Blue Cheer and the Metal Mindset

My favorite debate: Who was the First Heavy Metal band? I know I’m not going to settle that debate here. Nobody ever will. But there are opinions and there are facts. What follows is a little of both.

Blue Cheer’s debut album, entitled ‘Vincebus Eruptum’, was released in January of 1968, almost an entire year before Led Zeppelin would release their debut (Jan ’69) and more than two years before Black Sabbath would issue theirs (Feb ’70). There is no doubt in my mnd that ‘VE’ is the first Heavy Metal album ever released. Yes, Heavy Metal grew out of the British Blues Boom of the late 60’s, but that just makes it all the more amazing that this San Francisco band was so far ahead of that curve, melting eardrums way over here in America all by their lonesome and, not as part of an ’emerging movement’ happening overseas.
Again, it’s well established that the seed of Metal took root via white musicians playing blues music through rapidly-developing amplification. Musically, ‘Vincebus Eruptum’ is all that, and more… Writer Carlos M. Pozo has called BC’s music ‘Caucasian Power Blues’. I can dig that. The material on the ‘Vincebus Eruptum’ includes songs written by (and fully credited to) blues giants Mose Allison and B.B. King, and the original material is psych-tinged, primitive power trio blues-rock; all of the songs are then transformed by excessive volume, intensity, and a truly Heavy Metal mindset.

It’s this last element that, to me, seperates ‘VE’ from the UK’s 60’s blues boom pack and firmly establishes not only that ‘Vincebus Eruptum’ is the first Heavy Metal record, but also that Blue Cheer were the first Heavy Metal band. Blue Cheer’s music was Heavy Metal long before it had any right to be. But ‘Heavy Metal’ is NOT ‘just’ a musical term; it is a philosophy, a perspective, an aesthetic. It revels in extremes; the louder/faster, the better. It is tension/release, it is volume-as-power, it is OTT for OTT’s sake. It’s Ian Gillan’s now famous line ‘(Make) Everything Louder Than Everything Else’ (since adopted by Motorhead). Blue Cheer possessed that mindset; even their manager, an ex-Hell’s Angel named ‘Gut’, said ‘they turned the air into cottage cheese.’ That’s Metal. You never heard this kind of shit from the Yardbirds.

Need more evidence? Submitted for your perusal: The first documented evidence of the Heavy Metal Mindset.
On March 19, 1968, Blue Cheer appeared on The Steve Allen Show. They were interviewed by Allen, and performed 2 songs from their debut, released 2 months earlier. The music performed played on Allen’s show has been released on CD (Live & Unreleased, Vol. 1: ’68/’74), but not so the absolutely priceless interview segments that were also broadcast. In the mid 80’s, CBS/Filmways confirmed that each episode of this show was only broadcast once, and any recorded copies of many episodes of this show were destroyed. The March 19 episode is gone forever. It’s a pity, as footage of this ‘counter-culture degenerates vs. shirt-and-tie network TV host’ would have been valuable as archival 60’s pop culture material; at the very least it would have found a permenent home on Youtube, where it could inform passing generations and would have perhaps rendered this debate moot long ago. 20140316_113919
Alas, the only hope of any record of this monumental meeting surviving to the present day was if someone out there recorded the audio live as it streamed from their TV, back in 1968… And as it happens, someone did just that. This audio recording was then copied and traded in underground tape trading circles for years; I acquired a copy myself back in the early 90’s. My copy of the tape starts after the band has been introduced by Allen as ‘the source of that annoying hum’, and then suggests they change their name to ‘That Annoying Hum’. He then begins playing around with the title of the band’s record:


(SA) …maybe Sounds something like ‘Vin Scully was ill last night.’ (audience laughter)
What does that mean? ‘We shall be rocked’? or… What does it mean? Any folks from southern Italy in the room, or…? Anything at all? Anyone who went to a Catholic high school? Anybody who can help me with what this means? Lets ask them; hey, what’s it mean fellas? ‘Vincebus Eruptum.’

(band, barely audible) ‘Controlled Chaos’.

(SA) What’d they say?

(Others, repeating) ‘Controlled Chaos’.

(SA) ‘Control Chaos’? ‘Control the Chaos’?

