Editing Heavy metal music (section)

===Mainstream: late 1970s and 1980s===
[[File:Iron Maiden - bass and guitars 30nov2006.jpg|thumb|left|alt=Four members of Iron Maiden are shown in concert. From left to right are a bass guitarist and then three electric guitarists. All members shown have long hair.|[[Iron Maiden]], one of the central bands in the [[new wave of British heavy metal]]]]
[[Punk rock]] emerged in the mid-1970s as a reaction against contemporary social conditions as well as what was perceived as the overindulgent, overproduced rock music of the time, including heavy metal. Sales of heavy metal records declined sharply in the late 1970s in the face of punk, [[disco]] and more mainstream rock.<ref name=gnwtey/> With the major labels fixated on punk, many newer British heavy metal bands were inspired by the movement's aggressive, high-energy sound and "[[lo-fi (music)|lo-fi]]", [[do it yourself]] ethos. Underground metal bands began putting out cheaply recorded releases independently to small, devoted audiences.<ref>Christe (2003), pp. 30, 33</ref>

[[Motörhead]], founded in 1975, was the first important band to straddle the punk/metal divide. With the explosion of punk in 1977, others followed. British music magazines such as the ''[[NME]]'' and ''[[Sounds (magazine)|Sounds]]'' took notice, with ''Sounds'' writer Geoff Barton christening the movement the "New Wave of British Heavy Metal".<ref>Christe (2003), p. 33</ref> NWOBHM bands including [[Iron Maiden]], [[Saxon (band)|Saxon]] and [[Def Leppard]] re-energized the heavy metal genre. Following the lead set by Judas Priest and Motörhead, they toughened up the sound, reduced its blues elements and emphasized increasingly fast tempos.<ref>{{cite web |title=Judas Priest |author1=Erlewine, Stephen Thomas |author2=Prato, Greg |website=AllMusic |url={{AllMusic|class=artist|id=judas-priest-mn0000246611|pure_url=yes}} |access-date=30 April 2007}} {{cite web |title=Genre—New Wave of British Heavy Metal |website=AllMusic |url={{AllMusic|class=style|id=new-wave-of-british-heavy-metal-ma0000004491|pure_url=yes}} |access-date=17 March 2007}}</ref>

"This seemed to be the resurgence of heavy metal," noted [[Ronnie James Dio]], who joined Black Sabbath in 1979. "I've never thought there was a ''desurgence'' of heavy metal – if that's a word! – but it was important to me that, yet again ''[after [[Rainbow (rock band)|Rainbow]]]'', I could be involved in something that was paving the way for those who are going to come after me."<ref>Ronnie James Dio interview with [[Tommy Vance]] for [[BBC Radio 1]]'s ''[[Friday Rock Show]]''; broadcast on 21 August 1987; transcribed by editor Peter Scott for Sabbath [[fanzine]] ''Southern Cross'' #11, October 1996, p27</ref>

By 1980, the NWOBHM had broken into the mainstream, as albums by Iron Maiden and Saxon, as well as Motörhead, reached the British top 10. Though less commercially successful, NWOBHM bands such as [[Venom (band)|Venom]] and [[Diamond Head (English band)|Diamond Head]] would have a significant influence on metal's development.<ref>Weinstein (1991), p. 44</ref> In 1981, Motörhead became the first of this new breed of metal bands to top the U.K. charts with the live album ''[[No Sleep 'til Hammersmith]]''.<ref name="RC1">{{cite journal |last=Burridge |first=Alan |author-link=Alan Burridge (writer) |date=April 1991 |title=Motörhead |journal=[[Record Collector]] |issue=140 |pages=18–19 }}</ref>

