name	Heavy metal
bgcolor	#BB0022
color	white
stylistic origins	Blues rock, psychedelic rock
cultural origins	Late 1960s, United Kingdom and United States
instruments	Electric guitar bass guitar drums vocals keyboards
popularity	Worldwide, late 1960s–present
subgenrelist	Heavy metal subgenres
subgenres	Black metal death metal doom metal glam metal gothic metal groove metal power metal speed metal stoner metal thrash metal traditional heavy metal
fusiongenres	Alternative metal avant-garde metal Christian metal crust punk drone metal folk metal funk metal grindcore industrial metal metalcore neo-classical metal nu metal post-metal progressive metal rap metal sludge metal symphonic metal Viking metal
Regional scenes	Australia Bay Area Brazil Britain − Germany Gothenburg New Orleans United States Scandinavia
other topics	Fashion bands umlaut blast beat subgenres }}

Heavy metal (often referred to simply as metal) is a genre of rock music that developed in the late 1960s and early 1970s, largely in the Midlands of the United Kingdom and the United States. With roots in blues rock and psychedelic rock, the bands that created heavy metal developed a thick, massive sound, characterized by highly amplified distortion, extended guitar solos, emphatic beats, and overall loudness. Heavy metal lyrics and performance styles are generally associated with masculinity and machismo.

The first heavy metal bands such as Black Sabbath, Led Zeppelin and Deep Purple attracted large audiences, though they were often critically reviled, a status common throughout the history of the genre. In the mid-1970s Judas Priest helped spur the genre's evolution by discarding much of its blues influence; Motörhead introduced a punk rock sensibility and an increasing emphasis on speed. Bands in the New Wave of British Heavy Metal such as Iron Maiden followed in a similar vein. Before the end of the decade, heavy metal had attracted a worldwide following of fans known as "metalheads" or "headbangers".

In the 1980s, glam metal became a major commercial force with groups like Mötley Crüe and Poison. Underground scenes produced an array of more extreme, aggressive styles: thrash metal broke into the mainstream with bands such as Metallica, Megadeth, Slayer, and Anthrax, while other styles like death metal and black metal remain subcultural phenomena. Since the mid-1990s, popular styles such as nu metal, which often incorporates elements of grunge and hip hop; and metalcore, which blends extreme metal with hardcore punk, have further expanded the definition of the genre.

Characteristics

Heavy metal is traditionally characterized by loud distorted guitars, emphatic rhythms, dense bass-and-drum sound, and vigorous vocals. Metal subgenres variously emphasize, alter, or omit one or more of these attributes. ''New York Times'' critic Jon Pareles writes, "In the taxonomy of popular music, heavy metal is a major subspecies of hard-rock—the breed with less syncopation, less blues, more showmanship and more brute force." The typical band lineup includes a drummer, a bassist, a rhythm guitarist, a lead guitarist, and a singer, who may or may not be an instrumentalist. Keyboard instruments are sometimes used to enhance the fullness of the sound.

The electric guitar and the sonic power that it projects through amplification has historically been the key element in heavy metal. The lead role of the guitar in heavy metal often collides with the traditional "frontman" or bandleader role of the vocalist, creating a musical tension as the two "contend for dominance" in a spirit of "affectionate rivalry". Heavy metal "demands the subordination of the voice" to the overall sound of the band. Reflecting metal's roots in the 1960s counterculture, an "explicit display of emotion" is required from the vocals as a sign of authenticity. Critic Simon Frith claims that the metal singer's "tone of voice" is more important than the lyrics. Metal vocals vary widely in style, from the multioctave, theatrical approach of Judas Priest's Rob Halford and Iron Maiden's Bruce Dickinson, to the gruff style of Motörhead's Lemmy and Metallica's James Hetfield, to the growling of many death metal performers, and to the harsh screams of black metal.

The prominent role of the bass is also key to the metal sound, and the interplay of bass and guitar is a central element. The bass guitar provides the low-end sound crucial to making the music "heavy". Metal basslines vary widely in complexity, from holding down a low pedal point as a foundation to doubling complex riffs and licks along with the lead and/or rhythm guitars. Some bands feature the bass as a lead instrument, an approach popularized by Metallica's Cliff Burton in the early 1980s.

