Heavy metal, also called metal, is a type of rock music that began in the late 1960s and early 1970s, mainly in the United Kingdom and the United States. It started from blues rock, psychedelic rock, and acid rock. Heavy metal bands created a sound that was very loud, with distorted guitars, long guitar solos, strong beats, and loud music.
In 1968, three famous bands that helped create heavy metal were formed: Led Zeppelin, Black Sabbath, and Deep Purple from the United Kingdom. These bands became popular but were sometimes criticized by music reviewers. During the 1970s, American bands changed heavy metal into styles that were easier for more people to enjoy. Examples include the rough sound of Alice Cooper and Kiss, the blues-based music of Aerosmith, and the energetic guitar playing of Van Halen. In the mid-1970s, Judas Priest helped change the genre by reducing its blues influence, while Motörhead added a punk rock style and focused more on fast music. By the late 1970s, bands like Iron Maiden and Saxon in the new wave of British heavy metal followed a similar path. By the end of the 1970s, fans of heavy metal were called "metalheads" or "headbangers." Some metal songs had lyrics that showed aggression and masculine traits, which sometimes led to criticism about being disrespectful to women.
In the 1980s, glam metal became popular with groups like Bon Jovi, Mötley Crüe, and Poison. At the same time, underground music scenes developed more intense styles. Thrash metal became mainstream with bands such as Metallica, Slayer, Megadeth, and Anthrax. Other extreme styles, like death metal and black metal, remained popular among small groups of fans. Since the mid-1990s, new styles like groove metal and nu metal have expanded the definition of heavy metal. Nu metal often uses parts of grunge and hip-hop music.
Characteristics
Heavy metal music is known for loud, distorted guitars, strong rhythms, deep bass and drum sounds, and powerful singing. Different types of heavy metal music may focus on some of these features more than others. In a 1988 article, music critic Jon Pareles from The New York Times said, "In the world of popular music, heavy metal is a major type of hard rock—characterized by less syncopation, less blues influence, more showmanship, and more strong force." A typical heavy metal band includes a drummer, bassist, rhythm guitarist, lead guitarist, and singer. The singer may or may not play an instrument. Keyboards are sometimes used to make the music sound fuller. For example, Deep Purple’s Jon Lord played a Hammond organ with lots of power. In 1970, John Paul Jones used a Moog synthesizer on Led Zeppelin III. By the 1990s, synthesizers were used in nearly all types of heavy metal music.
The electric guitar and its loud, amplified sound have been central to heavy metal. The heavy metal guitar sound is created by combining high volume and heavy fuzz effects. For classic heavy metal, guitarists keep the gain at moderate levels to keep the music open and clear, while turning up the amplifier to create a "punch and grind" sound. Thrash metal guitar tones reduce mid-range sounds and use tight compression with multiple bass frequencies. Guitar solos are an important part of heavy metal, showing the guitar’s role in the music. Most heavy metal songs include at least one guitar solo, which is a way for musicians to show their skill. Exceptions include nu metal and grindcore bands, which often skip guitar solos. Rhythm guitar parts in heavy metal use a technique called "palm muting," where the picking hand presses on the strings to create a tighter, more precise sound that emphasizes the low end.
The guitar’s leading role in heavy metal often competes with the vocalist’s role as the band’s leader, creating a musical balance between the two. Heavy metal music requires the voice to support the band’s overall sound. Because of its roots in the 1960s counterculture, heavy metal music demands clear emotional expression from singers to show authenticity. Music critic Simon Frith says the tone of a metal singer’s voice is more important than the lyrics.
The bass plays a key role in heavy metal, and its interaction with the guitar is central to the music. The bass provides the low-end sound that makes the music feel "heavy." In heavy metal, the bass has a more important role than in any other rock genre. Basslines vary in complexity, from simple, steady notes to complex riffs that match the lead or rhythm guitars. Some bands, like Metallica, highlight the bass as a lead instrument, as seen in the work of bassist Cliff Burton, who used bass solos and chords in the 1980s. Motörhead’s Lemmy often used overdriven power chords in his bass lines.
