and put it on and party all night long. Music- Larry Harris: We never thought it would explode the way it exploded, nobody did, the live album gave this energy that no studio album could capture with this band. It was for fans who saw them and wanted to relive it and it was for fans who didn’t see them and got off on what was going on, the excitement. Ace Frehley: It was the right record at the right time and it gave the band a shot in the arm because prior to that the first three albums did ok, we were in a million album selling group, if Alive would have failed you know, I don’t know what would have happened. You know, but Kisstory is Kisstory (laughs). Music-

Narration: Alive was Kiss’ first album to reach the top 10 and is still the bands longest charting record of all time, so now that Kiss and Alice Cooper were selling millions of records, what did it take to bring the entire American hard rock genre into main stream culture? Music- ACT 4 (Outside Noise) Narration: In the early seventies Kiss wasn’t the only American hard rock band building a devoted fan base through their live show. Kiss’ main competitor was Boston’s Aerosmith. Music- Narration: Aerosmith has sold 150 million albums and holds the record for the most gold and platinum albums by an American group. But Aerosmith’s musical contribution to the evolution of heavy metal remains largely untold. So I’m meeting with bassist and founding member Tom Hamilton to find out where the Areosmith sound came from and why it made such a big impact back in the early seventies. Tom Hamilton (Bass, Aerosmith): Joe and I had been playing together in bands before Aerosmith when we were teenagers. We loved Fleetwood Mac, Led Zeppelin, we technically weren’t great musicians, we just got the loudest amps we could. Turn them up and play it as fast as we could. Steven was sort of on a parallel route with his bands but they were very professional, very polished, more towards pop. Joey was way into funk bands, Kool and the Gang and James Brown. When we finally met up and got together, those elements developed into the sound of the band. Christopher Knowles: Aerosmith to me is a swing band, all their riffs are basically horn charts transposed to the guitar. I mean Aerosmith are really taking the Rolling Stones and combining it with Led Zeppelin, talk about a sure fire formula for success. Slash: They had a certain kind of swagger that sort of developed and progressed from record to record. I just love the sort of misfit almost hopeless screw up sort of sounded like on record but with this great back beat and this sort of like anxiety-ridden kind of delivery. Music-

Tom Hamilton: When we first came out, Rolling Stone just said these guys are just a second rate Stones rip off basically you know, oh I get it, you know Jagger/Richards. The rock press wanted to hear a little bit more, you know, of intellectual component from their bands and we were just about, you know, rocking out. David Krebs (Former Manager): Aerosmith was, a sore thumb because I think at that point in time Columbia looked at Aerosmith as being in their eyes déclassé, like the difference between where Havard and you belong at some local school kind of thinking. Tom Hamilton: We just had to go out on the road and now you would call it viral marketing, get on the best tours we could opening for whatever band. We opened for some weird people back then but it was a crowd, we didn’t care. And so eventually you know we just built that up to a critical mass. Music- Sam Dunn: As you know I mean, the band really started to hit big with the album “Toys in the Attic”. David Krebs: “Toys in the Attic” had “Sweet Emotion” and “Walk This Way”. “Dream On” was a single came out, off of the first album and I think may have cleared the high seventies and fell off the charts. After we had success I convinced Columbia to re-release “Dream On” and it went to Number 6. Tom Hamilton: I remember the first time hearing one of our songs on the radio, that’s when “Dream On” became a hit. I realized, oh my god if I’m hearing it, that means there’s like thousands of other people listening to it right now for the first time and it was such an amazing rush. All at once the whole thing just gave way and we were this big band and we were playing stadiums, playing in front of 50, 60 thousand people. We had reached a creative pinnacle and we were staring to become successful doing something like what we idolized, boy were we having a fun time at that point. Music- Narration: With Aerosmith cracking AM radio on “Toys in the Attic”, they opened the door for other American hard rock bands to hit it big on radio and there’s no seventies hard rock song more radio friendly than Kiss’ power ballad “Beth”. Music-