(band, barely audible) Let us do it and you’ll know what it means.

(SA) What’d they say?

(others, repeating) ‘Let us do it.’

(SA) ‘Let us do it and you’ll know what it means’? (audience laughter) Just for that your not gonna do it. (audience laughter) One thing I cant stand is a Blue Cheer that has no respect for a normal piece of soap… (trails off, audience laughter) Anyway, they are the Blue Cheer, it’s on the Phillips label. Those are the milk of magnesia people. (audience laughter) And… (applause) I seem to be giving these guys a hard time, actually it’s a shame you’re not here with us because they have an unusual instrumentation, it’s ah 43 pieces, 3 human beings and 40 amplifiers. You’ll see that I’m not kidding in a moment, the stage is covered with amplifiers, at least it was earlier this afternoon when I was there. And um the members of the group are Dick Peterson, Leigh Stephens and Paul Whaley. And they have a new and different sound, seriously so please give them a warm welcome, here is, or, here are the Blue Cheer. (applause)

‘Summertime Blues’ is performed

(SA) Little strange, I’m ‘woo hoo’… Ah here we are talking once again, well, with ah the Blue Cheer again and speaking to them for the first time. Your name is?

I’m Dick.

(SA) You’re Dick. And you? Who?


(SA) Dick Peterson. And your name?

Paul Whaley. (repeats, louder) Paul Whaley.

(SA) What did he say?

He said Paul Whaley.

(SA) Oh Paul Whaley, yes. Then he said ‘scroodley boom’ with his drums. You are without question I would say the loudest musical abrogation, regardless of size, in the world, would you agree with that?


(SA) How many amplifiers have you?

Well we got 6 amps and like 24 speakers a piece.

(SA) I seem to count 6 here.

There’s 4 speakers in each.

(SA) 4 speakers in each. This is an amplifier…

This is a bottom, this is an amplifier.

(SA) This is the amplifier, I see, so 1,2,3 amplifiers and 24 speakers.


(SA) I see um, did you discover that 24 was louder than 18, or how did you arrive at that figure? (audience laughter)

Well, you know, more amps, you know the louder it is and the more amps you have the more speakers you have to have. We’re gonna get more.

(SA) Youre gonna get more? (audience laughter, dismay)

(SA) Ah, let me go over here for just a moment, ah I guess I’ll have to walk around Shadow Horn and come back on your station over here. And your name is?

Leigh Stephens.

(SA) Lee (sic) nice to meet all of you fellas, how long have you been uh playing together now?

About, about ah 4 minutes. (audience laughter)

(SA) I guess that adds up. The uh you know the old line about when people go to see a musical or a motion picture or play they say there are certain melodies that you walk out of the theatre whislting. Would it be safe to say that the number we just heard is not something you could walk out of a theatre whistling? I’m not putting it down, now, but I mean is that a safe assumption?

Yeah I think it’s true.

(SA) So youre not selling melody in other words; what are you selling?

Just It’s a powerful physical thing, to knock you over. (audience laughter)

(SA) Yeah! I’m glad you brought that up ’cause I got knocked over, and I got up but no, the reason I mentioned that is in order to appreciate the Blue Cheer, you have to be on the scene because the volume here is utterly undescribable. It is the loudest thing I have ever heard, except once when I had been in the army for about 4 days at Fort MacArthur in the 2nd World War and I happened to be looking down at the ground one day and in my near proximity they exploded a 12 mile long coastal cannon. I went ‘wowee’ you know… And I almost became a pacifist right at that moment but uh that’s the loudest thing I’d heard uh before this today. Unfortunately at home, you don’t get that. You know because we have to control the volume of it and everything comes out the same whether it’s a you know an atom bomb explosion or a harminoca solo or what it is, but you have to uh see these guys wherever theyre performing if they are in your neck of the woods, to really get that feeling. It has an effect on more than the ears wouldn’t you say?


(SA) It makes your belt buckle rattle? ( audience laughter) Your silver turns, you know your gold turns green? (audience laughter) Uh, is this a point of development to which you gradually uh, uh, reached or was it something you started right out with?

No we started out with it, we just went out and bought a bunch of amplifiers and decided to do it.

