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Wheels of Steel The Explosive Early Years of the NWOBHM 1st
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Martin Popoff

1
 Power Chord Press
PO Box 65208
358 Danforth Avenue
Toronto, Ontario, Canada M4K 2Z2

ISBN 978-0-9918963-7-0
Copyright 2015. Martin Popoff

All rights reserved under article two of the Berne Copyright Convention (1971).

No part of this book can be reproduced or transmitted in any form or by any means,
electronic or mechanical, including photocopy, recording, or any information storage
and retrieval system, without permission in writing from the publisher.

First Power Chord Press paperback printing: December 2015.

Printed and bound in Canada.

www.martinpopoff.com
 Table Of Contents

Introduction 5

1970 – 1975 – “It’s almost like the white man’s blues, heavy metal.” 9

1976 – “We’re like, we like heavy. Where’s the heavy?” 23

1977 – “That’s why Maiden’s crowd was almost like a football crowd.” 45

1978 – “All the original frontrunners had gone asleep.” 63

1979 – “This kind of music is absolute.” 81

1980 – “Black Sabbath’s done all right; let’s find another new
Black Sabbath.” 139

Text Credits 236

Design and Photography Credits 236

About the Author 237

Martin Popoff – A Complete Bibliography 237

Smokin’ Valves: A Headbanger’s Guide To 900 NWOBHM Records 239

3
Introduction
Well folks, good to be talking with you again. Here we are with another massive
information dump of heavy metal madness, brought to you in the most dense
manner I could conjure, the ol’ detailed timeline with huge stacks of quotes from
the archives.

Of course, this methodology started with the two Deep Purple Royal Family
books, and then continued on into my Ozzy Osbourne book, the Iron Maiden
book, and the forthcoming Yes book, not to mention The Big Book of Hair Metal
and most recently, and probably best of this type of tome, 120,000 words of
Who Invented Heavy Metal?.

I suppose you can also consider this a companion book, or follow-up, to Smokin’
Valves: A Headbanger’s Guide to 900 NWOBHM Records, because, of course,
this book covers the happenings and the placement in time, mostly, more
specifically, of all those albums and singles reviewed in that book. And with so
much yummy talk from the participants itself, I was tempted to use the term
“oral history” in the title, but, alas, it was getting unwieldy.

Now, hopefully you will be pleased to know that there is going to be a follow-up
to this book as well, making it a true two-volume history of the New Wave of
British Heavy Metal, with the second one called This Means War: The Sunset
Years of the NWOBHM.

Okay, so it’s time for a little explanation, or pre-answering of questions you

might have as you read this book and celebrate all of this great music from a
long time ago.

First a note on how the timeline works. The book is, of course, chronological,
but when time of the year is not known, those entries are put at the beginning,
before January of that year. When time of the month is not known, those entries
are put at the beginning of the month, before January 1 or January 2. Things
like spring, fall, early 1980, early June, those things are slotted into what is a
logical, chronological, and hopefully consistent place.

Now, a point on quotes. I adhered quite strongly to the idea of not giving you
quotes that could have conceivably shown up in some of my other books.
Occasionally, the eagle eye amongst you might spot a few, but for all intents

Martin Popoff Wheels of Steel 5

and purposes, all of the Iron Maiden quoting is new, i.e., not in my 2 Minutes
to Midnight: An Iron Maiden Day-by-Day. This should be pretty much all fresh
material taken from other interviews.

As well, I was cognizant not to quote from the Deep Purple Royal Family books,
nor should I, right? I mean, the debate is still out whether Gillan is a NWOBHM
band, and so I split the difference, and included lots of Gillan entries, but not
lots of Gillan quoting, adhering to a vague philosophy that borderline entries
shouldn’t take up a lot of real estate. Sticking with that family of bands, and
speaking to a wider issue, there are indeed a smattering of Whitesnake and
Deep Purple and Rainbow entries, but not a huge amount of detail, because
we are talking about the story of the NWOBHM, and so when I include entries
on bands not by any reasonable measure part of it, there’s usually some
justification of why this entry is here, why it relates to the story.

Which of course, brings up the contentious and quite vast amount of pre-1978
material. Let’s remember one thing, what we are telling here is the story of
the NWOBHM, rather than having every entry feed a question, such as it did in
Who Invented Heavy Metal?. Having said that however, the astute reader can
pretty much read the 1970 to 1978 portion of this book as “Who—or what—
caused the NWOBHM?” because this baby steps part of the tale is all about the
building blocks.