The essence of metal drumming is creating a loud, constant beat for the band using the "trifecta of speed, power, and precision". Metal drumming "requires an exceptional amount of endurance", and drummers have to develop "considerable speed, coordination, and dexterity...to play the intricate patterns" used in metal. A characteristic metal drumming technique is the cymbal choke, which consists of striking a cymbal and then immediately silencing it by grabbing it with the other hand (or, in some cases, the same striking hand), producing a burst of sound. The metal drum setup is generally much larger than those employed in other forms of rock music.

In live performance, loudness—an "onslaught of sound," in sociologist Deena Weinstein's description—is considered vital. In his book ''Metalheads'', psychologist Jeffrey Arnett refers to heavy metal concerts as "the sensory equivalent of war." Following the lead set by Jimi Hendrix, Cream and The Who, early heavy metal acts such as Blue Cheer set new benchmarks for volume. As Blue Cheer's Dick Peterson put it, "All we knew was we wanted more power." A 1977 review of a Motörhead concert noted how "excessive volume in particular figured into the band’s impact." Weinstein makes the case that in the same way that melody is the main element of pop and rhythm is the main focus of house music, powerful sound, timbre, and volume are the key elements of metal. She argues that the loudness is designed to "sweep the listener into the sound" and to provide a "shot of youthful vitality."

Musical language

Rhythm and tempo

The rhythm in metal songs is emphatic, with deliberate stresses. Weinstein observes that the wide array of sonic effects available to metal drummers enables the "rhythmic pattern to take on a complexity within its elemental drive and insistency." In many heavy metal songs, the main groove is characterized by short, two-note or three-note rhythmic figures—generally made up of 8th or 16th notes. These rhythmic figures are usually performed with a staccato attack created by using a palm-muted technique on the rhythm guitar. Brief, abrupt, and detached rhythmic cells are joined into rhythmic phrases with a distinctive, often jerky texture. These phrases are used to create rhythmic accompaniment and melodic figures called riffs, which help to establish thematic hooks. Heavy metal songs also use longer rhythmic figures such as whole note- or dotted quarter note-length chords in slow-tempo power ballads. The tempos in early heavy metal music tended to be "slow, even ponderous." By the late 1970s, however, metal bands were employing a wide variety of tempos. In the 2000s decade, metal tempos range from slow ballad tempos (quarter note = 60 beats per minute) to extremely fast blast beat tempos (quarter note = 350 beats per minute).

Harmony

One of the signatures of the genre is the guitar power chord. In technical terms, the power chord is relatively simple: it involves just one main interval, generally the perfect fifth, though an octave may be added as a doubling of the root. Although the perfect fifth interval is the most common basis for the power chord, power chords are also based on different intervals such as the minor third, major third, perfect fourth, diminished fifth, or minor sixth. Most power chords are also played with a consistent finger arrangement that can be slid easily up and down the fretboard.

Typical harmonic structures

Heavy metal is usually based on riffs created with three main harmonic traits: modal scale progressions, tritone and chromatic progressions, and the use of pedal points. Traditional heavy metal tends to employ modal scales, in particular the Aeolian and Phrygian modes. Harmonically speaking, this means the genre typically incorporates modal chord progressions such as the Aeolian progressions I-VI-VII, I-VII-(VI), or I-VI-IV-VII and Phrygian progressions implying the relation between I and ♭II (I-♭II-I, I-♭II-III, or I-♭II-VII for example). Tense-sounding chromatic or tritone relationships are used in a number of metal chord progressions. The tritone, an interval spanning three whole tones—such as C and F#—was a forbidden dissonance in medieval ecclesiastical singing, which led monks to call it ''diabolus in musica''—"the devil in music." Because of that original symbolic association, it came to be heard in Western cultural convention as "evil". Heavy metal has made extensive use of the tritone in guitar solos and riffs, such as in the beginning of "Black Sabbath".