Sam Dunn: Tell me the story of how you came to work on “Destroyer” and specifically “Beth”. Bob Ezrin: The first thing that happened was that I saw them play live in, I believe it was Saginaw, MI in a 9000 seater and what was remarkable about it was that, from the moment they started playing people were up on their feet and they never sat down they just stayed on their feet through the whole concert and yelled and screamed and pumped their arms in the air and they left and they were very happy. But the whole crowd was made up of 15-year-old boys so then I met them and I said we got to expand your horizons here and your fan base. What we have to do is make you more attractive, a little more romantic so in looking through Peter’s material he had this thing called “Beck”. Peter Criss: And I said, “I got a great song man, and I know we don’t do ballads, god forbid the band don’t do, because the band, that was the rules we’ll never ever do a ballad as long as we live and so I spruced it up and I upped the beat and I sang it to Gene, he goes, “that’s not so bad” and finally when Ezrin got to rehearsals I sang it for Bobby and he said no I hear it much lower and I think we should call it “Beth”. Bob Ezrin: It was almost like a country song was sort of folky, you know it had a kind of little bounce to beck (sings) “I hear you calling” so I said to Peter, do you mind if I take this home and play around with it a little bit and he said, no go ahead. Once I hit that little riff in the piano, I suddenly heard a lush you know orchestral approach to this thing and I heard a lush ballad. Music- Bob Ezrin: And then the job was to go back and sell Kiss you know the cock and balls maters of the universe on the idea of doing a song with a piano and an orchestra. Peter Criss: Gene and Paul, they hated it so they knew I had to go in and sing it, the two of them were sitting there in the console as I was out of the room and they’re doing this and they’re doing this to me, so Ezrin threw them out and sure enough by throwing them out we got it maybe on the fifth take and it came out beautiful. Music- Peter Criss: The album went out and they wound up putting it on the b-side of “Detroit Rock City”. And sure enough a DJ in Georgia flipped it over one day for the hell of it and put it on and then the phones starting ringing and it was like, you know, play that song again.

Once “Beth” got on, everything got on, everything went gold, everything started being played. Ace Frehley: “Beth” was a big shot in the arm for us, it gave us exposure to people that normally wouldn’t even know who Kiss was. That album sold twice as many copies because of that one song. We all got houses and cars out of it too, you know that didn’t hurt. Music- ACT 5 Announcer: I’m talking to you people over here, I would appreciate it if you’d stand up again and move to your rear, please ladies and gentlemen Mr. Ted Nugent. Music- Narration: By 1978 American hard rock was peaking and there was no bigger celebration of the genre than Cal Jam 2, a massive two-day festival in the heart of Southern California. Four years earlier Cal Jam 1 featured British headliners Black Sabbath and Deep Purple but by ’78 the focus had shifted to American bands. Sam Dunn: What happens between ’74 and ’78? Don Branker (Concert Promoter): Well you started seeing a transition, all of a sudden American bands started doing a sound that attracted a wider base audience and that was Nugent, Heart, Foreigner and Aerosmith of course and we drew a 100,000 more people with that show than we did the show in ’74. Ted Nugent: It was a great great day, the audience was awesome, it was perfect, it was just a sea of unified celebration. Music- Sam Dunn: What are your memories of Cal Jam 2? Tom Hamilton: We were staying at the Beverly Hills Hotel and every half an hour somebody was coming in and saying, my God there’s a 175,000 people, no there’s 250,000, there’s 300,00

people until there was 350,000 people there. The thought that way out in the darkness people were just going all the way to this invisible horizon, it was really cool. David Krebs: Strategically we were at a point where I’m beginning to see cracks in Aerosmith and part of my thinking was to try to do these giant events to build sort of a canopy over them while they were covered because it was not fun by then. Tom Hamilton: We were starting to make money and were starting to buy instead of just little packets of stuff, we could buy bags of it, it was so decadent. One of the sad things about our history is that you know moments like that are inspiring and really exciting but they’re also, it brings out a lot of intensity that somehow got the better of us. Talk about monkeys with guns you know, you give these guys this situation and what do they do, they get burnt out and fucked up and blow it. Music- Narration: In the wake of Cal Jam 2 Aerosmith started to freefall and their record sales were declining. So given that the biggest band in American hard rock was struggling, what was the state of the hard rock genre as a whole? Christopher Knowles: The record industry is hurting badly, sales are way down and a lot of the big groups that made the seventies the seventies are really starting to either break up or burn out or sell out. Don Branker: Hard rock became kind of irrelevant to a whole new crop of people interested in music. You stared seeing music dissect and diversify as the beginning of disco even started. Jaan Uhelzski: Disco, disco killed so much in its wake. Sam Dunn: I Was Made For Lovin’ You baby. Jaan Uhelzski: I know. But you know, yah, I have no excuse for that. Music- Peter Criss: A disco song (laughs). They bitched about a ballad, we’re doing disco now. It was like to me Black Sabbath doing a disco song, I could not see Ozzy singing a disco song.