And of course—and this will become obvious once you start reading—there’s
very little in this book about the origins of heavy metal itself, because that
was covered vastly and panoramically and pretty awesomely if I might say so
myself, in Who Invented Heavy Metal?. And let’s not forget, that book ended
in 1971, and so everything past that date was fair game. But of course,
it was only fair game if it adhered and contributed to the explaining of the
predilections and likes of those who would go on to make NWOBHM music.
So in essence, what you will see here is a celebration of the main records
that someone like a John Gallagher from Raven would have in his angry
headbanging young punter record collection.

So yeah, just to go back to this point, because I wanted to make it a little more
strongly, had I not written Steal Away the Night: An Ozzy Osbourne Day-by-Day,
well, you might’ve seen a little more real estate dedicated to the first two Ozzy
Osbourne albums, that band being what we might call an honourary NWOBHM
band. Because, as you will see throughout the book, we celebrate quite a few of
these honourary bands—but again, the idea is to get in and get out. Celebrate
them, remind readers that these bands, although they weren’t from Britain, or

6 Wheels of Steel Martin Popoff

were from Britain and had a bunch of old guys in the band, were peripherally
part of the scene, or welcomed as part of the scene, but I’m not going to talk
about every single they put out nor am I necessarily going to have them speak.

Fortunately, however, it’s really only Maiden I’ve done a timeline and quotes
book on that is true NWOBHM, and even they get kicked out by the purists
who think that a band has to be poverty-stricken (or never tour America) to be
included in the club. And since I had access to more quotes, well, this is indeed
the book I wanted to write.

What else? Yes, just a note on the type of quotes you’re going to read and
hear. Again, because we aren’t concerned with answering the question, “Who
invented the NWOBHM?” but rather telling the story of the NWOBHM, I had no
qualms about having these rockers talk about their albums and their songs,
or stories about live gigs, touring, other specifics regarding their own little
corner of the world. In other words, although there’s lots of good conceptual,
philosophical, general stuff about what the NWOBHM is and was, to my mind,
the story of the genre is in the records, in the music itself, alongside the
sociological stuff.

As well, I provide a “recap” section at the end of each significant period, mainly
to highlight important milestones. One of the disadvantages of this format is the
potential for the reader to be lost in a sea of factoids, without enough prioritizing
of events. In the entry itself, I’ve tried to add contextual weight to red-flag
importance, but the recaps help with this as well.

Actually, one other thing, I’ve decided to go with one image class for this book.
You know me: I’ve proven this in something like a dozen books already that
I love the advertisements. There was such a romance for me and my buddy
Forrest Toop with going down to Spokane, Washington, and going into Magic
Mushrooms or Strawberry Jams and buying Sounds and Kerrang! and seeing
those ads for albums that were finally speaking to us in a direct voice. Now,
the natural would be to include album covers and 45 sleeves, along with ads,
which would open the door to live photography, ticket stubs and posters. But
why I decided on the neatness of one image class is twofold: it provides a bit
of conceptual focus, but also, the Smokin’ Valves book, which most of you
probably own already, is chock-full of nice, clear, sharp shots of all them rare
album and 45 sleeves. Again, I’m endeavouring not to repeat myself across
these 50+ books that I’ve done.

Martin Popoff Wheels of Steel 7

Finally, I must mention that as I write this appeal to you, This Means War: The
Sunset Years of the NWOBHM is well in progress, and will be covering the years
1981, 1982, 1983 and 1984. We can all argue until we’re blue in the face
when the NWOBHM is over and done with, but I’ve always gone with 1984,
backing that up with the records I’ve included in the Smokin’ Valves reviews
book. I suppose if you are actually from Britain, you would scale that back a bit,
possibly even to 1982. It’s an interesting parlour game—come visit my metal
man cave (it’s a dedicated condo office, so no distractions!) and we’ll discuss.
But bring beers; my fridge isn’t always stocked.

All right, enough. These introductions are always the hardest things to do with
these books, and writing them is one of the last things I do. Now it’s back
to editing, commenting, adding more quotes, hopefully winning a few more
battles and unearthing specific dates, and getting this thing out the door to
my designer Eduardo and then into print and having them boxes show up at
pensioners’ rock ‘n’ roll central here in Toronto. Thanks for listening. Up the
Hammers and all that.

Martin Popoff
[email protected]
martinpopoff.com

8 Wheels of Steel Martin Popoff

1970 - 1975 - “It’s almost like the
white man’s blues, heavy metal.”
Friday February 13, 1970. This date marks with
utmost importance the UK release date for Black
Sabbath’s debut, Black Sabbath. The album contains
seminal metal track “Black Sabbath,” plus “The
Wizard” and “N.I.B.” The groundbreaking album
reaches #8 on the UK album charts. Heavy metal
needs to be invented for there to be, one day, a New
Wave of British Heavy Metal. Arguably, Black Sabbath
represents a first wave with so much focus and
strength, that nothing all the way up until the collective
NWOBHM, really, for all intents and purposes, counts as wholly “new” in-
betwixt. Except, that is, for Deep Purple’s In Rock.