Heavy metal songs often make extensive use of pedal point as a harmonic basis. A pedal point is a sustained tone, typically in the bass range, during which at least one foreign (i.e., dissonant) harmony is sounded in the other parts.

Relationship with classical music

Robert Walser argues that, alongside blues and R&B, the "assemblage of disparate musical styles known...as 'classical music'" has been a major influence on heavy metal since the genre's earliest days. He claims that metal's "most influential musicians have been guitar players who have also studied classical music. Their appropriation and adaptation of classical models sparked the development of a new kind of guitar virtuosity [and] changes in the harmonic and melodic language of heavy metal." The Grove Music Online states that the "1980s brought on ...the widespread adaptation of chord progressions and virtuosic practices from 18th-century European models, especially Bach, Wilhelm Richard Wagner and Vivaldi, by influential guitarists such as Eddie Van Halen, Randy Rhoads and Yngwie Malmsteen".

Although a number of metal musicians cite classical composers as inspiration, classical and metal are rooted in different cultural traditions and practices—classical in the art music tradition, metal in the popular music tradition. As musicologists Nicolas Cook and Nicola Dibben note, "Analyses of popular music also sometimes reveal the influence of 'art traditions.' An example is Walser’s linkage of heavy metal music with the ideologies and even some of the performance practices of nineteenth-century Romanticism. However, it would be clearly wrong to claim that traditions such as blues, rock, heavy metal, rap or dance music derive primarily from 'art music.'"

Lyrical themes

Black Sabbath and the many metal bands they inspired have concentrated lyrically "on dark and depressing subject matter to an extent hitherto unprecedented in any form of pop music," according to scholars David Hatch and Stephen Millward. They take as an example Sabbath's second album ''Paranoid'' (1970), which "included songs dealing with personal trauma—'Paranoid' and 'Fairies Wear Boots' (which described the unsavoury side effects of drug-taking) —as well as those confronting wider issues, such as the self-explanatory 'War Pigs' and 'Hand of Doom.'" Nuclear annihilation was addressed in later metal songs such as Iron Maiden's "2 Minutes to Midnight", Ozzy Osbourne's "Killer of Giants", Megadeth's "Rust In Peace... Polaris", and Metallica's "Fight Fire With Fire". Death is a predominant theme in heavy metal, routinely featuring in the lyrics of bands as otherwise widely different as Slayer and W.A.S.P. The more extreme forms of death metal and grindcore tend to have aggressive and gory lyrics.

Deriving from the genre's roots in blues music, sex is another important topic—a thread running from Led Zeppelin's suggestive lyrics to the more explicit references of glam and nu metal bands. Romantic tragedy is a standard theme of gothic and doom metal, as well as of nu metal, where teenage angst is another central topic. Heavy metal songs often feature outlandish, fantasy-inspired lyrics, lending them an escapist quality. Iron Maiden's songs, for instance, were frequently inspired by mythology, fiction, and poetry, such as Iron Maiden's "Rime of the Ancient Mariner", based on the Samuel Taylor Coleridge poem. Led Zeppelin lyrics often reference Lord of the Rings as well as other mythology and folklore, such as in the songs "The Battle of Evermore", "Immigrant Song", "Ramble On", "No Quarter", and "Achilles Last Stand". Other examples include Black Sabbath's "The Wizard," Megadeth's "The Conjuring" and "Five Magics," and Judas Priest's "Dreamer Deceiver". Since the 1980s, with the rise of thrash metal and songs such as Metallica's "...And Justice for All" and Megadeth's "Peace Sells", more metal lyrics have included sociopolitical commentary. Genres such as melodic death metal, progressive metal, and black metal often explore philosophical themes.