Larry Harris: There were a lot of bands who wanted disco doing disco songs, Kiss saw what was happening with Donna Summer and the Village People and Cher and they saw the sales and how huge this was becoming. Knowing Gene and Ace and everybody they probably said, well if we can sell more records and make more money we’ll give it a shot. Ace Frehley: “I Was Made For Lovin’ You” was a huge departure and it was something that I wasn’t really happy about either because it started to get into the disco vein but somehow it happened then, it was a big hit. Do we want to be remembered for it, is the big question. Music- Narration: Kiss doing disco put the nail in the coffin for American heavy metal and by the late seventies Creem magazine had declared it officially dead. But it was California newcomers Van Halen that help reinvigorate metal in America. So what exactly was new about the sound of Van Halen? Slash: When I first heard Van Halen I was just like, wow, the overall vibe of Van Halen was very energetic and very new sounding, very fresh sounding and it had a ton of attitude, it was just in your face. Kevin Estrada: It was time to give up on Styx, you know it was time to give up on Foghat even though those guys might have been 20 or 25, they look like they’re 40 with those mustaches. When the first Van Halen album came out it just blew me away and we never heard anything like that put together in that kind of way with the hooks and the hard edge. Michael Anthony (Bass, Van Halen): When we came on the scene we didn’t want to be a pigeon hold into one kind of genre so we would always tell everybody, no we’re big rock because it was just something that was different you know, Van Halen plays big rock. David Lee Roth: We got everything, we got enough food and booze for about 500/700 people here this evening you know. Originally what we were gonna to do, is that we were gonna turn all the equipment around backwards and show our behind to the audience and that way everybody be backstage you know. Christopher Knowles: Van Halen recapture what I think hard rock lost in the seventies and that’s sort of a Dionysian celebration. Partically with the rise of more distinct heavy metal, they lost that feeling of celebration and Van Halen are all about that.

Sammy Hagar: They came on crazy drinking friggin’ straight out of the bottle and doing drugs and got the chicks. Just opened it up for Poison, opened it up for Motley Crue. Van Halen were the next generation in my opinion of reinventing metal. Music-

METAL EVOLUTION

EARLY USA

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Directed & Produced bySCOT McFADYEN & SAM DUNN

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Written by

RALPH CHAPMAN & SAM DUNN & SCOT McFADYEN

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Edited byMATTHEW WALSH

REGINALD HARKEMA

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Director of PhotographyMARTIN HAWKES

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Appearances by

MICHAEL ANTHONYSCOTT ASHETONDON BRANKERALICE COOPER

PETER CRISSDICK DALE

JOHN DRAKEKEVIN ESTRADA

BOB EZRINACE FREHLEY

SAMMY HAGARTOM HAMILTONLARRY HARRIS

RANDY HOLDENLENNY KAYE

CHRISTOPHER KNOWLESWAYNE KRAMER

DAVID KREBSGEDDY LEE

TED NUGENTDICKIE PETERSON

IGGY POPSLASH

JAAN UHELZSKIJAMES WILLIAMSON

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Head of ProductionALLAN WEINRIB

Producer AssistantsDAVE PATTENDEN

LANA BELLE MAURO

Associate ProducersRALPH CHAPMANLIISA LADOUCEUR

Music Supervisors

AMY FRITZERIN HUNT

Graphic Design and Animation

DEREK TOKAR

Supervising ProducerDAVE PATTENDEN

Production & Post Production CoordinatorLANA BELLE MAURO

Location Sound Recordist

KEVIN MACKENZIE

Additional Sound RecordistsSTACY BROWNRIGG

JASON FYRBERG

Additional FilmingDAVE PATTENDENJONATHAN STAAV

Camera Assistant

JONATHAN STAAV

Technical SupervisorANDREW KOWALCHUK

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Online Editor and Post Production Supervisor