Iron Maiden bassist Steve Harris:

Sabbath had the riffs and they had the dark element, the dark,
dirgy, slow heavy kind of vibe, but also they had great melodies and
great songs. I mean the bottom line of any band, lifespan of any band,
I’ve always said, it’s the songs. You can have a great technically-
minded band, but if they’re not playing good songs, then you’re not
really going to listen to them too much. So it’s great songwriting
abilities. And they were a lot more melodic than people would give
them credit for. And us also, later, because I think a lot of people pass
us off as being some metal band with not a lot of melody. Well that’s
obviously the people who didn’t listen to it properly. But definitely,
Sabbath had that kind of raw, earthy, very heavy and dark sound.

June 3, 1970. Deep Purple release In Rock.

Recorded August ‘69 to May ‘70, In Rock can be
considered, in some ways, the ver y first power metal
album, and indeed more of a link to the NWOBHM
than Black Sabbath. If Black Sabbath and Paranoid
(and records by Uriah Heep, The Stooges, MC5 and
Blue Cheer) can be considered earlier heavy metal
albums, In Rock takes the prize for more of a modern
twist on metal, being fast, keyboardy, and classical
music-tinged. The album includes a true NWOBHM-
styled metal gallop in “Hard Lovin’ Man”—the blueprint for Iron Maiden is
right here, and in turn, In Rock is ground zero for the invention of the
NWOBHM, but not heavy metal in the wider sense, which still resides
with Black Sabbath.

Martin Popoff Wheels of Steel 9

 Deep Purple keyboardist Jon Lord:
For Ritchie, the speed of playing, when he was a young man, I
think that was an end in itself for him. I think he just wanted to be
the fastest guitarist on the planet. And when he was doing sessions
for Joe Meek way back in the day, I think he was booked occasionally
because, oh yeah, let’s get Ritchie because he’s the guy who can play
really fast solos.
And some of these heroes from the American music scene in the
late ‘50s and early ‘60s were guys who had real technique. I came
out of a more improvisational school of music. Rhythm and blues
kind of thing, after my classical training, and one of the things you’re
trained to be as a young classical pianist, is to be able to play that very
difficult music, which is often very fast. So the technique was there—
it seemed a shame to let it lie on the shelf. And of course you’re
young. You’re full of spit and vinegar and you want to show off. I
think part of the improvisational way of playing music is a preening,
especially when you’re younger. As you get older you put more in the
service of the emotional content rather than the intellectual content,
but I think it’s all part of being young and proud enough to stand on
stage and strut your stuff.
As for the riff, the guitar was becoming more and more important,
much to the chagrin of people like me who were trying to elevate the
importance of the Hammond organ. Still it’s rock ‘n’ roll. The guitar
is the symbol of rock ‘n’ roll, it’s the sound of rock ‘n’ roll. Again,
it’s that animal ferocity that it’s capable of. And it is exemplified by
a great riff. The exception that proves the rule sometimes... if you
listen to the riff of “Smoke on the Water” for example, which is often
said to be one of the most famous guitar riffs, it actually achieves its
strength by the confluence of the guitar and the organ being played
in fourths. When the organ comes in on that riff, you know it’s
there. So I’m pleading my case a bit there. But generally, I think what
exemplifies hard rock is a great guitar riff. It’s a way of leading you in.
It draws you instantly—a great riff and a killer chorus, and you’ve got
it made.
With In Rock, we were responding to an inner compulsion, and
the inner compulsion was driven by an exterior world, something
around us that was driving us towards the way… I wanted the organ
to get louder and fiercer and harder. I wanted the contrast. There was
a feeling that barriers had to be pushed, had to be moved outwards.
When we got to In Rock, everybody in the band knew exactly where
we were going. We couldn’t have named the place we were going to,
but we knew what we were going to be doing when we got there.
Ritchie had this—it seemed to me—this sound in his mind that he
was always after, and he came close. If you imagine a 30-foot cello

10 Wheels of Steel Martin Popoff

 being played at 1000 watts of volume, it might be what he had inside
his mind somehow. That round and yet fierce sound that he got, as
he got more towards his Rainbow days, I think, is where he finally
found the sound he wanted. But it needed volume to make it happen
and it needed control of feedback, which he became very expert at.
And he was a great showman, of course, as well. Quiet as Bo Peep
off stage, but on stage, capable of a kind of animal excitement. And I
think he wanted more all the time. His famous phrase was, “Can we
have everything louder than everything else?” And until you think
about it, you go sure, and then you go, uh, what does that actually
mean? He was a great believer in the power of volume.