The first generation of metal bands was ceding the limelight. Deep Purple broke up soon after Blackmore's departure in 1975, and Led Zeppelin split following drummer [[John Bonham]]'s death in 1980. Black Sabbath were plagued with infighting and substance abuse, while facing fierce competition from [[Never Say Die! Tour (Black Sabbath)|their opening band]], [[Van Halen]].<ref>Popoff (2011), ''Black Sabbath FAQ: All That's Left to Know on the First Name in Metal'' P. 130</ref><ref>Christe (2003), p. 25</ref> [[Eddie Van Halen]] established himself as one of the leading metal guitarists of the era. His solo on "[[Eruption (instrumental)|Eruption]]", from the band's [[Van Halen (album)|self-titled 1978 album]], is considered a milestone.<ref>Christe (2003), p. 51</ref> Eddie Van Halen's sound even crossed over into pop music when his guitar solo was featured on the track "[[Beat It]]" by [[Michael Jackson]], which reached No. 1 in the U.S. in February 1983.<ref>"Van Halen – Van Halen." Encyclopedia of Popular Music, 4th ed. Ed. Colin Larkin. Oxford Music Online. Oxford University Press. Web. 4 October 2015</ref>

Inspired by Van Halen's success, a metal scene began to develop in Southern California during the late 1970s. Based on the clubs of L.A.'s [[Sunset Strip]], bands such as [[Mötley Crüe]], [[Quiet Riot]], [[Ratt]] and [[W.A.S.P. (band)|W.A.S.P.]] were influenced by traditional heavy metal of the 1970s.<ref>Rivadavia, Eduardo. [{{AllMusic|class=artist|id=quiet-riot-mn0000859868|pure_url=yes}} "Quiet Riot"]. AllMusic. Retrieved on 25 March 2007; Neely, Kim {{usurped|1=[https://web.archive.org/web/20071002050205/http://www.rollingstone.com/artists/ratt/albums/album/211449/review/5946112/detonator "Ratt"]}}. Rolling Stone. Retrieved on 3 April 2007; Barry Weber & Greg Prato. [{{AllMusic|class=artist|id=mötley-crüe-mn0000500992|pure_url=yes}} "Mötley Crüe"]. AllMusic. Retrieved on 3 April 2007; Dolas, Yiannis. [http://www.rockpages.gr/detailspage.aspx?id=637&type=1&sub=%20&lang=EN "Blackie Lawless Interview"] {{webarchive|url=https://web.archive.org/web/20110425113211/http://www.rockpages.gr/detailspage.aspx?id=637&type=1&sub=%20&lang=EN |date=25 April 2011 }}. Rockpages. Retrieved on 3 April 2007</ref> These acts incorporated the theatrics (and sometimes makeup) of [[glam metal]] or "hair metal" bands such as [[Alice Cooper]] and Kiss.<ref>Christe (2003), pp. 55–57</ref> Glam metal bands were often visually distinguished by long, overworked hairstyles accompanied by wardrobes which were sometimes considered cross-gender. The lyrics of these [[glam metal]] bands characteristically emphasized [[hedonism]] and wild behavior, including lyrics that involved sexual expletives and the use of narcotics.<ref name="ReferenceA">{{cite journal|last1=Freeborn|first1=Robert|title=A SELECTIVE DISCOGRAPHY OF SCANDINAVIAN HEAVY METAL MUSIC|journal=Quarterly Journal of the Music Library Association|date=June 2010|volume=66|issue=4|pages=840–850}}</ref>

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|description=Sample of "[[Purgatory (song)|Purgatory]]" by [[Iron Maiden]], from the album ''[[Killers (Iron Maiden album)|Killers]]'' (1981). The early Iron Maiden sound was a mix of punk rock speed and heavy metal guitar work typical of the new wave of British heavy metal.
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In the wake of the New Wave of British Heavy Metal and Judas Priest's breakthrough with ''[[British Steel (album)|British Steel]]'' (1980), heavy metal became increasingly popular in the early 1980s. Many metal artists benefited from the exposure they received on [[MTV]], which began airing in 1981; sales often soared if a band's videos screened on the channel.<ref>Christe (2003), p. 79</ref> Def Leppard's videos for ''[[Pyromania (album)|Pyromania]]'' (1983) made them superstars in America, and Quiet Riot became the first domestic heavy metal band to top the ''Billboard'' chart with ''[[Metal Health]]'' (1983). One of the seminal events in metal's growing popularity was the 1983 [[US Festival]] in California, where the "heavy metal day" featuring Ozzy Osbourne, Van Halen, Scorpions, Mötley Crüe, Judas Priest and others drew the largest audiences of the three-day event.<ref>Weinstein (1991), p. 45</ref>