Heavy metal drumming is defined by a loud, steady beat that drives the band forward. It requires great endurance, speed, coordination, and dexterity to play the complex patterns used in heavy metal. A common technique is the cymbal choke, where a drummer strikes a cymbal and then silences it with the other hand, creating a sudden burst of sound. Metal drum setups are larger than those in other rock styles. Subgenres like black metal, death metal, and some mainstream metal bands often use double-kicks and blast beats.
In live performances, loudness is considered vital. Sociologist Deena Weinstein called heavy metal concerts an "onslaught of sound." Psychologist Jeffrey Arnett described metal concerts as "the sensory equivalent of war." Early heavy metal bands, like Blue Cheer, set new standards for volume, as Blue Cheer’s Dick Peterson said, "All we knew was we wanted more power." A 1977 review of a Motörhead concert noted that "excessive volume" was a key part of the band’s impact. Weinstein argues that, like melody in pop music or rhythm in house music, powerful sound, tone, and volume are the key elements of heavy metal. She says loudness is designed to "sweep the listener into the sound" and provide a "shot of youthful vitality."
Heavy metal performers were mostly male until the mid-1980s, with exceptions like Girlschool. By the 2010s, more women were involved in the genre. PopMatters’ Craig Hayes says metal "clearly empowers women." In power metal and symphonic metal, many bands have female lead singers, such as Nightwish, Delain, and Within Temptation.
The rhythm in metal songs is strong and deliberate. Weinstein notes that metal drummers can use a wide range of sounds to create complex rhythms within their basic patterns. Many heavy metal songs use short, two- or three-note rhythmic figures, usually eighth or sixteenth notes. These are often played with a staccato attack created by palm muting the rhythm guitar.
Short, abrupt rhythmic cells are connected into phrases with a distinctive, jerky texture. These phrases form rhythmic accompaniment and melodic figures called riffs, which help create memorable themes. Heavy metal songs also use longer rhythmic figures, like whole notes or dotted quarter notes, in slow power ballads. Early heavy metal music often had slow, heavy tempos. By the late 1970s, metal bands used a wide range of tempos, and today, metal tempos range from slow ballad speeds (60 beats per minute) to extremely fast blast beats (350 beats per minute).
A key feature of heavy metal is the guitar power chord. A power chord uses a simple interval, usually the perfect fifth, and may include an octave. When played on the lower strings with high volume and distortion, power chords create deep, powerful sounds that add to the music’s intensity. While the perfect fifth is most common, power chords can also use other intervals like the minor third, major third, perfect fourth, diminished fifth, or minor sixth. Most power chords are played with a consistent finger arrangement that allows easy movement along the fretboard.
Heavy metal music often uses riffs based on three harmonic traits: modal scale progressions, tritone and chromatic progressions, and pedal points. Traditional heavy metal often uses the Aeolian and Phrygian modes. This means the genre frequently uses chord progressions like I-♭VI-♭VII or I-♭VII-(♭V.
Etymology
The origin of the term "heavy metal" in music is unclear. The phrase has been used for many years in chemistry and the study of metals, where the periodic table lists elements like uranium as heavy metals. An early use of the term in modern culture was by writer William S. Burroughs. His 1961 novel The Soft Machine includes a character called "Uranian Willy, the Heavy Metal Kid." In his 1964 novel Nova Express, Burroughs used "heavy metal" as a metaphor for addictive drugs: "Heavy Metal People of Uranus wrapped in cool blue mist of vaporized bank notes." Inspired by Burroughs, the term appeared in the title of the 1967 album Featuring the Human Host and the Heavy Metal Kids by Hapshash and the Coloured Coat, which some say was the first use of the phrase in music. Later, Sandy Pearlman used "heavy metal" to describe the Byrds' style on their 1968 album The Notorious Byrd Brothers.