Iron Maiden bassist Steve Harris:

I think we were more influenced
by Wishbone Ash-type stuff or
Free and people like that more
than Deep Purple. I like Deep
Purple—we all did—but they
weren’t as much an influence. I
think bands like Jethro Tull were
actually more of an influence,
believe it or not, than Deep
Purple. I had Made in Japan and
ended up buying a few Purple
albums, whatever, but they
weren’t a major influence. Black
Sabbath were probably more
an influence and Led Zeppelin
as well. Some people thought that we were doing the twin guitar
thing version of Purple at times, but that certainly wasn’t intentional.
Free were definitely a bigger influence. If you listen to Dave’s guitar
playing, he was definitely influenced by Paul Kossoff a lot and also
Hendrix; Free were a massive influence.

Iron Maiden guitarist Adrian Smith on the topic of first heavy metal band:
It’s gotta be Black Sabbath, hasn’t it? I mean Paranoid was also
quite a big hit in the UK, so you heard that on the radio. They were
massively influential. But really, I never heard the expression heavy
metal until the late ‘70s/early ‘80s. To me it was always hard rock or
heavy rock, with Purple, Sabbath, even Free. And then the metal thing
crept in at the end of the ‘70s/early ‘80s. But I suppose if you could
call anything metal at the time, it was probably Sabbath.
It was just the whole atmosphere they created, I suppose. But
again there’s quite a lot of blues in the soloing side of it, you know.

Martin Popoff Wheels of Steel 11

 But the sound of the guitar, some of the tunings, it was that very
doomy kind of sound which you’d associate with metal rather than
a happy poppy sound.
I suppose Zeppelin touched on it with “Whole Lotta Love” and
some of the heavier stuff, but there was a lot more to Zeppelin, a lot
of folk and loads of blues. They were before Sabbath, and maybe they
touched on metal with “Communication Breakdown” and that sort of
rock ‘n’ roll metal. It’s almost like the white man’s blues, heavy metal.
Journalist Goetz Kunhemund:
Deep Purple was as classically influenced as Rainbow were. Rainbow
took it a step further, but the classical influences, the medieval stuff,
was heard in Deep Purple already, and yeah, Ritchie Blackmore told
everybody who he took his influences from.

June 1970. Uriah Heep issue their quite heavy and

modern Very ‘Eavy, Very ‘Umble, which was issued
in the states as a self-titled. The UK edition’s “Lucy
Blues” was replaced by “Bird of Prey,” arguably
a proto-NWOBHM construct, if only through sheer
modernity. Like In Rock, the album suggests
keyboards for heavy metal, not out of the question
for many NWOBHM bands, and touches down as
well on many modern riff and rhythmic elements
celebrated within the NWOBHM.

Metallica drummer Lars Ulrich:

There are a lot of bands that get left out
when you talk metal, especially if you’re
talking to Americans. A band like Sweet, who
were phenomenally big in Europe and had hit
single after hit single and they made these great
albums and had some really weighty, meaty,
sort of Deep Purple-esque album tracks, and
they’re very talented musicians. And then you
have a band like Slade who were incredible
songwriters. Noddy Holder, incredible voice,
massive in Europe. You have a band like Status
Quo who were absolutely massive in Europe,
one of the biggest bands ever in Germany, and
you’ve got Nazareth also.
But the reason they don’t figure much in these conversations is
because they didn’t really do much in America. Deep Purple’s not
in the Rock and Roll Hall of Fame because they didn’t do much in
America. Uriah Heep doesn’t show up on the radar because they
didn’t do much in America. Zeppelin were the kings in America.
12 Wheels of Steel Martin Popoff
 But when I was growing up in Denmark in the ‘70s it was all about
Deep Purple and Black Sabbath and Uriah Heep; Led Zeppelin
were not part of that conversation in Denmark so much. They were
kind of bluesier and they had a different thing. I’m saying this not
disrespectfully—I’m talking purely factually. When I was 12, Led
Zeppelin was not a big thing on my radar or my friends’ radar. It was
much more Deep Purple, Uriah Heep, Black Sabbath.
It’s difficult to have this conversation without… you don’t want
to dis anybody. I think a lot of people felt Uriah Heep were like a
poor man’s Deep Purple. That there was a pretty heavy presence on
the Hammond organ. Ken Hensley was playing that so there was
that element to their sound. But they didn’t quite have the “Smoke
on the Water”s or the “Highway Star”s. They had “Easy Livin’” and
“Stealin’” and some of these songs, but it never became quite as well-
known as Deep Purple. I mean for me, I saw Uriah Heep two or three
times in Denmark. I saw Status Quo, I saw Sweet maybe four times,
Slade numerous times.
At the end of the day there’s got to be a song there, and Heep had
some very good songs. Whether they’re big or small, at the end of
the day it starts and ends with songs. And they had some songs that
were very, very good back then and that have stood the test of time.
You take a song like “Easy Livin’,” it sounds great 35 years later. It’s
just a great rock song. You take a song like “Stealin’,” “Gypsy,” “July
Morning,” they’re just great songs. I would encourage anybody to go
out and brush up on their Uriah Heep.

