NWOBHM By Numbers
Back in the late 1970’s, it seemed as though punk rock had hammered the final nail in the coffin for classic blues-based rock and heavy metal – any musical style that might involve loon pants and flashy guitar solos, in fact anything that could be described as ‘rockist’, was to be sneered at most severely. But that all began to change in 1979, as a new breed of homegrown heavy metal bands began to emerge, developing into a scene that was soon to be clunkily branded the ‘New Wave Of British Heavy Metal’ or NWOBHM for short. These new acts were defiantly not ‘anti-rock’, choosing instead to grow their hair long, wear denim, leather and spandex with pride, turn their Marshall amps to 11 and solo like they were possessed by the spirit of a thousand Hendrix’s. On top of that they eschewed adding a ‘The’ epithet to their names, instead opting for one or two word band names that evoked a sense of power, danger, black magic and machismo – take Iron Maiden, Angel Witch, Venom and Demon for example – whilst the members generally retained their names of birth – Adrian Smith, Graham Oliver, Pete Willis etc. All very un-punk. But not in every sense.
What set these young bands apart from their forebears, such as Rainbow, Led Zeppelin and Black Sabbath, was the attitude, which was very much like that of punk forerunners The Damned, The Clash and The Sex Pistols. The music had that same power and aggression, with the velocity often ramped up a notch or two. Listen to a track like New Rose or Pretty Vacant and they’re not so different from something you might hear on one of the early NWOBHM compilations. The scene was a big hit, with several bands making chart appearances throughout the early ‘80’s, with legions of fans donning the uniform of denim & leather adorned with patches of their favourite bands. In 1980, when asked why it was proving so popular, Iron Maiden founder and bass player Steve Harris suggested, “Heavy metal never went away but some of the big bands became too big and are now too distant from their fans. Bands like us are more easy to identify with, because we are the same age as our fans. It’s like the punk thing in the sense that when the kids see us playing, they feel they could do the same.”
By way of an introduction to the scene for those who might like to know more, here are a few tracks that we think are the best examples, and that capture the initial attitude and enthusiasm that led to NWOBHM becoming so popular, and so influential. Basically, If there was ever to be a Now That’s What I Call NWOBHM album, then we think that these should all feature…
Angel Witch – Sweet Danger
A band who never had the commercial success they deserved from an excellent debut album, although they would go on to be very influential to later waves of metal music. Fast paced NWOBHM with twin-harmony lead guitar. Released in 7” and 12” formats by EMI and still reasonably easy to pick up in good condition, although the 12” will set you back a bit more. TG
Iron Maiden – Sanctuary
A track that epitomises the energy and urgency of the NWOBHM sound, and features Paul Di’Anno on vocals, whose impressive range and aggressive delivery managed to sound both rock and punk, a great example of what set the scene apart from what had come before. This is the original version that appears on the first, and legendary ‘Metal For Muthas’ compilation from 1979, which is well worth getting hold of. The track was re-recorded for release as a single in 1980, but wasn’t featured on the original version of the debut album. RS
Praying Mantis – Captured City
This was the band’s first release and highlights their strong sense of melody, harmony and song dynamics. The track isn‘t included on their classic debut LP ‘Time Tells No Lies’ so is definitely worth picking up as one of the early classics from this genre. Released in both 7” and 12” formats. Again, this is an easy one to find for a reasonable price although the coveted promo only picture sleeve is very rare and will set you back considerably more. TG
Saxon – 747 (Strangers In The Night)
Not as fast as some examples here, but still a powerful and anthemic track, and it has the audacity to begin with a guitar solo! Formed in Barnsley in the mid-70’s, Saxon were among the frontrunners of the scene, but had been around longer than many of their contemporaries, finally getting their big break when supporting the Godfathers of NWOBHM, Motörhead, in 1979. The band scored several hits in the 80’s, with this being one of the biggest. Released as a 7” and 12”, it also appears on the bands second, and some would say best album ‘Wheels Of Steel’, with all being released on Carrere Records in 1980, and having sold well are now easy to find. RS
Blitzkrieg – Blitzkrieg
One of the earlier records released by North East stalwarts, NEAT records, this single has become very collectable, largely due to the fact that the song was covered by Metallica during their Garage Days era. Fast, energetic NWOBHM with furious riffing and powerful vocals from the inimitable Brian Ross. An original copy in picture sleeve will set you back a fair bit, but this record has been bootlegged due to its popularity, so cheaper versions are available. TG
Girlschool – C’mon Let’s Go
A band who didn’t subscribe to all the typical NWOBHM traits, they were an all-female band for one thing, and the name Girlschool wasn’t the most macho. But they were more than worthy contenders, and this track is a great example of why. A guitar that sounds like a car starting up, the pounding drums, and the band shifting through the gears at speed, like The Runaways tear-away younger sisters. It’s a brilliant way to start an album. Like Saxon, Girlschool became one of the key figures of the scene thanks in part to a slot supporting Motörhead – with whom they would of course score a big hit as Head Girl, with the ‘St Valentine’s Day Massacre’ EP. ‘C’mon Let’s Go’ appears on the album ‘Hit & Run’, original red vinyl versions of which should be easy to find. RS
