"The Heavy Metal Hall of Fame" By Jim Miller THE YARDBIRDS - Yardbirds' Greatest Hits (Epic BN 26246) Torn between their innovative guitarists and Keith Relf's whining lead vocals, the Yardbirds were generally schizophrenic, with few thoroughly cohesive tracks to their credit. Although the band's pop/blues approach recalled the Rolling Stones, Jeff Becks' brittle guitar and exotic experimentation forged rock's original metallic sound, evoking everything from snake charmers ("Over Under Sideways Down") to psychotic delirium ("Shapes Of Things"). When Beck and Jimmy Page locked horns on "Happenings Ten Years Time Ago," they created one of pop's most manic singles. CREAM - Fresh Cream (Atco SD 33-206) Cream pioneered the power trio format (guitar-bass-drums), imitated by such later metal giants as Grand Funk Railroad. Eric Clapton likewise set new standards with his imaginative lines and singing tone. Although the band suffered from weak material and exhibitionist solos (especially by Clapton and drummer Ginger Baker), Cream played potently and concisely on several early cuts: Clapton virtually floats his phrases on "I Feel Free," one of early metal's headiest moments. JIMI HENDRIX - Are You Experienced? (Reprise 6261), Electric Ladyland (Reprise 6307), The Cry of Love (Reprise MS 2034). Jimi Hendrix was arguably the greatest rock instrumentalist of the Sixties. His blunt attack contrasted sharply with the meticulous virtuosity of an Eric Clapton; Hendrix preferred an angry metal whine, molten steel to Clapton's polished chrome. His rough edges conveyed far more than his awesome dexterity. In a genre where computerized pyrotechnics seem the rule, Hendrix played with a rawness transcending idiomatic formalities. LED ZEPPELIN - II (Atlantic SD 8236), "ZOSO" (Atlantic SD 7208). While elaborating heavy metal's finer points, Led Zeppelin has developed an audacious style without frills. Jimmy Page is the master of gunpowder guitar, while Robert Plant executes a freakish variety of vocal somersaults, all with tongue in cheek. As the prototypical heavy-metal band, Led Zeppelin has created its fair share of masterpieces, from the orchestrated frenzy of "Whole Lotta Love" to "Stairway To Heaven," a carefully structured track, sustained by its variety of textures. Despite its knack for uncompromising rock & roll, Led Zeppelin remains among the most underrated contemporary groups, perhaps because it occasionally relies on hackneyed formulas. DEEP PURPLE - In Rock (Warner Bros. 1877), Machine Head (Warner Bros. BS 2607). In guitarist Ritchie Blackmore and keyboard whiz Jon Lord, Deep Purple boats two distinctive solo voices. Unlike Led Zeppelin, Purple liberally indulges its wildest ambitions. Often the result is mere clutter, but Purple's classical inclinations have also produced several infectiously nimble exercises in leaden jive (such as "Lazy" -- B. Bumble and the Stingers would be proud). Although the band's cardinal sin remains fatuous soloing, Blackmore's guitar cuts a clean swath across many an otherwise pallid Purple track. BLACK SABBATH - Paranoid (Warner Bros. 1887) Most heavy metal thrives on uptempos; Black Sabbath prefers sludge and slow-motion fuzz. Ozzy Osborne's shrill vocals contribute to a mix of rudimentary riffs and obsessive lyrics, creating an angst-ridden punk poetry of the semi-conscious. Despite an impressive list of potential rivals, Black Sabbath may play the ultimate downer metal. THE VELVET UNDERGROUND - White Light/White Heat (Verve V6-5046). While some aficionados consider "Sister Ray" a masterpiece, the Velvets' 17-minute foray into metal better qualifies as a conversation piece, or, if it's actually on the record player, a conversation stopper. White noise predominates, but laconic lyrics set the style for subsequent sleaze. Tres avant. MC5 - Back in the U.S.A. (Atlantic SD 8247). An ill-fated venture into agitprop pop, the MC5 cultivated rock's subversive tendencies as a matter of principle. Depending on your point of view, their brusque instrumental approach either catalyzed or obviated the politicized lyrics. A palpable commitment and energy animates the Five's best recorded efforts, although credible eyewitnesses claim the band's live magic never got captured on vinyl. THE STOOGES - Fun House (Elektra EKS-74071). The Stooges perfected moronic metal, stripped to its most elementary components and elevated to the level of aesthetic nihilism. Spurred on by Iggy Pop's bestial growls and onstage antics, the band stumbled through some of the dumbest, most abusive rock ever waxed. The titles suggest the content: "Dirt," "TV Eye." BLUE OYSTER CULT - Blue Oyster Cult (Columbia C 31063). While they're often derivative, and lack a wholly distinctive image, Blue Oyster Cult is America's most competent exponent of British-style virtuoso metal. Lead guitarist Buck Dharma's sizzling expertise sparks the band, while the cerebral looniness of the lyrics adds an unusual twist of urbanity. In contrast to much of the native competition, the Cult shuns intentional musical primitivism. NEW YORK DOLLS - Too Much Too Soon (Mercury SRM 1-1001). The Dolls have successfully fused the jerky swagger of early Jagger with Lou Reed's jaded outlook, filtered through high-tension metal sonics. Although they are perfectly capable of creating anthems ("Human Being") as well as characters ("Chatterbox," in '74 "Yakety Yak"), the Dolls traffic in energy more than expertise. But they evince an intrinsic stylishness that eludes such polished rivals as Blue Oyster Cult. - Rolling Stone, 7/4/74. ###
Reader's Comments
Jeff Jenkins
I loved the feeling of 20/20 hindsight after reading "The Heavy Metal Hall of Fame" By Jim Miller
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