Metal historian Ian Christe explains that in "hippie language," "heavy" means "strong" or "deep," and "metal" refers to a heavy, intense mood. The word "heavy" was common in 1950s and 1960s slang, and references to "heavy music" were already used by the mid-1960s, such as for the band Vanilla Fudge. Iron Butterfly's 1968 album was titled Heavy. The first use of "heavy metal" in a song lyric was in Steppenwolf's 1968 song "Born to Be Wild," which mentions: "I like smoke and lightning / Heavy metal thunder."
An early use of "heavy metal" in a music review was in Sandy Pearlman's 1967 Crawdaddy review of the Rolling Stones' Got Live If You Want It, where he described the band's sound as "metal." Another use appeared in a 1968 Rolling Stone review, where Barry Gifford called Electric Flag's music "heavy metal rock." A 1968 Seattle Daily Times review described the Jimi Hendrix Experience's sound as "heavy-metals blues." In 1970, a Village Voice review of Led Zeppelin II called the band's music "heavy."
Other early uses of the phrase were in reviews by critic Metal Mike Saunders. In a 1970 Rolling Stone review, he described Humble Pie as a "noisy, unmelodic, heavy metal-leaden shit-rock band." In a 1971 Creem review, he called Sir Lord Baltimore's music "heavy metal." Critic Lester Bangs helped popularize the term in the 1970s. During this time, "heavy metal" was often used as a negative description by critics. In 1979, New York Times critic John Rockwell called "heavy-metal rock" "brutally aggressive music" and "a crude exaggeration of rock basics."
The term "downer rock" was used earlier to describe this style of music, applied to bands like Black Sabbath and Bloodrock. Classic Rock magazine linked "downer rock" to the use of Quaaludes and wine. Over time, "downer rock" was replaced by "heavy metal."
The term "heavy metal" developed from "heavy psychedelic rock," also called "acid rock." "Acid rock" and "heavy metal" were often used together, as were "acid rock" and "hard rock." Musicologist Steve Waksman said the differences between "acid rock," "hard rock," and "heavy metal" are not always clear. Percussionist John Beck called "acid rock" the same as "hard rock" and "heavy metal."
In the 1970s, "heavy metal" and "hard rock" were often used interchangeably. For example, the 1983 Rolling Stone Encyclopedia of Rock & Roll described Aerosmith as the top American "heavy-metal" band of the 1970s.
Kiss bassist Gene Simmons said, "The term 'heavy metal' is self-defeating." He explained that he associates "heavy metal" with elves, dwarves, and fantasy themes, and that bands like Iron Maiden and Judas Priest created real "metal" music. He did not consider Metallica, Guns N' Roses, or Kiss as "metal," saying their music does not include fantasy elements like "little dwarves coming out riding dragons."
History
Heavy metal's main guitar style, which focuses on loud, distorted guitar sounds and power chords, began with blues guitarists from the early 1950s in Memphis, such as Joe Hill Louis, Willie Johnson, and especially Pat Hare. These musicians created a rougher, more intense electric guitar sound, heard on songs like James Cotton's "Cotton Crop Blues" (1954). Other early influences include Link Wray's 1958 instrumental "Rumble," Dick Dale's 1960s surf rock songs like "Let's Go Trippin'" (1961) and "Misirlou" (1962), and the Kingsmen's 1963 version of "Louie Louie," which became a garage rock classic.
The direct beginnings of the heavy metal genre happened in the mid-1960s. American blues music greatly influenced British rock bands of that time. Groups like the Rolling Stones and the Yardbirds made blues rock by recording covers of classic blues songs, often playing them faster. As they experimented, British blues bands and the American bands they inspired developed the key features of heavy metal, especially the loud, distorted guitar sound. The Kinks helped popularize this sound with their 1964 hit "You Really Got Me."
In addition to the Kinks' Dave Davies, guitarists like the Who's Pete Townshend and the Yardbirds' Jeff Beck tried using feedback. Early blues rock drumming was simple, but drummers later used louder, more complex styles to match the heavy guitar. Singers also changed their techniques, using more amplification and becoming more dramatic. The Who's "bigger-louder-wall-of-Marshalls" approach, which used powerful amplifiers, was important in shaping the later heavy metal sound.
