Synopsis: Metal Madness is a vibrant exploration of the raw, unfiltered energy of heavy metal and hard rock, penned with the sharp wit and insight of Glenn A. Baker. The essay delves into the origins and evolution of the genre, tracing its roots from the primal riffs of Bo Diddley and the unpolished rage of early rock ‘n’ roll to the thunderous rise of heavy metal in the late sixties and beyond. It highlights the global impact of legendary bands such as Black Sabbath, Led Zeppelin, AC/DC, and Rose Tattoo, and pays homage to the relentless spirit of Australian pub rock.
With vivid descriptions of the genre’s unapologetic power and its loyal, headbanging fanbase, Baker captures the essence of heavy metal’s appeal — a cathartic release of aggression, rebellion, and unyielding energy. Through its stadium-filling anthems and high-voltage performances, Metal Madness celebrates the genre’s ability to unite fans across the globe in a shared love of loud, electrifying music. This is not just a compilation of music; it is an unapologetic tribute to the enduring spirit of heavy metal.
Full Article: METAL MADNESS
In the wise words of the late American rock critic Lester Bangs, ‘Heavy metal is the genre most closely identified with violence and aggression, rape and carnage … it’s a fast train to nowhere,’ which may be one reason it seems to feel so good and make so much sense to its fans.
There has always been an unquenchable market for basic, unsophisticated ‘gut rock,’ probably beginning with the raw, metronomic guitar riffs of Bo Diddley in the fifties. Even then, there was a sizable core of ragers who couldn’t have given a stuff about Ricky Nelson’s latest date but would have killed anyone who laid a finger on their Little Richard singles.
Heavy metal, hard rock, power rock, headbanging music, call it what you will.
Fans never had to be heavily prompted, nor had its artists ever enjoyed any real media support. At its best, it is a culture commanding incredible loyalty and influence. Its thunderous beat is cranked beyond the pain threshold, so as to reverberate from the walls of the world’s biggest stadiums.
The origins of metal music, as we know it today, can be traced back to the late sixties, when Marshall stacks grew high and guitarists stumbled upon the awesome power of riff rock. Iron Butterfly, Blue Cheer, Steppenwolf, Vanilla Fudge, Mountain, MC5, and [MICHAEL SCHENKER GROUP IMAGE].
The Stooges gave the movement birth in America, but then the action moved to Britain where the sound was refined by the likes of Black Sabbath, Led Zeppelin, Deep Purple, Cream, Status Quo, Uriah Heep, and the more bluesy fare, Ten Years After. Faces, Humble Pie, and Jeff Beck Group.
Having come out of the sixties with virtually nothing to show for their labours, rock bands finally got wise to the potential for profit of their music. In short, they discovered arenas, stadiums, and ballparks. The age of rock’s ‘sixpence and dollars’ had arrived and the louder and more explosive the stage presentation, the faster the turnstiles spun and the album sales ticked over.
Who needed hit singles, when meaty metal albums were selling by the millions?
Australians have long nurtured and encouraged what has become known as the ‘Great Australian Pub Boogie.’ Ever since Billy Thorpe screamed ‘Suck More Piss!’ to the rioting mobs dotted like campfires over the hills at Sunbury, down under power rock has earned a fearsome international reputation.
AC/DC, Rose Tattoo, Heaven, The Angels, and Boss are among those who have carried the message to the world that the potent, high voltage sound generated in the concrete beer barns of this wide brown land can take on the world.
This album represents a broad sampling of current HM from Australia, Britain, Europe, and America. It makes no pretense to comprehensiveness; its sole purpose being to blow the cones out of your speakers and make your next party white hot. The beer, the slackers, the energy level never subsides. If you can’t get off on this brain-bending collection, you’re beyond all hope.
Glenn A. Baker
