Creating the Early Metal UK episode was a dream come true for me: It was a chance to talk about the “Big Three”—Led Zeppelin, Black Sabbath and Deep Purple—and highlight Judas Priest’s role in being the first true heavy metal band, a story that I was hell bent on including in the series! But looking back at this episode not only brings happy memories, it also brings sadness. It features two of metal’s most influential sonic architects—Jon Lord and Ronnie James Dio—who

have passed away in the last few years. I interviewed Jon in London on March 4, 2010, and I was struck by his eloquence and graciousness. It was like sitting across from the rock-god grandfather I always wished I had. I learned so much from him about the link between classical and metal, as well as the role of his Hammond playing in the evolution of rock. As for Ronnie James Dio, I remember hearing about his pass-ing when we were in Bologna, Italy, filming the Power Metal episode, in May 2010. A colleague sent me a text that Ronnie had died and I didn’t believe it; or perhaps more aptly, I didn’t want to believe it. I was overcome with sorrow and was immediately grateful that we had the chance to spend time with him at his house in LA when we were filming Metal: A Headbanger’s Journey in 2004. Ronnie will stand the test of time as one of the great vocalists ever and a true elder statesman of metal. As metalheads, we all owe a great deal to Ronnie the singer and the ambassador.

EPISODE 3:EARLY METAL UK

Metal Evolution – Episode 103 – Early UK Narration: In the previous episode I explored the emergence of heavy music in America and what I learned is that the American bands have a much bigger part in the story of metal than I initially realized. But when I think of the great bands that truly gave birth to heavy metal I think of British bands like Black Sabbath and Deep Purple and Led Zeppelin and so I’ve come to England because I want to find out why did this music come out of England and what was its impact back in the 1960’s and 70’s. Music Narration: During the 60’s England gave rise to a number of bands that were heavier than anything that had come before but before the emergence of heavy metal this country was the home for another musical style that transformed rock music, the British Blues boom, so I’m meeting with blues legend John Mayall to find out how this movement paved the way for heavy metal. Sam Dunn: I want to spend some time talking with you about what’s famously known as the British Blues boom. John Mayall: Well fondly enough it wasn’t known as that when it happened for the first few years, it was just called R&B which in America is totally different kind of music. There were just these venues that supported the music and it was just an opportunity for us to get out there and play what we wanted to play and we’re kind of surprised and delighted that there was an audience for it. Sam Dunn: Why do you think young musicians in England at that time were attracted to this music? John Mayall: Well I think generation to generation you get something that connects with an audience, prior to the blues boom was ten years of jazz bands so people flopped to those and I think the blues is something that addresses itself to situations in people’s lives that they can identify with. Dave Lewis (Author, The Complete Guide To The Music Of Led Zeppelin): Lots of these guys were listening to records that were coming over from the States, John Lee Hooker, Muddy Waters, Jimmy Page, Jeff Beck, Eric Clapton, they were picked up on so they’re massive influences you know and I think that’s where they began to wanna play like those guys.

Music: Chris Welch (Journalist): When the British R&B bands first appeared like the Yardbirds for example, really they were all playing on a kinda really nervy sort of form of playing, R&B in a way, it was really fast almost hysterical, it was very excitable and kind of lacked power and depth, so gradually it’s when bands learned to slow down a bit and to use more bass. All these little ways of playing the music changed the whole sound of it, so it’s when they learned to relax really; I think that’s when bands began to become heavier. Music Sam Dunn: If we think of guitarists like Clapton and Page and a guy like Jeff Beck, what was unifying do you think, all of these players? John Mayall: It was all based on blues initially and then it kinda got individualized by different people, Eric was always into the blues whereas Beck and Page although they started off with the blues and then it very quickly mushroomed into there on, all individual styles. Music Narration: Besides the Jeff Beck Group, Cream and The Yardbirds, the one band that unquestionably transformed the blues into something much heavier was Led Zeppelin. They’re one of the most celebrated bands in the history of rock and Rolling Stone magazine even described them as the heaviest band of all time. But what exactly was Led Zeppelin’s connection to the British Blues boom and what was unique about their sound? Dave Lewis: Well Led Zeppelin occurred at the time of the British Blues boom and they came right smack in middle of it, you only got to look at the first album “I Can’t Quit You Babe” , “You Shook Me”, Within two or three years they were taking the influences of Willie Dixon and taking it much further. Billy Gibbons (Vocals/Guitar, ZZ Top): Led Zeppelin I think it’s fair to say that people would like to place them as probably the launch pad of what exemplifies the early days of heavy, and it is. Sam Dunn: How did Zeppelin achieve their heaviness? What did Jimmy’s guitar tone contribute? Eddie Kramer (Producer):

