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<blockquote data-quote="Thunderfoot" data-source="post: 3668920" data-attributes="member: 34175"><p><strong>Chapter 3 – The Second Coming (The New British Invasion)</strong></p><p>The 70s were humming along nicely; the 60s love-fest was over, Vietnam was coming to the close and Disco hadn’t yet been born. Former 60s Heavy Rock gods Led Zeppelin, The Who and Black Sabbath were still kicking around the block and newcomers Judas Priest were attracting a fan base with their blues/jazz/rock fusion rhythms; a new generation of English teenagers were preparing for their meteoric rise. With the deaths of Jim Morrison, Jimi Hendrix and Janice Joplin, the raw rock charts had some major holes in the roster. At the conclusion of the Montreux Jazz Festival in December of 1971, a young band was scheduled to begin recording their next album at the Casino location that the Festival used as their main stage.</p><p></p><p>The stage and casino burned down and the group wrote a song about the experience of losing this pristine site and the subsequent search for an alternate location. The song was “Smoke on the Water” and the band was Deep Purple. As a side note, the only song not recorded at the ‘Grand Hotel” made famous by the song was “Smoke on the Water”. The lyrics were recorded there, but the instrumentation was actually recorded at the Casino during a sound check and layout session before the great conflagration.</p><p></p><p>Deep Purple had their first bonafide hit record, <em>Machine Head</em> and the single “Smoke on the Water” hit #1 in 1973 a year after the albums release (originally the band didn’t think it would make it on the charts and waited to release it as a ‘bridging’ single prior to their next studio release.) Following the success of Deep Purple, Great Britain once again paraded the heavy music talent to shape a new music sensation. Bands such as Deep Purple split off bands such as Rainbow and Whitesnake, led a charge and were followed closely by Iron Maiden, Saxon, Angel Witch, Motorhead and pop opera sensations Queen. </p><p></p><p>The English metal scene was much different than its counterpart in America; while American rock had started to mold and starve off of the leftover 60s sensations, the Brit metal bands began to explore new ways of recording and new musical techniques by studying other diverse musical styles, such as folk, country and western, classical and jazz/funk. So different was this music that the American public fell into bed with the sin of music, Disco (moment of silence for stupidity). With rare exceptions, nearly all metal and hard rock bands of the early 70s came from Europe and not until their establishment of the genre did Americans respond by the mid 70s. </p><p></p><p>But the English scene brought both great new innovations and blinding tragedy to the playing field. The Soundhouse, a heavy metal disco night ran out of The Bandwagon a nightclub attached to the Prince of Wales public (pub) house in Kingsbury (Northwest London). The club nights became so popular that established groups such as Judas Priest, Sammy Hagar (recently departed from Montrose), and April Wine began showing up to put their fingers on the pulse of the fans, often mingling directly with them, buying them pints and asking which bands they thought were hot. </p><p></p><p>The most significant contributions to the culture of rock that The Soundhouse added, were the air guitar and ‘headbanging’ competitions, but also the rampant drug and alcohol abuse and the habit of changing the bands personnel moments before taking the stage. Often times these disbanded musicians would team up and form new groups, only to break-up and start the whole cycle over.</p><p>As the 70s passed the mid point (about ‘76’) the American rock scene began to wake from its long and silent sleep and future artists from the European music scene would once again be influenced by American music, but the acts they would listen to had stayed focused on music played by these pivotal groups in metal history. Their wild, loud and heavy rock n’ roll sustained the nation of metalheads while the rock airwaves were littered by The Captain and Tenniel, ABBA, The Carpenters and The Bee Gees; and for their contributions we should be truly and eternally thankful.</p><p><img src="http://www.hothalflings.com/boards/images/smiles/icon_super.gif" alt="" class="fr-fic fr-dii fr-draggable " style="" /> </p><p></p><p>(Up next – an appendix of hierarchal history – the Deep Purple Syndrome)</p></blockquote><p></p>
[QUOTE="Thunderfoot, post: 3668920, member: 34175"] [B]Chapter 3 – The Second Coming (The New British Invasion)[/B] The 70s were humming along nicely; the 60s love-fest was over, Vietnam was coming to the close and Disco hadn’t yet been born. Former 60s Heavy Rock gods Led Zeppelin, The Who and Black Sabbath were still kicking around the block and newcomers Judas Priest were attracting a fan base with their blues/jazz/rock fusion rhythms; a new generation of English teenagers were preparing for their meteoric rise. With the deaths of Jim Morrison, Jimi Hendrix and Janice Joplin, the raw rock charts had some major holes in the roster. At the conclusion of the Montreux Jazz Festival in December of 1971, a young band was scheduled to begin recording their next album at the Casino location that the Festival used as their main stage. The stage and casino burned down and the group wrote a song about the experience of losing this pristine site and the subsequent search for an alternate location. The song was “Smoke on the Water” and the band was Deep Purple. As a side note, the only song not recorded at the ‘Grand Hotel” made famous by the song was “Smoke on the Water”. The lyrics were recorded there, but the instrumentation was actually recorded at the Casino during a sound check and layout session before the great conflagration. Deep Purple had their first bonafide hit record, [I]Machine Head[/I] and the single “Smoke on the Water” hit #1 in 1973 a year after the albums release (originally the band didn’t think it would make it on the charts and waited to release it as a ‘bridging’ single prior to their next studio release.) Following the success of Deep Purple, Great Britain once again paraded the heavy music talent to shape a new music sensation. Bands such as Deep Purple split off bands such as Rainbow and Whitesnake, led a charge and were followed closely by Iron Maiden, Saxon, Angel Witch, Motorhead and pop opera sensations Queen. The English metal scene was much different than its counterpart in America; while American rock had started to mold and starve off of the leftover 60s sensations, the Brit metal bands began to explore new ways of recording and new musical techniques by studying other diverse musical styles, such as folk, country and western, classical and jazz/funk. So different was this music that the American public fell into bed with the sin of music, Disco (moment of silence for stupidity). With rare exceptions, nearly all metal and hard rock bands of the early 70s came from Europe and not until their establishment of the genre did Americans respond by the mid 70s. But the English scene brought both great new innovations and blinding tragedy to the playing field. The Soundhouse, a heavy metal disco night ran out of The Bandwagon a nightclub attached to the Prince of Wales public (pub) house in Kingsbury (Northwest London). The club nights became so popular that established groups such as Judas Priest, Sammy Hagar (recently departed from Montrose), and April Wine began showing up to put their fingers on the pulse of the fans, often mingling directly with them, buying them pints and asking which bands they thought were hot. The most significant contributions to the culture of rock that The Soundhouse added, were the air guitar and ‘headbanging’ competitions, but also the rampant drug and alcohol abuse and the habit of changing the bands personnel moments before taking the stage. Often times these disbanded musicians would team up and form new groups, only to break-up and start the whole cycle over. As the 70s passed the mid point (about ‘76’) the American rock scene began to wake from its long and silent sleep and future artists from the European music scene would once again be influenced by American music, but the acts they would listen to had stayed focused on music played by these pivotal groups in metal history. Their wild, loud and heavy rock n’ roll sustained the nation of metalheads while the rock airwaves were littered by The Captain and Tenniel, ABBA, The Carpenters and The Bee Gees; and for their contributions we should be truly and eternally thankful. [IMG]http://www.hothalflings.com/boards/images/smiles/icon_super.gif[/IMG] (Up next – an appendix of hierarchal history – the Deep Purple Syndrome) [/QUOTE]
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