The thematic content of heavy metal has long been a target of criticism. According to Jon Pareles, "Heavy metal's main subject matter is simple and virtually universal. With grunts, moans and subliterary lyrics, it celebrates...a party without limits.... [T]he bulk of the music is stylized and formulaic." Music critics have often deemed metal lyrics juvenile and banal, and others have objected to what they see as advocacy of misogyny and the occult. During the 1980s, the Parents Music Resource Center petitioned the U.S. Congress to regulate the popular music industry due to what the group asserted were objectionable lyrics, particularly those in heavy metal songs. In 1990, Judas Priest was sued in American court by the parents of two young men who had shot themselves five years earlier, allegedly after hearing the subliminal statement "do it" in a Priest song. While the case attracted a great deal of media attention, it was ultimately dismissed. In some predominantly Muslim countries, heavy metal has been officially denounced as a threat to traditional values. In countries including Morocco, Egypt, Lebanon, and Malaysia, there have been incidents of heavy metal musicians and fans being arrested and incarcerated.

Image and fashion

As with much popular music, visual imagery plays a large role in heavy metal. In addition to its sound and lyrics, a heavy metal band's "image" is expressed in album sleeve art, logos, stage sets, clothing, and music videos. Some heavy metal acts such as Alice Cooper, Kiss, Lordi, Slipknot, and Gwar have become known as much for their outrageous performance personas and stage shows as for their music.

Down-the-back long hair, according to Weinstein, is the "most crucial distinguishing feature of metal fashion." Originally adopted from the hippie subculture, by the 1980s and 1990s heavy metal hair "symbolised the hate, angst and disenchantment of a generation that seemingly never felt at home," according to journalist Nader Rahman. Long hair gave members of the metal community "the power they needed to rebel against nothing in general."

The classic uniform of heavy metal fans consists of "blue jeans, black T-shirts, boots and black leather or jeans jackets.... T-shirts are generally emblazoned with the logos or other visual representations of favorite metal bands." Metal fans also "appropriated elements from the S&M community (chains, metal studs, skulls, leather and crosses)." In the 1980s, a range of sources, from punk and goth music to horror films, influenced metal fashion. Many metal performers of the 1970s and 1980s used radically shaped and brightly colored instruments to enhance their stage appearance. Fashion and personal style was especially important for glam metal bands of the era. Performers typically wore long, dyed, hairspray-teased hair (hence the nickname, "hair metal"); makeup such as lipstick and eyeliner; gaudy clothing, including leopard-skin-printed shirts or vests and tight denim, leather, or spandex pants; and accessories such as headbands and jewelry. Pioneered by the heavy metal act X Japan in the late 1980s, bands in the Japanese movement known as visual kei—which includes many nonmetal groups—emphasize elaborate costumes, hair, and makeup.

Physical gestures

Many metal musicians when performing live engage in headbanging, which involves rhythmically beating time with the head, often emphasized by long hair. The corna, or devil horns, hand gesture, also widespread, was popularized by vocalist Ronnie James Dio while with Black Sabbath and Dio. Gene Simmons of Kiss claims to have been the first to make the gesture in concert.

Attendees of metal concerts do not dance in the usual sense; Deena Weinstein has argued that this is due to the music's largely male audience and "extreme heterosexualist ideology." She identifies two primary body movements that substitute for dancing: headbanging and an arm thrust that is both a sign of appreciation and a rhythmic gesture. The performance of air guitar is popular among metal fans both at concerts and listening to records at home. Other concert audience activities include stage diving, crowd surfing, pushing and shoving in a chaotic mêlée called moshing, and displaying the corna hand symbol.

Fan subculture

Deena Weinstein argues that heavy metal has outlasted many other rock genres largely due to the emergence of an intense, exclusionary, strongly masculine subculture. While the metal fanbase is largely young, white, male, and blue-collar, the group is "tolerant of those outside its core demographic base who follow its codes of dress, appearance, and behavior." Identification with the subculture is strengthened not only by the shared experience of concert-going and shared elements of fashion, but also by contributing to metal magazines and, more recently, websites.

The metal scene has been characterized as a "subculture of alienation", with its own code of authenticity. This code puts several demands on performers: they must appear both completely devoted to their music and loyal to the subculture that supports it; they must appear disinterested in mainstream appeal and radio hits; and they must never "sell out". For the fans themselves, the code promotes "opposition to established authority, and separateness from the rest of society." Musician and filmmaker Rob Zombie observes, "Most of the kids who come to my shows seem like really imaginative kids with a lot of creative energy they don't know what to do with" and that metal is "outsider music for outsiders. Nobody wants to be the weird kid; you just somehow end up being the weird kid. It's kind of like that, but with metal you have all the weird kids in one place." Scholars of metal have noted the tendency of fans to classify and reject some performers (and some other fans) as "posers" "who pretended to be part of the subculture, but who were deemed to lack authenticity and sincerity."