Samson – Mr Rock & Roll
One of the fore-runners of the NWOBHM movement, this was Samson’s second 7”, released in 1978 with the original line up featuring the one and only Clive Burr (later of Iron Maiden) on drums. Paul Samson’s guitar work is very tasteful here, though sadly none of the musicians on this recording are with us anymore. It has one of the most striking and colourful picture sleeves of the genre so is worth picking up for that alone! TG
Aragorn – Black Ice
A track that was often played by Tommy Vance on The Friday Rock Show when released as a single in 1981, it’s an example of how the sound, and scene, was already beginning to develop. It has that punk aggression but adds more speed and power than earlier NWOBHM releases, perhaps foreseeing where the scene would head next by combining nascent forms of both Doom and Speed Metal. Aragorn formed in Cheshire in 1978, but disbanded in 1983 having not quite reached their potential. ‘Black Ice’ was the band’s debut single and was released as a 7” on the top NWOBHM indie label, Neat Records. One of the rarest examples in this list, if you can find a decent copy, expect to pay £80-£100. RS
Saracen – Crusader
This is the first track on their first album, ‘Heroes, Saints& Fools’ and leans more towards the progressive side of NWOBHM. Featuring some exceptional guitar work and vocal acrobatics, the song builds gradually so give it a chance and play it loud. The band are still performing to this day and are worth catching live. You can still pick up an original copy of Heroes, Saints & Fools for a reasonable price and it has also been re-issued on CD. Highly recommended. TG
Trespass – Stormchild
Another track plucked from the Metal For Muthas archive, with this one appearing on Vol 2, released in 1980. This is one of two tracks Trespass have on the album, bookending the rest with ‘One Of These Days’ opening side 1, and ‘Stormchild’ closing side two. They are both excellent, and fine examples of the NWOBHM sound, but this gets the nod for the epic way that it builds. Trespass formed in Suffolk in 1978, with co-founder and guitarist Mark Sutcliffe providing vocals on the Muthas tracks, and it’s partly his distinctive voice – lower in tone and less theatrical than most NWOBHM singers – that lend the track an almost proto-goth feel. ‘Stormchild’ didn’t get an official release on vinyl, other than on Metal For Muthas Vol 2, which is easy to get hold of and well worth it for the two Trespass tracks alone. RS
Demon – Night of the Demon
The title track of this band’s eponymous first album. This band hailed from the midlands and went on to record a total of 14 albums. The first two are both exceptional examples of the NWOBHM genre at it’s best – some quality song writing and musicianship on show throughout. Being on Carerre Records, their records were quite widely distributed at the time so it is still possible to pick up a nice copy for not too much money. You won’t be sorry if you do. TG
Diamond Head – Lightning to The Nations
Formed in the West Midlands in 1976, Diamond Head are perhaps now thought to have been at the top table of NWOBHM bands at the height of the scene’s popularity. It’s well known that they’ve been an influence on some notable metal bands over the years, not least Metallica, who have covered a number of Diamond Head tracks over the years. ‘Lightning to The Nations’ is another epic, featuring an ominous & powerful opening, then a tempo shift giving way to some more intricate riffing, and some textbook NWOBHM vocals from the great Sean Harris. Picking up an original copy of the ‘Lightning to The Nations’ LP, originally known as ‘The White Album’, will make a heavy dent in your wallet, although later reissues are much more affordable. RS
White Spirit – Backs to the Grind
Another early 7” release from NEAT records, this track also features on the band’s self-titled debut and only LP. The band sound hails more towards 70’s hard rock, as it features a lot of keyboards, but also has the full energy and pace of the NWOBHM movement. Featuring Janick Gers on guitar, who is now part of the current Iron Maiden line-up. Surprisingly easy to pick up cheaply and is easy to spot in it’s largely pink picture sleeve. TG
Trust – Antisocial
Riot – Fire Down Under
A couple of wild cards for you now. Neither Riot nor Trust could be considered true members of the NWOBHM fraternity in the purest sense, as neither band were British – Riot were New Yorkers and Trust were French – but both were very much a part of the scene, touring with many of the bands and sharing the same energy and power. Both looked and sounded the part.
Antisocial is a classic punk/metal crossover anthem, a call to arms that benefits from the quickfire vocal delivery in his native language from singer Bernie Bonvoisin. Drummer Nico McBrain was a member prior to joining Iron Maiden, and his Maiden predecessor, Clive Burr, also went on to play in Trust. Other than Riot’s nationality, ‘Fire Down Under’ is as NWOBHM as it gets; urgency, aggression and frantic riffage. Riot released a series of great albums, but sadly their popularity faded as glam metal took hold Stateside, and a band called Quiet Riot commandeered half their name and audience.
Antisocial was released as a 7” in a few variants, and featured on the album ‘Repression’, whilst ‘Fire Down Under’ was taken from the album of the same name, and you can pick them all up relatively cheaply these days. RS