(SA) Uh do you create all your own songs?


(SA) Where do you find them? The nearest boiler factory? (audience laughter) Or no really, where do you find your material?

Arsenals heheh…

(SA) Uh sort of old explosions. Just, now, what is this here on the floor? I don’t know if we can see that because I cant see it on a monitor.

Fuzz Face.

(SA) Fuzz face? And what function does the Fuzz Face fullfil? Try to say that five times fast.

It’s sort of like a preamp it makes the amps louder. (audience laughter)

(SA) It makes the amps louder. Well I’m glad to hear that, now what are you going to play for us now?

‘Out of Focus.’ (audience laughter)

(SA) (audience laughter) Dedicated to our cameraman ladies and gentlemen. Okay here are uh, is it are or is? (Laughs) Here they come, the Blue Cheer, run for your life!

‘Out of Focus’ is performed


How Metal is that? These guys had an agenda: blow  people’s heads off. They compared their music to explosive devices, weren’t interested in melody, and were planning to further increase their ‘undescribable’ volume. The audience response to their performances, and even to some of the band’s commentary, is a mixture of nervous laughter and fear.  Context is everything; on that night in March of 1968, this monstrosity that called itself Blue Cheer was broadcast into living rooms all across America… Grandma and Grandpa must have been truly appalled. “Henry! These long haired cretins just said they wanted to knock me over!”

Lest we forget, this all happened 10 months before ‘Led Zeppelin’ was released… Two entire years before the ominously tolling bell that opens Black Sabbath’s debut… and thousands of miles away from the British Blues Boom, where an American band with a ‘new and different sound’ was taking blues music to violent extremes and mutating it into something new. You wanna talk about a ‘Boom’? Blue Cheer were the Ground Zero of Heavy Metal.
Blue Cheer

*Thank you, Larry Boyd, for handing me that tape about 25 years ago. I still have every tape you ever gave me. This one’s for you. Rest in peace, comrade.

Unbelievably Frustrating Object

!!Spoiler Warning!!

If you’re a fan of UFO’s classic live album ‘Strangers in the Night’, be aware: the following analysis contains information that could really harsh your buzz. Like, wicked bad.

If you’re not, what the hell is wrong with you??

Released in January of 1979, UFO’s bid for 70’s double-live gatefold gonzo, entitled ‘Strangers in the Night’, was a cut above most of the 2-record live sets released by their contemporaries in the 70’s. Several of their hard rocking brethren had opted to release singe-lp live albums the previous year; AC/DC, Cheap Trick and Blue Oyster Cult among them. But UFO went for broke, doubled down, and the gamble paid off. Shows recorded in the fall of 1978 in Chicago and Louisville were compiled into what is now regarded as one of the greatest live rock albums of all time.


‘SitN’ hit number 7 in the UK and number 42 in the US, a territory that the band had been working hard to break open since the top 40 stateside success of their 4th Schenker-Era studio album, ‘Lights Out’. The live album’s success shouldn’t have surprised anyone; ‘SitN’ displayed better chops than Kiss did on ‘Alive!’, was more consistent than Thin Lizzy’s patchwork ‘Live and Dangerous’, and more coherent than Aerosmith’s ‘Live! Bootleg’. Simply stated, it’s a masterpiece of live hard rock, delivered with powerhouse precision by a fiercely dynamic band on the brink of implosion (see Deep Purple’s ‘Made in Japan’). So then… Why has this classic record been so shamefully mishandled by the powers that be for the last  decade-and-a-half?

‘Strangers in the Night’ was first released on CD in 1987 on Chrysalis Records. It was a simple transposition of the original album from 2 vinyl records to 1 CD. Same songs, in the same order; at 69:13, no editing was needed to fit the entire double album set into the single-CD format. The CD sounded vastly superior to the vinyl version. If it ain’t broke, don’t fix it, right?

I wish. In 1999, EMI released a remastered version of ‘Strangers in the Night’. Okay… remastered is good; the original CD had been mastered for vinyl, so this version would sound even better. EMI also added “2 Previously Unreleased Bonus Tracks”. Um, okay: this is where it gets weird.