He was the guy you would call if you wanted that really gritty distorted guitar tone and he was master of that, I mean when you hear the tone of his solo coming in, it’s instantaneously identifiable Sam Dunn: Talk about Robert Plant as a front man. Why do you think he was important in terms of his presentation that was doing something new? Frankie Banali (Drums, Quiet Riot): Robert Plant was that golden god lead singer, he had the attitude, he had the look, he had the mannerisms. Robert Plant was probably more than any other singer that iconic role model for singers. Sam Dunn: We’re in Trinifold Management, who manages Judas Priest, let us use this room which is the office of Bill Curbishley who manages Robert Plant, to be so close but so far because we’ve been really trying to get Robert Plant and Jimmy Page to be part of the series but they’ve declined. The problem I guess for Plant and Page is they don’t liked to be associated with the term “Heavy Metal” even though they were hugely influential. Eddie Kramer: I never really thought of them as a heavy quote metal band basically because of the complete diversity of material heavily acoustically orientated with a strong beef. I guess you could say without Zeppelin they wouldn’t be quote unquote Heavy Metal but I don’t think that I would ever consider them a heavy metal band. I think Sabbath probably more than any band would be the definition of a heavy metal band you know, the essence of one. Music Narration: Although Led Zeppelin didn’t self identify as a heavy metal band, Black Sabbath is the one band that many argue marked the beginning of the heavy metal sound. So I need to find out why Sabbath is considered the pioneer of the genre. Music Crowd Cheering ACT 2 Music Narration: In the early seventies Black Sabbath created a sound that was darker and more sinister than ever before so I’ve come to Birmingham, Sabbath’s home town in England’s industrial heart land to find out where they got the inspiration to create this sound.

Music Sam Dunn: When you started out with Sabbath, describe for me what Birmingham was like? Bill Ward (Drums, Black Sabbath): Birmingham’s profile is dismal, you know, rain swept and factories and belching smoke, it’s a very industrial place. You could go into the factories, we could go to prison or you could be a gangster. Geezer Butler (Bass, Black Sabbath): Birmingham had a massive hammering during World War 2, there’s still a lot of bombed out buildings around, the place on the corner where I grew up is completely demolished by bombs in the war. Where we lived was very very working class, there’s a lot of immigration there, very mixed racially and culturally and a lot of street fighting. Sam Dunn: So how did this sort of horrible reality influence what Black Sabbath sounded like? Bill Ward: We all let some feelings about the counter culture or a lot of the peace movements but I think all of us had an attitude to well, that’s all well and good, but that’s not what’s going on right now, I‘m sitting here looking at a guy getting his guts beaten up and music began to take a really good look at what was really on the ground or really what we were seeing. I think it had a huge impact on Sabbath. Music Sam Dunn: Describe for me the sound of Black Sabbath’s music? How was it different than what else was going on? Jim Simpson (Former Manager, Black Sabbath): The country was inundated with blues bands and they all sounded the same or looked the same or smelt the same and wore the same denim jackets and all the guitar players played sixty mile long solos and we were all anxious to get out of that because all five of us believed the band was going somewhere so we had to do something different. Geezer Butler: We’d jam around and see what we came out with and we came out with the song “Wicked World” That put us on you know, thought this is good, we can do it, we’ll have a go at another one and the second song was “Black Sabbath” and then we just thought, god this is really weird, different, let’s just give it a try on the next gig and we did the gig, we played it right at the end of “Black Sabbath” and the crowd just went absolutely mental. They were saying play that again, play that again, so we played it again, played it

three times (laughs), and we just realized you know that we had something that nobody else had. Music Bill Ward: When we would sit down and make a piece of music together one of the things that I would try to create with drums, a lot of atmosphere I definitely used a lot of toms to bring about certain words, Ozzy sang “what is this that stands before me” I knew where I had to go with the toms. I could have gone (imitates drum sounds), it would never have worked. Thomas Allom (Engineer, Black Sabbath): In some ways they were almost a jazz band, if you listened to what Bill and Geezer are playing, Geezer’s not playing rock really, he’s playing like sort of almost modern jazz, very intricate stuff. But with it were these absolutely staggering heavy lyrics and heavy vocal melodies and Tony’s fantastic guitar riffs. Music Narration: By combining the heaviness of Tony Iommi’s guitar with the eerie sounds of Ozzy’s vocals and Bill and Geezer’s jazz influenced rhythms Black Sabbath was creating a sound in the late sixties that have never been heard before so given that this sound was so unusual for it’s time how is the record industry reacting to Black Sabbath’s music? Jim Simpson: We did a demo in Birmingham which is not very different to the first album. After this recording, took fourteen straight record companies and they all turned me down. Sam Dunn: Why didn’t they want to take this record on? Jim: Because there wasn’t a current hit on the charts that sounded like that. If you sit there in your posh purple office with your white suit on, you want to hear something safe, you want to go to the boss and say listen I’ve got a single that sounds just like Rolling what are they called, Stones was it, yes something like that but something new they were scared of it. Geezer: I’ll always remember this one record company, we were in the northern most part of England and we had to do a gig and then drive all through the night to play this audition at this pub for eleven o’clock in the morning in London so none of us had slept we were all absolutely exhausted, the guy came from the record company, we started playing and he just literally walked out. (laughs), after about halfway through the second song, he just