April 28, 1972. Wishbone Ash issue their third and most acclaimed
album Argus. It has an ancient warrior on the cover, but most importantly,
Wishbone Ash are considered one of the innovators of twin leads, a major
NWOBHM element. Engineer on the album is Martin Birch, who would
produce, in the early ‘80s, Whitesnake, Black Sabbath and Iron Maiden.

Iron Maiden basssist Steve Harris:

The Argus album was voted the best album of ‘72. Quite rightly so
in my opinion. Absolute classic. I mean, I still listen to it now and it still
sounds amazing to me. And incidentally Martin Birch was the engineer
on the album, so that was a very influential album, I think. There were
a lot of bands around playing Wishbone Ash covers at the time.
Everybody in the pubs and clubs at that time started off playing
covers, same as we did, same as everybody did. The difference with
us was we would always try and choose songs that weren’t as well-
known. So if we chose a Thin Lizzy song it would be something that
was not one of the hits. And everyone was doing “All Right Now,”
so we might do that, but we’d also do something like “I’m a Mover,”

Martin Popoff Wheels of Steel 13

 which wasn’t as well-known.
Montrose’s first album was very much a cult album, so we didn’t
really do much off that. We did something off the second album,
Paper Money, which wasn’t as well-known. We did “I Got the Fire,”
which we ended up recording, and that was one of the main songs of
our set at one point. But everyone thought it was an original because
they’d not heard that album.
So we consciously went out of our way to choose songs that
weren’t as well-known so that they would be refreshing. Because
you could go every week to see a band playing “All Right Now”
and “Stairway to Heaven,” but not everybody was playing the sort
of songs we were choosing. So even though we were doing some
originals and some covers, the covers seemed like they were originals
as well. And then as soon as we got more originals, we’d bin the
covers anyway.

May 1972. Uriah Heep issue Demons and Wizards. The band enjoys its
first US hit single with “Easy Livin’.” With Heep, we see fantasy lyrics and
mystical album covers, both recurring themes of NWOBHM bands. Heep
return significantly to our story with the Abominog album, where the band
make an appearance for an entirely different reason, namely as one of a
handful of examples of bands essentially “bandwagoning” on the NWOBHM.

May 29, 1972. Following up on Mike Saunders’ first accurate use of the
term heavy metal to describe Sir Lord Baltimore in May of 1971, Circular
calls Deep Purple’s Machine Head “loud heavy metal rock,” imbuing a clear
NWOBHM influence with that identifier.

September 21, 1973. Thin Lizzy’s third album, Vagabonds of the Western
World, the last with guitarist Eric Bell. The album is the work of a band
pointing in a heavier direction, and displays Phil Lynott’s penchant for epic
story-telling on “Vagabond of the Western World” and “The Hero and the
Madman,” but lacks celebrated Thin Lizzy signatures.

1974. Following upon use of the term “heavy metal” in a Black Sabbath
record review in the NME, September ‘73, two more NME journos, Ian
McDonald and Nick Kent, use the tern in 1974, as does Chris Charlesworth
from Melody Maker. This widespread adoption of the term originates in Mike
Saunders’ now regular use of the term in the US, along with his illustrative
pieces on what it means.

1974. Praying Mantis forms, although their first output wouldn’t be until
1979, a Soundhouse Tapes EP, like Iron Maiden. Also like Iron Maiden,
Praying Mantis are an example of a band quietly toiling away through the likes
of glam and punk on their way to a new age for metal.

14 Wheels of Steel Martin Popoff

 1974. Birmingham’s Quartz begins life
as Bandy Legs. Like Saxon, they will
transform through the years as their
crowd signals to them that to do so
would pay dividends.

1974. Raven forms in Newcastle,

England.

Raven bassist and vocalist John Gallagher:

The music goes around in circles, and I think what had happened at
the time was there was a lot of people, a lot of young kids like myself,
who really liked the heavy bands and got inspired to play the music
purely for playing the music, because the record companies in the
business end wanted nothing to do with that whatsoever, which they
usually don’t.
We might as well have been in Goose Bay compared to where you
are, you know? Middle of nowhere—Newcastle. Nobody cared about
Newcastle, but we were very lucky in that there just happened to
be this studio that had some success with some comedy records and
recording demos for folk bands like Lindisfarne and stuff like that.
They took a chance putting out a single by one local band called the
Tygers of Pan Tang, and then after that, their manager came and saw
us and said, “Wow, do you guys want to do a single?” We’re like,
“What? Yeah, yes please, we’ll do that.”
A similar thing happened with a few other places, but basically it
was just a bunch of kids all over the country who loved the music and
had their own take on it, and that’s why what you would call the first
tier bands, I guess, were very original. They all were playing basically
the same thing but they all had their own take on it.