Adding ‘Bonus Tracks’ was and still is the standard tactic to persuade consumers who had purchased a previous version of an album to shell out and buy that same album again. In the case of ‘SitN’, EMI added live versions of ‘Hot n Ready’ and ‘Cherry’ to their remaster, in an alleged attempt to replicate the running order of UFO’s set during their 1978 tour. Since these two songs were the first 2 songs in their ’78 set, they were tacked on to the beginning of the CD, as opposed to the end, which is standard procedure for bonus track placement. Thus these 2 added tracks became the first 2 songs on the record. Makes sense, right? Sure. However, both tracks are markedly inferior to the material on the original album. ‘Hot’ was taken from a Youngstown, OH show on the same tour; vocalist Phil Mogg is pitchy/mostly flat throughout the song. A feedback-ridden version of ‘Cherry’, taken from a concert in Cleveland, just doesn’t cut it. Neither song reaches the level of performance or sound quality of the material on original album; neither song benefits from the extra crowd noise (from the Chicago show) added into to the original album to ‘juice up’ the record. At this point, after just the first 2 songs, this record is ruined.

But wait! There’s more!

The rest of the original album follows, but the songs’ running order is changed to further reflect UFO’s set from the 1978 US tour. As another added ‘bonus’, all of Mogg’s between-song stage banter is restored, which, at best, amounts to several wasted (and I do mean wasted) minutes of drunken, nonsensical rambling and unfunny in-jokes, and prevents this version of the album from gaining any forward momentum. It’s more than a little embarrassing. Who thought this was a good idea? If this junk is considered ‘bonus material’, I’ll pass, thanks. There’s a difference between being historically accurate and creating an exciting, entertaining rock album. And if restoring the flow of the original concerts is really the goal here, where’s ‘Pack It Up and Go’? Where’s ‘Ain’t No Baby’? And, he demanded in an increasingly hysterical tone, where is ‘On With the Action’??? “Pack’ was played at the Cleveland show, and ‘Baby’ was played on the Chicago date. But the omission of ‘On With the Action’ has to be the most egregious error committed here, as it was the B-side of the album’s single, ‘Doctor Doctor (Live)’. It has appeared on (a comp) CD before; why the HELL not include it here?


Chrysalis re-released ‘SitN’ in 2008, in yet another remastered edition. Other than the pointless re-remastering, it’s the exact same version of the album released by EMI in 1999. Unless you count the following bombshell, hidden in the ‘extensive liner notes’, as ‘bonus material’…

!!Final Spoiler Warning!!

In the booklet included with the 2008 version, it is revealed that 2 songs from the original album, ‘Mother Mary’ and ‘This Kid’s’ were not performed on the 1978 tour, and the versions included on the original album (and all subsequent versions) were in fact live-in-the-studio recordings with crowd noise from Chicago added. Ouch. Dear Paul Elliot: I think I could have lived the rest of my life just fine without ever becoming aware of that particular piece of information, fuck you very much.

And if these 2 songs weren’t played on the ’78 tour, then why incl… oh fucking hell. I give up.

!!End of Spoiler!!

Most ridiculous of all is the fact the original version of the album has been unavailable (legally) since 1999. Anyone since then wanting to check out this legendary piece of heavy metal history has probably ended up with either of the 1999 or 2008 train-wreck versions, and was left wondering ‘Eh… what’s the big deal?’ That’s a crime. Capitol’s 1999 US reissue placed the bonus tracks at the tail end of the CD; this seems to me to be the best way to deal with them… This, then, would be the most desirable version of the album to hunt for on the aftermarket, as it’s remastered and sounds better than the Chrysalis original. Just quit listening after ‘Shoot Shoot’!

!!End of Rant!!

Whichever version you may have, take a second and check out Track 7, titled ‘Love to Love’. At exactly 1:00, you’ll hear one of my favorite recorded moments, on any album, ever. While the song kicks in just after its extended intro, one member of the band yells ‘Yaaaaaaaa!’ and another lets out a ‘Whoooo-hoooo!’ in response. This moment perfectly encapsulates the genius dichotomy of UFO and ‘SitN’; class, elegance and precision vs unbridled power and wild abandon. Ya gotta listen close but after you hear it once you’ll hear it every time thereafter.