went, what’s this crap and just walked out, that’s the way they treated us you know, they just really didn’t get it. And then we got this A&R guy and he really liked us and he finally got Vertigo to sign us. Sam: When you first saw Black Sabbath play what were your impressions of their music? Olav Wyper (Former General Manager, Vertigo Records): My first thoughts were it’s a heavy metal band, as they went on I realized they were much more than that because a lot of the lyrics were not only intelligent but they dealt with some difficult subjects and musically they were terrific, so after the gig I talked them in to coming with us on Vertigo. Geezer: It happened so incredibly fast, the first album charted and I think it came in number thirteen, we didn’t know anything about it we were in a car going to a gig and we were listening to the album charts and ? said new at thirteen this week Black Sabbath, we went, what? Is there another band called Black Sabbath? And then he played the track off it and it was us. Jim: The week it went on the charts it sold with 5200 records the first week, from that moment on we were on a crusade, we knew that we got something very very special and from that moment on it became really serious. Music Sam: For you are they that band that sets in motion this music that came to be called heavy Metal? Bruce Dickinson: If there’s one band that did it and if there’s one album that did it, it is the first Black Sabbath album because that influenced a whole generation of kids that five years, six years later appeared as heavy metal bands. Slash: Black Sabbath was the band that first defined heavy metal for me and seriously had that sort of heavy approach that really seemed like these guys are for real. Sam: To what extent did you consider yourselves a heavy metal band? Geezer: We just thought we were a hard rock band at the time, that’s what we liked and the first I’d heard being called heavy metal was somebody being derogatory about us, I read this

review when we were on tour and criticizing us as usual and it says it sounded like a lot of heavy metal being dropped, not musically whatsoever. Jim Simpson: The words heavy metal were never banging? around in those days, we’re just a heavy rock band. That’s how Sabbath saw themselves and not realizing they invented a whole genre under their name. Music Narration: Black Sabbath clearly didn’t self identify as a heavy metal band, but future generations of musicians and fans would credit Sabbath for creating a distinctly darker sound and esthetic. So now that Birmingham’s Black Sabbath had laid this foundation, how would this genre evolve as the focus shifted to London, the capital of the seventies English hard rock scene. Music ACT 3 Narration: In early seventies Black Sabbath and Led Zeppelin weren’t the only English bands pioneering new directions in heavy music, the one band that transformed the sound of hard rock into something much more complex and sophisticated was London’s Deep Purple. However the bands original line-up nicknamed Mark 1 was a far cry from the heavy sound that Purple is known for today. So I’ve traveled to the country home of drummer Ian Paice to ask him about the bands Mark 1 origins and how they became the Deep Purple that has influenced legions of heavy metal bands. Sam Dunn: How was Mark 2 different than Mark 1? Ian Paice (Drums, Deep Purple): In Mark 1 we tried to be like somebody else, we actually tried to be like a British version of Vanilla Fudge by taking other peoples songs and putting big arrangements around them. Music Ian: What Mark 2 progressed to was realizing there was no point being number two Vanilla Fudge, very important to actually become number one yourselves.