Etymology

The origin of the term "heavy metal" in a musical context is uncertain. The phrase has been used for centuries in chemistry and metallurgy. An early use of the term in modern popular culture was by countercultural writer William S. Burroughs. His 1962 novel ''The Soft Machine'' includes a character known as "Uranian Willy, the Heavy Metal Kid." Burroughs's next novel, ''Nova Express'' (1964), develops the theme, using ''heavy metal'' as a metaphor for addictive drugs: "With their diseases and orgasm drugs and their sexless parasite life forms—Heavy Metal People of Uranus wrapped in cool blue mist of vaporized bank notes—And The Insect People of Minraud with metal music."

Metal historian Ian Christe describes what the components of the term mean in "hippiespeak": "heavy" is roughly synonymous with "potent" or "profound," and "metal" designates a certain type of mood, grinding and weighted as with metal. The word "heavy" in this sense was a basic element of beatnik and later countercultural slang, and references to "heavy music"—typically slower, more amplified variations of standard pop fare—were already common by the mid-1960s. British psychedelic art experimenters Hapshash and the Coloured Coat released a record in 1967 titled ''Featuring the Human Host and the Heavy Metal Kids''. Iron Butterfly's debut album, released in early 1968, was titled ''Heavy''. The first recorded use of "heavy metal" is a reference to a motorcycle in the Steppenwolf song "Born to Be Wild", also released that year: "I like smoke and lightning/Heavy metal thunder/Racin' with the wind/And the feelin' that I'm under." A late, and disputed, claim about the source of the term was made by "Chas" Chandler, former manager of the Jimi Hendrix Experience. In a 1995 interview on the PBS program ''Rock and Roll'', he asserted that heavy metal "was a term originated in a ''New York Times'' article reviewing a Jimi Hendrix performance," in which the author likened the event to "listening to heavy metal falling from the sky." A source for Chandler's claim has never been found.

The first documented use of the phrase to describe a type of rock music identified to date appears in a review by Barry Gifford. In the May 11, 1968, issue of ''Rolling Stone'', he wrote about the album ''A Long Time Comin''' by U.S. band Electric Flag: "Nobody who's been listening to Mike Bloomfield—either talking or playing—in the last few years could have expected this. This is the new soul music, the synthesis of white blues and heavy metal rock." In January 1970 Lucian K. Truscott IV reviewing ''Led Zeppelin II'' for the Village Voice described the sound as "heavy" and made comparisons with Blue Cheer and Vanilla Fudge. Other early documented uses of the phrase are from reviews by critic Mike Saunders. In the November 12, 1970, issue of ''Rolling Stone'', he commented on an album put out the previous year by the British band Humble Pie: "''Safe as Yesterday Is,'' their first American release, proved that Humble Pie could be boring in lots of different ways. Here they were a noisy, unmelodic, heavy metal-leaden shit-rock band with the loud and noisy parts beyond doubt. There were a couple of nice songs...and one monumental pile of refuse." He described the band's latest, self-titled release as "more of the same 27th-rate heavy metal crap." In a review of Sir Lord Baltimore's ''Kingdom Come'' in the May 1971 ''Creem'', Saunders wrote, "Sir Lord Baltimore seems to have down pat most all the best heavy metal tricks in the book." ''Creem'' critic Lester Bangs is credited with popularizing the term via his early 1970s essays on bands such as Led Zeppelin and Black Sabbath. Through the decade, ''heavy metal'' was used by certain critics as a virtually automatic putdown. In 1979, lead ''New York Times'' popular music critic John Rockwell described what he called "heavy-metal rock" as "brutally aggressive music played mostly for minds clouded by drugs," and, in a different article, as "a crude exaggeration of rock basics that appeals to white teenagers."