Combining loud blues rock with psychedelic rock and acid rock formed the early base for heavy metal. Acid rock, a heavier and louder version of psychedelic rock, was especially influential. It often had loud, distorted guitar sounds and focused on intense, extreme experiences. American bands like the 13th Floor Elevators helped define acid rock with their loud, fast, and dramatic style, including droning guitar riffs, feedback, and unusual lyrics.
The British band Cream played a major role in blending psychedelic rock, acid rock, and blues rock. Their 1966 and 1967 albums, Fresh Cream and Disraeli Gears, are seen as key examples of the heavy metal style. The Jimi Hendrix Experience's 1967 album Are You Experienced was also influential, with Hendrix's guitar skills inspiring many metal musicians. The song "Purple Haze" is sometimes called the first heavy metal hit. Vanilla Fudge, an American band, also helped connect psychedelic rock to heavy metal by creating loud, slowed-down versions of popular songs.
During the late 1960s, some psychedelic singers, like Arthur Brown, performed in dramatic, theatrical ways that influenced metal. The American band Coven, who opened for early heavy metal bands, used dark themes like witchcraft and Satanism in their music, album art, and performances. Their 1969 album Witchcraft Destroys Minds & Reaps Souls included symbols like skulls and inverted crosses, and their performances introduced the sign of the horns, a gesture later used in heavy metal. However, Coven's influence was later overshadowed by Black Sabbath's heavier sound.
Opinions differ about which band was the first to play heavy metal. Many credit British bands like Led Zeppelin and Black Sabbath, with some favoring one over the other. Deep Purple, another important band, also contributed to heavy metal after 1969. Other groups, such as Iron Butterfly, Steppenwolf, Blue Cheer, or Vanilla Fudge, are sometimes mentioned as early heavy metal bands.
In 1968, the heavy metal sound began to take shape. The San Francisco band Blue Cheer released a loud cover of "Summertime Blues" on their debut album Vincebus Eruptum, which many consider the first true heavy metal recording. That same month, Steppenwolf's self-titled debut album included the song "Born to Be Wild," which used the phrase "heavy metal thunder." In July, the Jeff Beck Group released Truth, featuring loud, experimental guitar sounds. In September, Led Zeppelin, formed by guitarist Jimmy Page, made their live debut. The Beatles' 1968 album The Beatles included "Helter Skelter," a heavy-sounding song. The Pretty Things' S.F. Sorrow also had early heavy metal-style songs. Iron Butterfly's 1968 song "In-A-Gadda-Da-Vida" and Blue Cheer's Vincebus Eruptum are seen as important in the shift from acid rock to heavy metal.
Global reach
Metal is a music genre that is enjoyed and played worldwide. In her book What Are You Doing Here?, Laina Dawes examined different aspects of racism, including the experiences of Black women musicians and fans in the heavy metal scene in North America and the United Kingdom. She also based her doctoral thesis, 'Freedom Ain't Free': Race and Representation(s) in Extreme Heavy Metal, on her personal experiences, highlighting how the heavy metal community can sometimes exclude people but also offer more freedom of expression than mainstream music genres. The band Alien Weaponry, from the Māori people of New Zealand, uses heavy metal music as a way to challenge racism.
Women in heavy metal
Women have played important roles in heavy metal music since it began. In the late 1960s, Esther "Jinx" Dawson, the lead singer of the band Coven, introduced the "sign of the horns" to metal culture. Her band also used themes related to Satan in their music early on. In the 1970s, Genesis, a group that later became Vixen, was formed in 1973. In 1978, during the rise of the New Wave of British Heavy Metal, the band Girlschool was created. In 1980, Girlschool worked with Motörhead under the name Headgirl.
In 1982, Doro Pesch, known as "the Metal Queen," became successful in Europe. She inspired other bands with female singers, like Spain's Santa, which formed in 1983. Doro led the German band Warlock before starting her solo career. In 1983, Mari Hamada, a pioneering heavy metal singer, began her career and became very popular in Japan from the 1980s until the 21st century. That same year, Lita Ford started a successful solo metal career after being in the band the Runaways in the 1970s. In 1985, Leather Leone became the lead singer of the American band Chastain and helped shape power metal vocals. In 1986, the German thrash band Holy Moses, led by Sabina Classen, released their first album.