Jon Lord (Keyboards, ex-Deep Purple/ex-Whitesnake): We had something really rather good and quite interesting but it wasn’t gelling quite right, it wasn’t making the right noise somehow and unfortunately for Nick Simper and Rod Evans we came to the conclusion that it was their fault. Music Jon: They were not the two right guys to help pace Blackmore and myself, quite realized where we wanted to go. Sam: When Ian came into the band what do you think changed in terms of the sound of the band? Roger Glover (Bass, Deep Purple/Rainbow): Ian and I were, well we were songwriters, we were a partnership and I think the musicianship of Paice and Ritchie and Jon was just unbelievable, I don’t I had ever played with people that good before and there was a kind of marriage between the sophistication of the other three and the naive simplistic songwriting of us two, and I think that was the key. Music Roger: I liked quite a few of the riffs in the early days but Ritchie was really the riff master, he’s a complex player he really learned how to be simple, but writing something simple that is unlike anything else, that’s really difficult. Sam: You grew up as a big fan of Purple, why were they so important? Phil Collen (Guitar, Def Leppard): Ritchie Blackmore was the reason I played guitar, my cousin took me to see Deep Purple and I was like front row in front of Ritchie Blackmore, I’m like oh my god he’s like smashing his guitar up and playing, again he’s playing was just off the chart. Bruce Dickinson (Vocals, Iron Maiden): I never heard anyone play you know make sounds like that on guitar, it was just so cool because up to then it was all just you know Clapton is God and all that kind of stuff, you know Clapton was tame compared to what Ritchie was doing, it was the sound of Pan, like prancing all over your brain. Music

Narration: With the Mark 2 line-up of Gillan, Glover, Paice, Blackmore and Lord firmly in place in 1970 Deep Purple released one of heavy metal’s all time classic records “In Rock” and one of the elements that made “In Rock” unique was the thunderous sound of Jon Lord’s Hammond organ. Music Jon: The first time I really became aware of what I could do with the Hammond on record was on the organ seller in “Hard Lovin’ Man” which is the first time I just let myself loose in the studio to see exactly what I can make that beast do. I think one of the things I really like about the Hammond organ is adaptability, I mean I managed to adapt what was initially a church instrument and then adapted by jazz musicians and blues musicians and I managed to kind of shoe horn it into a hard rock band. I wanted to emancipate the organ from being something that just sat in the background and colored the sound, I wanted it to create that hard sound and here now finally I had something that could compete with Ritchie you see. Music Sam: You had some pretty heavy peers at that time speaking of Sabbath and Zeppelin but I think one thing that set you guys apart was that real complexity and that expansiveness of the music. Jon: We had the genuine belief that improvisation was part of the music and indeed it was very often was how we came up with the music. Dave Lewis (Author, The Complete Guide To The Music Of Led Zeppelin): When you went to a Purple show you were getting something very special because it was never gonna sound the same, I think the improvisation was definitely a key thing to putting them apart from other bands, I don’t think Sabbath had that and there wasn’t many bands that carried that and Purple certainly did. Jon: We had that wonderful freedom which is to go out on stage in front of paying customers and saying hang onto your hats you’re gonna like what we’re gonna do here, we don’t know what we’re gonna do, but we know you’re gonna like it. Music

Narration: Deep Purple weren’t just great improvisers, their song “Smoke On The Water” contained the most famous riff in the history of heavy metal which took Deep Purple to number one on the UK charts. So what’s the story behind the riff and how do the band members feel about being considered a pioneer of heavy metal music? Music Roger: Ritchie started playing a riff, I don’t know if he had it beforehand or whether it just came to him instantly, we all just sort of joined in and threw together an arrangement, it took all of about maybe four minutes Ian: We had this amazingly simple catchy riff, you had quite a clever little chord sequence and you had a story, most great songs are stories and it really was the genius of Ian and Roger, they said look, we’ve had a major occurrence here, we came to record, the place we were gonna record, a beautiful big place has just burned down, we’ve got all this story, let’s tell the story of the whole thing. Music Sam: It had a bit of a crossover appeal, kind of moves you guys up the ladder in terms of exposure and popularity. Roger It amazes me to this day that a song about such a specific incident has such a general appeal. Most people come up to me and say hey it’s the first thing I played on the guitar. I hear that everywhere we go and you go in music stores and stuff like that you know no “Smoke On The Water” or “Stairway To Heaven”, they’re the two you get and that’s a back handed compliment but a great one. Sam: At the time in that early seventies period did you see yourselves as a heavy metal band? Ian: We just called ourselves a hard rock band, metal is one facet of what us and a couple other bands created, it’s the nastier side of what we do but there’s also other stuff we do which is not any way connected to that. Jon: I always felt that Purple despite all the bomb blasts and the loudness on stage I always felt it had one foot just dragging back into the blues somehow and you know some people say that Purple had a hand in heavy metal and I would accept that we could be one of the godfathers but I defy the parenthood, I thought that wasn’t us, we weren’t the parents.