Between 1983 and 1984, heavy metal's share of all recordings sold in the U.S. increased from 8% to 20%.<ref>Walser (1993), p. 12</ref> Several major professional magazines devoted to the genre were launched, including ''[[Kerrang!]]'' in 1981 and ''[[Metal Hammer]]'' in 1984, as well as a host of fan journals. In 1985, ''Billboard'' declared: "Metal has broadened its audience base. Metal music is no longer the exclusive domain of male teenagers. The metal audience has become older (college-aged), younger (pre-teen), and more female."<ref>Walser (1993), pp. 12–13, 182 n. 35</ref>

By the mid-1980s, glam metal was a dominant presence on the U.S. charts, [[music television]] and the arena concert circuit. New bands such as L.A.'s [[Warrant (American band)|Warrant]] and acts from the East Coast like [[Poison (American band)|Poison]] and [[Cinderella (band)|Cinderella]] became major draws, while Mötley Crüe and Ratt remained very popular. Bridging the stylistic gap between hard rock and glam metal, [[New Jersey]]'s [[Bon Jovi]] became enormously successful with its third album, ''[[Slippery When Wet]]'' (1986). The similarly styled Swedish band [[Europe (band)|Europe]] became international stars with ''[[The Final Countdown (album)|The Final Countdown]]'' (1986), whose [[The Final Countdown (song)|title track]] hit No. 1 in 25 countries.<ref>{{cite news |title=Rock Group Europe Plan Comeback |work=BBC News |date=3 October 2003 |url=http://news.bbc.co.uk/2/hi/entertainment/3162506.stm |access-date=28 November 2008 |location=London}}</ref> In 1987, MTV launched ''[[Headbangers Ball]]'', a show devoted exclusively to heavy metal videos. However, the metal audience had begun to factionalize, with those in many underground metal scenes favoring more extreme sounds and disparaging the popular style as "light metal" or "hair metal".<ref>Walser (1993), p. 14; Christe (2003), p. 170</ref>

One band that reached diverse audiences was [[Guns N' Roses]]. With the release of their chart-topping album ''[[Appetite for Destruction]]'' in 1987, they "recharged and almost single-handedly sustained the Sunset Strip sleaze system for several years".<ref>Christe (2003), p. 165</ref> The following year, [[Jane's Addiction]] emerged from the same L.A. hard-rock club scene with their major-label debut, ''[[Nothing's Shocking]]''. Reviewing the album, Steve Pond of ''Rolling Stone'' declared, "As much as any band in existence, Jane's Addiction is the true heir to Led Zeppelin."<ref>{{cite magazine |title=Jane's Addiction: ''Nothing's Shocking'' |author=Steve Pond |magazine=Rolling Stone |date=20 October 1988 |url=https://www.rollingstone.com/artists/janesaddiction/albums/album/119704/review/5942383/nothings_shocking |access-date=1 May 2007 |archive-url=https://web.archive.org/web/20071002080218/http://www.rollingstone.com/artists/janesaddiction/albums/album/119704/review/5942383/nothings_shocking |archive-date=2 October 2007 |url-status=dead}}</ref> The group was one of the first to be identified with the "[[alternative metal]]" trend that would come to the fore in the next decade. Meanwhile, new bands like New York City's [[Winger (band)|Winger]] and New Jersey's [[Skid Row (American band)|Skid Row]] sustained the popularity of the glam metal style.<ref name=Covach>Covach, John. [http://www2.wwnorton.com/college/music/rockhistory/outlines/ch12.htm "Heavy Metal, Rap, and the Rise of Alternative Rock (1982–1992)"] {{Webarchive|url=https://web.archive.org/web/20120604211738/http://www2.wwnorton.com/college/music/rockhistory/outlines/ch12.htm |date=4 June 2012 }}. ''What's That Sound? An Introduction to Rock and its History'' (W. W. Norton). Retrieved on 16 November 2007</ref>