Tygers of Pan Tang vocalist and fellow Newcastle fixture Jess Cox on
where the NWOBHM was located:
Around Yorkshire you had quite a few bands, but I mean there was
no specific town. Saxon are from Barnsley, which is out of Yorkshire.
You had Gaskin from Hull, which is sort of Humberside but it’s still
kind of east of main Yorkshire. There was nothing like London or
Newcastle. I mean Newcastle, if you actually write them down, the
amount of bands from Newcastle, you’d be shocked. Hellanbach,
Raven, Satan, the Tygers, Venom, White Spirit, Saracen, Avenger,
Tysondog, Warfare... you just go on and on.

February 16, 1974. Melody Maker’s Chris Charlesworth offers Blue Öyster
Cult as part of “a new wave of heavy metal bands.”

Martin Popoff Wheels of Steel 15

 March 1, 1974. Rush issue their self-titled debut, on Moon Records.
Canada’s inventors of progressive metal are a regularly cited influence on
NWOBHM bands. On July 1st of ‘74, the album gets reissued (and issued for
the first time in the US) on Mercury. The album is Zeppelin-esque, but soon,
the band emphatically is not.

July 1974. Nutz issue their self-titled debut. Dated blues rockers at this
point, Nutz would change their name to Rage eventually and subsequently
provide to the world a slightly less dated blues rock.

August 23 – 25, 1974. The third annual Reading festival. Heaviest bands
on the bill are Trapeze, Hustler, Strider, Heavy Metal Kids and Nutz, who,
as mentioned, would become middling NWOBHM participants Rage (after
actually appearing on the first Metal for Muthas still as Nutz).

September 6, 1974. Judas Priest issue their

debut album, Rocka Rolla. Priest is arguably
the top most influential band on the creation of
a NWOBHM portfolio of sounds, although not
because of Rocka Rolla, which is more so a
tentative and demure love letter to Black Sabbath.

November 1, 1974. Scorpions issue their second album, Fly to the Rainbow,
which is creeping toward a modern sound, and certainly less “krautrock”
than Lonesome Crow. Scorpions would be in that group of the top dozen or
so bands igniting the imaginations of those who would man the bands of the
NWOBHM.

1975. Witchfynde cook up some demos, documented on the Lost Tapes of

1975, through Vyper Records. Tracks are “Grimoire,” “Madame Noname,”
“Halfway,” “Pastiche,” “Slow Down,” “Valkyrian Ride” and “Tetelestai.”

Witchfynde guitarist Montalo:

On a musical side in the ‘70s, we gigged everywhere. We were
out playing constantly, at any little working men’s club or bar or
whatever. Before we got the deal, we had been doing it for a long,
long time, before we ever did any recordings. We’d got quite a
substantial following before we did any recordings. As you’d imagine,
the type of bands that we were about were Sabbath and Deep Purple
and Zeppelin, that sort of thing.

16 Wheels of Steel Martin Popoff

1975. Ian Gillan forms the Ian Gillan Band. Also in ‘75, Janick Gers, who will
go on to play with Ian in Gillan, forms White Spirit, in Hartlepool, England.

1975. UK rock DJ Neal Kay establishes The Soundhouse, (or Bandwagon)

in the back room of the Prince of Wales pub in Kingsbury. The Soundhouse
was called “London’s Only Heavy Rock Disco.” The nights that he
commandeered—one night a week and then the key Sunday night slot—
began to take off. Then it was five nights a week and “denim-clad” patrons
became the norm, while Neal spun records by Sabbath, Zeppelin, Purple,
Thin Lizzy and Rush. It soon became known as Heavy Metal Soundhouse.
Eventually the club started to book bands like Praying Mantis, Nutz, Iron
Maiden, Angel Witch and Samson. In a few years’ time, Iron Maiden’s The
Soundhouse Tapes gets produced, becoming Iron Maiden’s legendary first
release, an EP.