Music Narration: Despite Deep Purple’s pivotal role in expanding the sound of heavy music in the early seventies much like Sabbath and Zeppelin they still felt a strong affiliation with the blues and didn’t define their sound as heavy metal but now that these bands undeniably forged a new direction in heavy music, what would happen next in the evolution of seventies hard rock in England? ACT 4 Music Narration: After the ground breaking records of Black Sabbath, Led Zeppelin and Deep Purple in the early seventies the sound of British hard rock started to shift and so I’ve always wanted to know why these bands drifted away from their iconic aggressive sound. Geezer Butler: After “Master of Reality” we wanted to branch out and get a bit of a different sound and we were buying keyboards and stuff like that, Tony was getting good at playing piano and we just wanted to experiment a bit more. By the time “Vol.4” and “Sabbath Bloody Sabbath” we thought let’s spend a bit more time in the studio and we had enough money by then to be able to not be on the road, to be able to go into the studio and spend more time. Bill Ward: All of us were growing, all of us were still being influenced so I think there was a departure from those first three records, everything was always about the song so if we needed a choir we’d add in a choir, if I needed to play tubular bells, which I did, I would play tubular bells, so we had very little resistance to going to other instruments and to new ideas. Sam Dunn: Why do you think these bands start to explore new sounds and take new directions? John Ingham (Journalist): There comes a point of course when it probably gets very tiring to play the same kind of riff and the same feeling, you want to start exploring and widening the palette out. Sabbath putting keyboards on an album, you know that’s a level that we should just, you just don’t really care what anybody says you know because you know you can do it. Music

Sam Dunn: Here’s a now legendary prog rock producer Rick Wakeman working with Black Sabbath. What was it like having him work with you guys? Geezer Butler: The way it came about is we were trying to work a keyboard part out for ages, we just couldn’t get it right, I was trying to play it, Tony was trying to play it and it just didn’t sound right. We were in the bar and Rick Wakeman came in and we got talking to Rick and we’re asking him his advice and he went, what you trying to do? and he came into the studio, you mean like this (imitates fast keyboard playing), and we went, yes! And that was it, you know we got him in and did the keyboard parts. Bill Ward: So Rick definitely enhanced the music and I’m glad that we went through it, I’m glad we played with other artists on our records instead of being inside some very scared place about, we’re changing it too much you know, I think we had to smash through a lot of what we might have originally been. Sam Dunn: Taking risks. Bill Ward: Very much taking risks. Music Narration: Besides Black Sabbath, the other British hard rock band that transformed their sound in the early seventies was Deep Purple. Tensions within the band had led to a brand new Mark 3 line-up featuring the R&B inspired duo of Glenn Hughes and David Coverdale. Music Sam Dunn: How was what you were doing in Deep Purple do you think different than what the sound of the band before that? David Coverdale (Vocals, ex-Deep Purple/Whitesnake): I think I brought a soul element, my three most played albums when I joined Deep Purple was “There’s a Riot Goin’ On” - Sly And The Family Stone, Donny Hathaway - “Live” and “Music Of My Mind” - Stevie Wonder. I was a huge hard rock fan but I try to bring that the songs I mistreated you know that kind of blues element.

Glenn Hughes: I had seen them at the peak of “Machine Head”, I thought they were interesting and I thought they were unique and I thought they were a one off band. So when the call came in for me to join them, I wasn’t completely sold on the music that I was about to play. But knowing that with David coming in with me there would be a whole, possibly a new structure in the form of writing and singing. I wasn’t trying to derail the angst or metal vibe that was Purple but Purple were changing radically. Music John Ingham: Bands like Purple, Zeppelin and Sabbath and Spooky Truth, I mean all these kind of bands had been around since say ’68, ’69, by 72’, ’73 that’s almost a generation in rock and roll, it felt like they were getting very removed. Everyone is very famous, very rich, they live in limousines, they live in penthouses, rock was started to be treated like some kind of, you know like classical music. Music Narration: By the mid seventies bands like Deep Purple and Black Sabbath were no longer on the vanguard of heavy music in England, creating a void for something new and then a whole new sound emerged for the next generation of rock fans, that sound was glam rock. Music Andy Scott (Guitar, Sweet): The music that was coming out of the late sixties which we were all very into had no identifiable look because when you think back not many of these bands had big visual image, there was a lot of bands, haircuts, curtains, nose, that’s all you saw. So I think kind of dressing up the late sixties commercial rock was where bands like Sweet came in. Music Chris Welch (Journalist): Glam rock was very big in Britain at that time so you would find bands like The Sweet, they had a quite a heavy rock style you know, it was all revolving around guitars, bass and drums but at the same time they were adopting a kind of a gay camp rock appearance of Marc Bolan and David Bowie, they were getting hit records much to the annoyance of Led Zeppelin and Deep Purple. Sam Dunn: Why do you think fans were moving away from that serious, We’re gonna change the world mentality towards more just, we just want to go to a show and have a good time now.