ANDREW KOWALCHUK

Assistant EditorsMARY JURICAMY DAVIS

Writing and Research Supervisor

LIISA LADOUCEUR

ResearchersMARTIN POPOFF

RANDY CHASE

Visual ResearchersSCOTT McMANUS

CORINNE McDERMOTT

Transcription byMARTIN POPOFFGRAHAM KENT

APRIL SUEN

Title DesignDEREK TOKAR

Set Decorator - Title Sequence

JEFF BAI

Design Production AssistantADRIENNE MARCUS-RAJA

Re-recording MixerLOU SOLAKOFSKI

Mixing Assistant

GRAHAM ROGERS

Audio Post Production FacilitiesTATTERSALL SOUND AND PICTURE, TORONTO

SUPERSONICS PRODUCTIONS, TORONTO

Dialogue EditorFRED BRENNAN

Sound Effects & Music Editor

DAVE ROSE

Assistant Sound EditorSUE FAWCETT

Colourist

JOANNE ROURKE

Closed Captioning & Descriptive VideoCFA COMMUNICATIONS, TORONTO

Production Accountant

PATRICIA AGUIRRE for BANGER FILMS, INC

Legal Counsel byDAVID STEINBERG for HEENAN BLAIKIE

Auditors

JIMMY YE for KUDLOW McCANN

Interim Financing

AVER MEDIA

Travel AgentsHEATHER REIMER for STAGE & SCREEN TRAVEL

RANDI GELMAN for FROSCH TRAVEL

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Archival Photos and Videos Courtesy of(ALPHABETICALLY)

AMALIE R. ROTHSCHILDBOB LEAFE/FRANK WHITE PHOTO AGENCY

CARL LUNDGRENCASABLANCA ENTERTAINMENT

CHRIS WALTER - PHOTOFEATURESCREEM MEDIA INC.

DALE GAGODELTONE

ETIQUETTE RECORDSFRANK WHITE

FRAZER PENNABAKERGARY GRIMSHAWGNP CRESCENDO

HISTORIC FILMS ARCHIVE, LLCIAN DICKSON

ISLAND/MERCURYJANET MACOSKA

JERRY DUFFY ROCKSHOWVIDEOS.COMJIM KOZLOWSKI/FRANK WHITE PHOTO AGENCY

LAURENS VAN HOUTEN/FRANK WHITE PHOTO AGENCYLENI SINCLAIR

MARTY TEMME ARCHIVEPETER CRISS PUBLISHING

PHOTO OF AEROSMITH SUPPLIED BY GEMS/GETTY IMAGESPHOTO OF AMBOY DUKES SUPPLIED BY MICHAEL OCHS ARCHIVES/GETTY IMAGES

PHOTO OF LEO FENDER SUPPLIED BY MICHAEL OCHS ARCHIVES/GETTY IMAGESPHOTOS OF AEROSMITH SUPPLIED BY FIN COSTELLO/GETTY IMAGES

PHOTOS OF DICK DALE SUPPLIED BY MICHAEL OCHS ARCHIVES/GETTY IMAGESRAINMAN, INC.

REELIN' IN THE YEARS PRODUCTIONS, LLCRON PONWALL/FRANK WHITE PHOTO AGENCY

SONY MUSICTHOUGHT EQUITY MOTION

TROELS HADBERGUNIVERSAL MUSIC

UNIVERSAL MUSIC PUBLISHING GROUPVH1

WARNER BROS.WARNER CHAPPELL

Music(IN ORDER OF APPEARANCE)

“The Trooper”

Written by: HARRIS

Performed by: IRON MAIDENPublished by: Universal Music Publishing Group a division of Universal Music Canada Inc.

“Detroit Rock City”

Written by: KISSPerformed by: KISS

Published by: Universal Music Publishing Group a division of Universal Music Canada Inc.

“Misirlou”Written by: LEEDS/PINA/ROUBANIS/RUSSELL/WISE

Performed by: DICK DALEPublished by: EMI Grove Park Music Inc.

“Drummin’ Man”

Written by: KRUPA/PARHAMPerformed by: GENE KRUPA

Published by: EMI Robbins Catalog Inc.

“Baby, Please Don’t Go”Written by: WILLIAMS

Performed by: THE AMBOY DUKESPublished by: EMI Full Keel Music

“Journey To The Center Of The Mind”

Written by: NUGENT/FARMERPerformed by: THE AMBOY DUKES

Published by: Rockland Music & You Look Good Music Publishing

“Born To Be Wild”Written by: BONFIRE

Performed by: STEPPENWOLFPublished by: Universal Music Publishing Group a division of Universal Music Canada Inc.