DJ Neal Kay:
I was out of work and there was no exposure for any up-and-
coming bands. There was hardly any exposure for the bands that
everyone knew. Venues were not interested, no one was interested.
The industry had suddenly decided that punk was the thing, and I was
getting progressively more and more angry about the whole thing,
and I was just an individual. I was a professional DJ, yeah?, but I was
still very annoyed. And they took me to this pub one night. I was
trucking, I was out of music, I just didn’t want to work in it. And I
was trucking for a living. And my driving buddy took me to a place
one night after work on a Wednesday night near where we lived up
in Kingsbury near Wembley. You know the football arena Wembley?
It was near there and it was called the Prince of Wales, and they had a
once-a-week rock thing happening there, DJs playing rock music, and
he said to me, “You’re going to like this. Come and have a beer.”
I went in there and I was so impressed. The sound system was
fucking huge, man. It was really big. It wasn’t a disco system, it was
a fucking ginormous great band PA system. And I had a beer, and
you know what? That night, they asked out over the PA if there were
any DJs in the house that wanted to come up and work with them
and present the rock show because they were not really sort of rock
DJs. I went up there and got the job on the spot and that’s how that
happened. Remarkable.
So the war was on. It was really vital to try and let the industry
know that finally there was a place that would give exposure to rock,
and the Bandwagon kind of picked up from that moment on. It was
like the pop music of the day five nights a week, rock one night a
week, and it was something else for the seventh. And there were a lot
of underage kids getting into the commercial music nights, and the
license of the place was threatened soon after I joined. I remember
going to court to fight the license, and you know the most bizarre
Martin Popoff Wheels of Steel 17
 twist of all? When it was discovered that there was no trouble on the
heavy metal or hard rock night and people came in couples and they
were older, the judge, the silly old fucker, he did, he swung around
and said, “Well, I’ll grant you your license on the condition that this
form of music takes precedence at least five nights a week!” (laughs).
Yeah, oh wow! (laughs). So by appointment to her majesty.
Un-fucking-believable. Fucking right (laughs). It was like I had a
coat hanger in my mouth—I didn’t stop grinning for a week. The
old judge had just given me control of the old Soundhouse, as it
became known. Where after that we worked hard, very, very hard
indeed, contacting the various people, had all the seats thrown
out, had new rules instilled. No one with a suit, shirt and a tie was
allowed in. I threw all the stripes out and had my own doormen
put in. I was a member of a bike club at the time and they became
our door staff, actually.
And finally after an awful lot of work, Geoff Barton, the
journalist from Sounds came down to see what we were doing and
was absolutely amazed, and he wrote a double centre-page spread
in Sounds magazine, which was the magazine of the day. And he
subtitled it on the front page of Sounds, and would you believe it, A
Survivor’s Report From A Heavy Metal Discothèque!, exclamation
mark, ‘caxayed, as it’s known now, classic rock. And by and by tapes
started arriving, cassettes from all over the world, and it became
apparent very quickly that record companies just weren’t listening
to anybody.
And bear in mind once again, the radio—or total lack of it—the
DJ, the radio DJ, Tommy Vance, did a three-hour show once a week
on Radio One called it The Friday Night Rock Show. And that was
the only outlet that rock had. That was it on radio, and we had the
Soundhouse, because Sounds had decided to get behind it and in
turn other journalists came. Fuck me, I think the London Times or
the London Guardian came to see what all the fuss was about on a
Sunday night. We wiped them out; very funny actually.
I thought of other ways of raising the profile. I contacted CBS,
Epic Records, and I got Ted Nugent and his band to come down and
meet the kids on a personal appearance after a London Hammersmith
Odeon show. He was the first. That had never happened before! But
I had serious contacts up at the record companies by now, because I
was playing all the rock and getting an awful lot of publicity for doing
it, and I thought, well what better than that, if Ted Nugent—he was
big in those days—if Gonzo came. Then others would follow and
the press would follow too, and the profile of the club and the music
would go sky high.

18 Wheels of Steel Martin Popoff

 Look, the structure of the Soundhouse, musically, was very, very,
very wide. I said I’d play Styx, Journey, all this sort of stuff. We
played prog, we played everything that was good music. What we
didn’t play was shit. If you couldn’t play, write or sing, then you
weren’t heard at the Soundhouse. That made the Soundhouse a very
selective audience, actually, and it gave live bands a hell of a hard
time. By then I had something like a 10K PA in there just for playing
records on. It was so loud that we had to fly the discotheque console
from the rafters on chains to avoid the rest of the low-frequency
feedback, which we did, and it was sort of like a ship’s compass if you
know what I mean, kind of nimble-mounted. So if everyone jumped
up and down and went bloody mad with their histrionics on the floor,
the whole place shook. But if you’re going to do it, that’s how you do
it. There’s no point pussy-footing around.

February 17, 1975. AC/DC issue their debut album, High Voltage, only in
Australia, with a different track list and cover art from the later worldwide
issue. Brits-by-proxy AC/DC would become universally welcomed “honourary”
NWOBHMers.

May 1975. Nutz issue their second album, Nutz Too.