Andy Scott: England was having harder times during the glam rock period, protest marches, people were striking a lot but usually when all that kind of stuff starts happening, the pubs fill up and people generally want to have a good time that gets you away from all the things that are going on in your life, you know we were probably lucky to be the outlet for their frustration. Chris Welch: The glam rock thing was a big fashion thing and the younger generation of kids who weren’t so concerned about Vietnam war or death doom and destruction, you know what they were really concerned about was buying the next great hit record by David Bowie or T. Rex, it’s a party time really, it’s party music. Music ACT 5 Music Narration: Even though glam rock was exploding in England and heavy metal appeared to be on the ropes there was one British hard rocker who helped reignite heavy music in the mid seventies, Ritchie Blackmore. Music Ritchie’s new band Rainbow was a far cry from the funk inspired sounds of Deep Purple. So why did he form Rainbow and return to this heavier sound? Sam Dunn: Why do you think Ritchie left Purple and wanted to do something heavier with Rainbow? Glenn Hughes: I believe that Ritchie didn’t like the super groove thing that Dave and myself and Ian Paice was doing and Jon Lord is now playing a Fender Rhodes keyboard, so by the time we were making “Stormbringer” Ritchie had already got in his head that he was gonna start making the bark influence medieval music. Jimmy Bain (Bass, ex-Rainbow): I made the bad move of putting on a “Stormbringer” CD in the limo one time and he took it out and chucked it out the window. He didn’t care for that period of Purple at all, he didn’t like it. From the first rehearsals we had, he was defiantly into getting a more raw sound than he had before. Sam Dunn: Can you tell me about the classical influence that Ritchie brought in?

Tony Carey (Keyboards, ex-Rainbow): He was born like 500 years too late and his passion was always this 16th century thing but at 130 decibels. He did a solo on “Stargazer” and live sometimes, absolutely amazing, this Arabic scale with slide guitar on a Stratocaster, I never heard anything like it. Music Narration: Besides Ritchie Blackmore’s mid evil inspired guitar sound, Rainbow also featured one of the most powerful vocalists in the history of heavy metal, Ronnie James Dio. And before Ronnie’s untimely death in 2010 I was lucky enough to visit his L.A. home and ask him about his approach to metal vocals. Ronnie James Dio (Vocals, ex-Deep Purple/ex-Black Sabbath): I view the music that I’ve made as being so much about the little man because metal music has always been looked down upon than obviously it’s going to be something that affects people who have been looked down upon. That’s always been the thing that I have written about, more than anything. Music Tony Carey: He had his own voice, let me put it that way, he was really the first to combine this tarot card, sorcery, Lord of the Rings type thing, wizard flying over you know and a fist coming out of the ocean grabbing a rainbow, this whole fantasy thing with hard rock. Ronnie: Dragons and Medieval times and the things that you see surrounding my home are part and parcel of my life. I read at such an early age and read all about dragons and knights and damsels in distress and great science fiction works, Edgar Rice Burroughs and I was just ,wow I better create what these images are on myself, that’s so cool and so that’s why eventually, writing and writing and writing, I decided to put all the things that I wrote in this kind of fantasy area which made you have to think, what is he talking about? Oh he said that, I wonder what that looks like? I wanted people to have to use their imagination the way I did and create their own dragons. Music Narration: Ronnie James Dio pioneered the fantasy-based imagery that’s become part of the fabric of many contemporary metal bands but the first band to create the modern metal sound and to actually identify as a true heavy metal band was Judas Priest. Music

Sam Dunn: Can we go back to Rocka Rolla” and “Sad Wings Of Destiny”. How do you think “Sad Wings” was a different record than “Rocka Rolla” Rob Halford (Vocals, Judas Priest): I think the difference between “Rocka Rolla” and “Sad Wings Of Destiny”, the band grew up very very quickly. Some of those “Rocka Rolla” songs were already established in the bands repertoire. So by the time we got to “Sad Wings” there was, there was a growth, there was a definite growth going on. Sam Dunn: It has a very metallic sound compared to say the early Sabbath records. Chris Tsangarides (Producer): Yes. Sam Dunn: How did you do it? Chris Tsangarides (Producer): The first Sabbath albums were done in no time, basically they set up live, recorded it, maybe threw the vocal on at the end, that was it. “Sad Wings” took quite a few months of intensive overdubs, it’s orchestrated except we don’t have violins and you know orchestral instruments, we’ve got drums, guitars, and bass but if you arrange them like you would a classical piece of music, that’s heavy metal. Christopher Knowles (Author, The Secret History Of Rock N’ Roll): Judas Priest represent a distinct shift away from the blues roots of metal, their chord changes and their progressions are not based on that old 145 blues twelve bar kind of thing. They become a distinct metal that has no real prior ?, it’s now a style. Music Sam Dunn: Where did you get the inspiration to create what is now hallmark of what you guys do, the two-guitar approach? K.K. Downing (Guitar, ex-Judas Priest): One band in particular is called Wishbone Ash, they had a couple of guitar players that are kind of not heavy in any particular way but it just seemed to be a really good idea at the time because the sound was just fuller, you know it was almost like a stereo effect on the stage, we were very excited about it. Martin Popoff (Author, The Top 500 Heavy Metal Albums Of All Time): There were bands before Judas Priest that had two guitars in them but they almost seemed like disassociated with each other it was just two guitarists in the band, you know