“Summertime Blues”

Written by: COCHRA/CAPEHARTPerformed by: BLUE CHEER

Published by:Warner-Tamerlane Publishing Corp.

“Looking At You”Written by: DAVIS/DERMINER/KAMBES/SMITH/TOMICH

Performed by: MC5Published by: Warner-Tamerlane Publishing Corp & Robert Derminer

“Kick Out The Jams”

Written by: DAVIS/DERMINER/KAMBES/SMITH/TOMICHPerformed by: MC5

Published by: Warner-Tamerlane Publishing Corp & Robert Derminer

“1969”Written by: ALEXANDER/ASHETON/ASHETON/POP

Performed by: THE STOOGESPublished by: Bug Music & Warner-Tamerlane Publishing Corp OBO Itself and Stooge Staffel Music

“TV Eye”

Written by: ALEXANDER/ASHETON/ASHETON/POP

Performed by: THE STOOGESPublished by: Bug Music & Warner-Tamerlane Publishing Corp OBO Itself and Stooge Staffel Music

“I Wanna Be Your Dog”

Written by: ALEXANDER/ASHETON/ASHETON/POPPerformed by: THE STOOGES

Published by: Bug Music & Warner-Tamerlane Publishing Corp OBO Itself and Stooge Staffel Music

“I’m Eighteen”Written by: BRUCE/BUXTON/COOPER/SMITH/DUNAWAY

Performed by: ALICE COOPERPublished by: 19th Opus Publishing obo Third Palm Music & Ezra Music Corp.

“School’s Out”

Written by: BRUCE/BUXTON/COOPER/SMITH/DUNAWAYPerformed by: ALICE COOPER

Published by: 19th Opus Publishing obo Third Palm Music & Ezra Music Corp.

“Deuce”Written by: SIMMONS

Performed by: KISSPublished by: Universal Music Publishing Group a division of Universal Music Canada Inc.

“Rock And Roll All Night”

Written by: SIMMONS/STANLEYPerformed by: KISS

Published by: Universal Music Publishing Group a division of Universal Music Canada Inc.

“Train Kept A Rollin”Written by: BRADSHAW/KAY/NATHAN

Performed by: AEROSMITHPublished by: Fort Knox Music Inc. & Trio Music Company

“Beth”

Written by: CRISS/EZRIN/PENRIDGEPerformed by: KISS

Published by: Peter Criss Publishing & Rock Steady Music c/o Reach Music Publishing, Inc & Chappell & Co Inc.

“Cat Scratch Fever”Written by: NUGENT

Performed by: TED NUGENTPublished by: MAGICLAND MUSIC

“I Was Made For Loving You”

Written by: CHILD/EZRIN/PENRIDGEPerformed by: KISS

Published by: Universal Music Publishing Group a division of Universal Music Canada Inc.

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Thanks ToVILLAGE RECORDING STUDIOS, LA

RAINBOW BAR & GRILL, LA

LE PARC SUITES HOTEL, LATHAT METAL SHOW

RUTH MYER GALLERY, CACOOPER’STOWN, PHOENIX

THE MUSIC INSTRUMENT MUSEUM, PHOENIXWALDORF ASTORIA HOTEL, NY

WILLIAM STONEKISS CONVENTION, NJ

GIBSON SHOWROOM, LONDON

Special Thanks ToPATRICE BUTTERFIELD

SARAH HALES & CALEB HALES McFADYENKEN & DENISE DUNN

NAN & MAURICE McFADYENNOAH SEGAL

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Produced in association with The Government of Ontario Film and Television Tax Credit

and with the Assistance of The Canadian Film or Video Production Tax Credit

and in association with Much More Music

Distributed by Tricon Films Inc.

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FOR VH1 CLASSIC:

Production ManagementRACHEL ROCA

Standards and Practices

ALICIA GARY

Business and Legal AffairsSETH LEVIN

GLORIMAR NEGRON

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Coordinating ProducerJAY MORAN

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Executive Producers

RICK KRIMLEE ROLONTZ

BEN ZURIER

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The following has been a Vh1 Classic Special Presentation (End Page)

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BANGER LOGO

Ownership of this motion picture is protected by copyright and other applicable laws of Canada, the United States and other countries. Any unauthorized exhibition, distribution, or reproduction of this motion picture or any part

thereof, including the soundtrack, may result in severe civil penalties.

©2011 Metal Evolution Productions Inc. All rights reserved.

www.bangerfilms.com

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