Since joining the band Bolt Thrower in 1987, bassist Jo Bench has inspired many female musicians to play metal. Other women who played instruments in male-dominated metal bands include Lori Black, the daughter of Shirley Temple, who was part of Melvins; Kate Reddy of the band 108; and Kim Deal of Pixies.
In 1994, Liv Kristine joined the Norwegian gothic metal band Theatre of Tragedy, adding "angelic" female vocals to contrast with male growls. In 1996, the Finnish band Nightwish was formed, featuring Tarja Turunen’s vocals. More women began leading heavy metal bands, such as Halestorm, In This Moment, Within Temptation, Arch Enemy, and Epica. Liv Kristine sang on the title track of Cradle of Filth’s 2004 album Nymphetamine, which was nominated for a Grammy. In 2013, Halestorm won a Grammy for their song "Love Bites (So Do I)." In 2021, In This Moment, Code Orange, and Poppy were nominated for Best Metal Performance.
One of the most famous female-fronted bands of the 1990s and 2000s was Evanescence, led by Amy Lee. Their music combined gothic alternative metal, hard rock, and classical elements. Their first album, Fallen, released in 2003, became a global hit and earned two Grammy Awards. Although later albums were less successful, Evanescence remains one of the most popular metal bands of the 21st century, selling over 30 million records.
In Japan, the 2010s saw many all-female metal bands, such as Destrose, Aldious, Mary's Blood, Cyntia, Lovebites, and the mainstream success of Babymetal.
Women like Gaby Hoffmann and Sharon Osbourne have held important roles behind the scenes. In 1981, Hoffmann helped Don Dokken get his first record deal and managed the band Accept. She also wrote songs under the name "Deaffy." Sharon Osbourne, the wife and manager of Ozzy Osbourne, started the Ozzfest music festival and managed bands like Motörhead, the Smashing Pumpkins, and Lita Ford.
For many years, heavy metal has been criticized for sexism and misogyny. In the 1980s, groups like the Parents Music Resource Center (PMRC) used feminist concerns about violence against women to attack metal’s themes and images. In 2001, Robert Christgau said that metal and hip-hop have made "reflexive and violent sexism… current in the music."
Debates in metal magazines have focused on how to define and understand sexism in the genre. Researchers like Hill argue that identifying sexism is complex and requires careful analysis. She found that some female fans feel free and genderless in metal, even though the culture often overlooks women.
In 2018, Metal Hammer editor Eleanor Goodman wrote an article asking, "Does Metal Have a Sexism Problem?" She interviewed industry professionals and artists about challenges faced by women in metal. Some shared stories of being treated unfairly by men in the industry. Wendy Dio, who worked in music management before marrying Ronnie James Dio, said her professional reputation was reduced to being his wife. Gloria Cavalera, former manager of Sepultura, described receiving hate mail and death threats from fans, saying, "This whole #MeToo thing, do they think it just started? That has gone on since the pictures of the cavemen pulling girls by their hair."
Persecution
In socialist East Germany during the early 1980s, heavy metal and other music styles became more popular among young people. The Stasi, East Germany’s secret police, viewed heavy metal fans as having "negative" and "decadent" behaviors because their clothing and actions did not follow the socialist values promoted by the ruling SED party. Along with punk music, heavy metal culture was seen as a serious threat. The Stasi believed that heavy metal fans might reject socialist ideas and work with human rights or peace groups in ways that challenged government goals. They also feared that these fans could be influenced by Western countries, which the Stasi called the "imperialist enemy." This influence, the Stasi claimed, could weaken socialist values, encourage immoral behavior, and harm the economy. Because of this, the Stasi considered many young people as important targets for monitoring. Unofficial helpers were used to reduce the influence of heavy metal groups and their leaders. These helpers might use methods like secret surveillance or "silent repression," which included using counterespionage tactics against ordinary citizens. These tactics allowed the Stasi to control large groups of people without facing criticism from other countries.