Brad Whitford and Joe Perry or Keith Richards and whoever was the guitarist at the time, the twin guitarists chugging away on a really good solid meat and potatoes riff is something that comes from Judas Priest. Scott Ian (Guitar, Anthrax): You know this is shit as a kid that I had never heard before, Tipton would just tear your head off, his leads, they were blistering and then K.K. on the other hand was the madman, you know the guy holding the Flying-V and you know playing the whammy bar like this. Music Narration: Judas Priest’s influence on modern metal went beyond their dual guitar approach; they also pioneered a look that would become the uniform of the heavy metal culture Rob Halford: It’s one thing to have the music but it’s another thing to have the visual so that everyone around the planet can connect and go, yah that’s it , the way that looks is totally representative of the sound of the music, all I wear is black (laughs), I just don’t feel, you’ll never find never wearing black. K.K. Downing: So many of the other bands they were still kind of wearing obviously leather(?), denims and different things but you did have a sense of excitement that it was kind of fresh you know and you had a sense that the audience recognized the fact that well this is new, this is metal. Sam Dunn: The big three never really self identified or adopted the concept of heavy metal, with you guys, you claimed it. K.K.: There was a period, wasn’t that really people were really sort of not admitting they were metal but I think Priest, we always maintained that we were proud to fly the flag of metal. Rob Halford: We are who we are, we believe in ourselves, we’re strong about what we feel we want to do so yah right from the very beginning that’s all we ever wanted to be known as in Judas Priest was we’re heavy metal.

METAL EVOLUTION

EARLY UK

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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 byFRANK GUIDOCCIO

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Director of Photography

MARTIN HAWKES

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Appearances byTHOMAS ALLOM

JIMMY BAINFRANKIE BANALIGEEZER BUTLER

TONY CAREYPHIL COLLEN

DAVID COVERDALEBRUCE DICKINSONRONNIE JAMES DIO

K.K DOWNINGBILLY GIBBONSROGER GLOVERROB HALFORD

GLENN HUGHESSCOTT IAN

JOHN INGHAMCHRISTOPHER KNOWLES

EDDIE KRAMERDAVE LEWIS

JON LORDJOHN MAYALL

IAN PAICEMARTIN POPOFF

ANDY SCOTTJIM SIMPSON

SLASHCHRIS TSANGARIDES

BILL WARDCHRIS WELCH

OLAV WYPER

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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 Coordinator

LANA BELLE MAURO

Location Sound RecordistKEVIN MACKENZIE

Additional Filming

DAVE 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 POPOFFRANDY 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 FinancingAVER MEDIA

Travel AgentsHEATHER REIMER for STAGE & SCREEN TRAVEL

RANDI GELMAN for FROSCH TRAVEL

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Archival Photos and Videos Courtesy of(ALPHABETICALLY)

ALAN PERRYCHRIS WALTER PHOTOFEATURES

DECCA RECORDSDREW THOMPSON

EMIFRANK WHITE

GULL RECORDSHISTORIC FILMS ARCHIVE, LLC

JEAN-PAUL THOMAS FOR BOUTON ROUGE COURTESY INA – INSTITUT NATIONAL DE L’AUDIOVISUEL/REELIN' IN THE YEARS PRODUCTIONS, LLC

JORGEN ANGELMARTY TEMME ARCHIVE

MICHEL ARNAUD FOR MUSIC HALL DE FRANCE COURTESY INA – INSTITUT NATIONAL DE L’AUDIOVISUEL/REELIN' IN THE YEARS PRODUCTIONS, LLC