July 1975. Rainbow issue their first album, Ritchie Blackmore’s Rainbow.
Rainbow forms when Ritchie gets annoyed that Deep Purple is getting too
bluesy and funky. The album features vocalist Ronnie James Dio, poached
from Elf (along with a couple other guys). The album sports a fantasy album
cover and all sorts of “demons and wizards” lyrics. Classical-tinged metal
classics include “Man on the Silver Mountain” and “Sixteenth Century
Greensleeves.” If the songs are all together too stodgy to be classed as
proto-NWOBHM, the overall fanciful vibe of the record is not.

Journalist Goetz Kunhemund:

Rainbow were the inventors of classically-influenced hard rock.
They were the first band to incorporate classical music in a way that
everybody could grab. That everybody could understand. I mean
others had done it before them, but with Rainbow the influence
of Bach and Beethoven was so dominant and obvious that people
picked up on that and realized there’s a strong link between baroque
classical music and hard rock music. In a way it’s a similar music and
it does fit together and it makes interesting listening. And people who
love Rainbow… I mean Rainbow was huge all over Europe. Such
an important band, and especially with Dio being the biggest singer
in rock ever with this dramatic voice that could have been an opera
singer and whatever in the middle ages.

Martin Popoff Wheels of Steel 19

 Dio used a lot of fantasy stuff in his lyrics and he used a lot of
drama, a lot of emotional stuff, which goes along well with the music.
I mean Iron Maiden used to sing about everyday life. They used to
sing about somebody running free, somebody trying to cope with
everyday problems. Dio sang about stuff you would dream about or
he would sing about the middle ages or dark times; that was pretty
new at the time. I mean when the first Rainbow album came out I
remember a few reviews that were mocking Dio’s lyrics because they
were so different—but they invented a genre.

July 20, 1975. An ill wind called

Motörhead play their first gig, at the
Roundhouse, supporting prog’s forgotten
band, Greenslade.

Iron Maiden vocalist Bruce

Dickinson on the musical climate of
the mid-’70s:
It was surprisingly quite a healthy scene, to be honest with you. I
think, in retrospect, if you look now, the difficulties faced by bands,
between not getting paid anymore for doing records and you know,
people charging crazy amounts for getting insured just to go out and
do the gigs and for noise regulations and “can’t do this, can’t do that”
health and safety, all the bullshit, affects people just trying to do their
gigs now... Back then it was a simpler time. You just turned up to the
pubs—and there were quite a few pubs you could do gigs, as a metal
band. In actual fact, it was that scene that kept the sort of underbelly
of the metal scene going.
Because there was no Internet. There was no way of people getting
together to talk to each other, except to go to gigs. People met at gigs.
And they didn’t meet pretty much anywhere else, unless you went
to pubs, which played pop music. So that was sort of the metal scene
in the period. You went to a pub and played metal stuff, or you went
to a place where there were rock gigs. But at the same time, the punk
thing was happening, and it was real; there was a degree of excitement
about it, but it kind of coexisted with the whole metal thing. It didn’t
supplant it or replace it, because you could still go to all the major
theaters and venues and see metal acts, and the place would be sold-
out. Nobody was not going because they were going to see punk.
However, where it did supplant it was in the eyes of the media.
And you know, you had kind of the art school media, which all
wanted to be great artistes, and so music really just became an
extension of their art school course. So in other words, music was
not actually... music had no intrinsic value, as music. It was simply
another form of performance art.

20 Wheels of Steel Martin Popoff

August 16, 1975. Motörhead’s Lemmy, speaking with Geoff Barton from
Sounds, is already wondering aloud to journalists whether “some” of the
music he prefers is called “heavy rock and roll” or “heavy metal.”

October 25, 1975. Nick Kent reviews for the NME a Blue Öyster Cult gig at
the Hammersmith Odeon, panning the band, but saving his most stinging
rebuke for opening act, Motörhead.

December 25, 1975. Iron Maiden forms, shortly after Steve Harris leaves
his former band, Smiler.

Recap

Again, the birth

of heavy metal itself
is covered with insane
detailed mania in Who
Invented Heavy Metal?,
and so what was an
interesting exercise
here was to point out
the contours of a type
of heavy metal that
helps birth the New
Wave of British Heavy
Metal. In this light, you
have to point out Black
Sabbath, but in a sense,
more importantly, Deep
Purple’s In Rock, and
even Uriah Heep, with
that band’s gothic tones,
high singing, and even
keyboards, which were
not particularly shunned
by NWOBHM bands.
Within the framework of 1970 to 1975, you also start to see the first
clear uses of the term “heavy metal.” Why this is important to the present
discussion is that the NWOBHM is characterized in a big way as the first
heavy metal genre—and yes, we can debate whether it is a genre—in
which heavy metal is something that can be experienced as a deliberate
and identifiable thing, perhaps with all of the senses.

Martin Popoff Wheels of Steel 21

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