MONTREUXMUSIC.COMNEAL PRESTON

PHOTO OF GEEZER BUTLER SUPPLIED BY ELLEN POPPINGA/GETTY IMAGESPHOTO OF MARQUEE CLUB SUPPLIED BY H.J. ALLEN/GETTY IMAGES

PIERRE DESFONS FOR POP DEUX COURTESY INA – INSTITUT NATIONAL DE L’AUDIOVISUEL/REELIN' IN THE YEARS PRODUCTIONS, LLCREELIN' IN THE YEARS PRODUCTIONS, LLC

SONY MUSICTHOUGHT EQUITY MOTION

THOUGHT EQUITY MOTION/BBC'S TOP OF THE POPS AS PROVIDED BY TEMUNIVERSAL MUSIC

WARNER BROS.WARNER MUSIC GROUP

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.

“Highway Star”

Written by: BLACKMORE/GILLAN/GLOVER/LORD/PAICEPerformed by: DEEP PURPLE

Published by: EMI Blackwood Music Inc. obo B Feldman & Co Ltd T/As Hec Music

“Steppin Out”Written by: BRACKEN

Performed by: JOHN MAYALLPublished by: Conrad Music

“Train Kept A-Rollin’”

Written by: BRADSHAW/KAY/NATHAN

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

“Spoonful”

Written by: DIXONPerformed by: CREAM

Published by: Bug Music obo Hoochie Coochie MusicLicensed by: Casablanca Media Publishing

“Behind The Wall Of Sleep”

Written by: BUTLER/IOMMI/OSBOURNE/WARDPerformed by: BLACK SABBATH

Published by: Essex Music International Inc.

“Black Sabbath”Written by: BUTLER/IOMMI/OSBOURNE/WARD

Performed by: BLACK SABBATHPublished by: Essex Music International Inc.

“Speed King”

Written by: BLACKMORE/GILLAN/GLOVER/LORD/PAICEPerformed by: DEEP PURPLE

Published by: EMI Blackwood Music Inc.

“Hush”Written by: SOUTH

Performed by: DEEP PURPLEPublished by: Sony/ATV Songs LLC & Sony/ATV Music Publishing Canada

“Hard Loving Man”

Written by: BLACKMORE/GILLAN/GLOVER/LORD/PAICEPerformed by: DEEP PURPLE

Published by: EMI Blackwood Music Inc. obo B Feldman & Co Ltd T/As Hec Music

“Child In Time”Written by: BLACKMORE/GILLAN/GLOVER/LORD/PAICE

Performed by: DEEP PURPLEPublished by: EMI Blackwood Music Inc. obo B Feldman & Co Ltd T/As Hec Music

“Smoke On The Water”

Written by: BLACKMORE/GILLAN/GLOVER/LORD/PAICEPerformed by: DEEP PURPLE

Published by: EMI Blackwood Music Inc. obo B Feldman & Co Ltd T/As Hec Music

“Changes”Written by: BUTLER/IOMMI/OSBOURNE/WARD

Performed by: SABBATH ONLY SABBATHPublished by: Essex Music International Inc.

“Sabbra Cadabra”

Written by: BUTLER/IOMMI/OSBOURNE/WARDPerformed by: SABBATH ONLY SABBATHPublished by: Essex Music International Inc.

“Mistreated”

Written by: BLACKMORE/COVERDALEPerformed by: DEEP PURPLE

Published by: Purple (USA) Music, Inc

“Fox On The Run”Written by: CONNOLLY/PRIEST/SCOTT/TUCKER

Performed by: SWEETPublished by: WB Music Corp. OBO Sweet Publishing

“Stargazer”Written by: BLACKMORE/DIO

Performed by: RAINBOWPublished by: Purple (USA) Music, Inc

“Victim Of Changes”

Written by: ATKINS/DOWNING/HALFORD/TIPTONPerformed by: JUDAS PRIEST

Published by: Gull Songs

“Starbreaker”Written by: HALFORD/DOWNING/TIPTON

Performed by: JUDAS PRIESTPublished by: EMI Blackwood Music Inc. obo Ebony Tree Ltd. & EMI April Music Inc. obo Crewglen Ltd. & EMI

April Music Inc. obo Geargate Ltd.

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Thanks To

LE PARC SUITES HOTEL, LATHAT METAL SHOW

WILLIAM STONEPARTS & LABOUR, TORONTO

PHOENIX ARTIST CLUB, LONDONGIBSON SHOWROOM, LONDON

EMBASSY CLUB, LONDONDANIELLE BROWN

WACKEN OPEN AIR, GERMANY

Special Thanks ToPATRICE BUTTERFIELD & RORY PHILIP DUNN

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 ROLONTZBEN 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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