Coined by Black Sabbath drummer, Bill Ward, "downer rock" was one of the earliest terms used to describe this style of music and was applied to acts such as Sabbath and Bloodrock. Classic Rock magazine described the downer rock culture revolving around the use of Quaaludes and the drinking of wine. Later the term would be replaced by "heavy metal."

The terms "heavy metal" and "hard rock" have often been used interchangeably, particularly in discussing bands of the 1970s, a period when the terms were largely synonymous. For example, the 1983 ''Rolling Stone Encyclopedia of Rock & Roll'' includes this passage: "known for its aggressive blues-based hard-rock style, Aerosmith was the top American heavy-metal band of the mid-Seventies."

History

Antecedents: mid-1960s

While heavy metal's quintessential guitar style, built around distortion-heavy riffs and power chords, traces its roots to the late 1950s instrumentals of American Link Wray, and the Kingsmen's version of "Louie, Louie" (1963), which made it a garage rock standard, the genre's direct lineage begins in the mid-1960s. American blues music was a major influence on the early British rockers of the era. Bands like The Rolling Stones and The Yardbirds developed blues-rock by recording covers of many classic blues songs, often speeding up the tempos. As they experimented with the music, the UK blues-based bands—and the U.S. acts they influenced in turn—developed what would become the hallmarks of heavy metal, in particular, the loud, distorted guitar sound. The Kinks played a major role in popularizing this sound with their 1964 hit "You Really Got Me". "Ticket to Ride" (1965) written by John Lennon (credited to Lennon/McCartney) of The Beatles has been suggested as the first ever heavy metal song, given the droning bassline, repeating drums, and loaded guitar lines.

In addition to The Kinks' Dave Davies, other guitarists such as The Who's Pete Townshend and The Yardbirds' Jeff Beck were experimenting with feedback. Where the blues-rock drumming style started out largely as simple shuffle beats on small kits, drummers began using a more muscular, complex, and amplified approach to match and be heard against the increasingly loud guitar. Vocalists similarly modified their technique and increased their reliance on amplification, often becoming more stylized and dramatic. In terms of sheer volume, especially in live performance, The Who's "bigger-louder-wall-of-Marshalls" approach was seminal.

The combination of blues-rock with psychedelic rock formed much of the original basis for heavy metal. One of the most influential bands in forging the merger of genres was the British power trio Cream, who derived a massive, heavy sound from unison riffing between guitarist Eric Clapton and bassist Jack Bruce, as well as Ginger Baker's double bass drumming. Their first two LPs, ''Fresh Cream'' (1966) and ''Disraeli Gears'' (1967), are regarded as essential prototypes for the future style. The Jimi Hendrix Experience's debut album, ''Are You Experienced'' (1967), was also highly influential. Hendrix's virtuosic technique would be emulated by many metal guitarists and the album's most successful single, "Purple Haze", is identified by some as the first heavy metal hit.During the late sixties, many psychedelic singers such as Arthur Brown, began to create outlandish, theatrical and often macabre performances; which in itself became incredibly influential to many metal acts. Vanilla Fudge, whose first album also came out in 1967, have been called "one of the few American links between psychedelia and what soon became heavy metal."

Origins: late 1960s and early 1970s

In 1968, the sound that would become known as heavy metal began to coalesce. That January, the San Francisco band Blue Cheer released a cover of Eddie Cochran's classic "Summertime Blues", from their debut album ''Vincebus Eruptum'', that many consider the first true heavy metal recording. The same month, Steppenwolf released its self-titled debut album, including "Born to Be Wild", which refers to "heavy metal thunder" in the lyrics. In July, another two epochal records came out: The Yardbirds' "Think About It"—B-side of the band's last single—with a performance by guitarist Jimmy Page anticipating the metal sound he would soon make famous; and Iron Butterfly's ''In-A-Gadda-Da-Vida'', with its 17-minute-long title track, a prime candidate for first-ever heavy metal album. In August, The Beatles' single version of "Revolution", with its redlined guitar and drum sound, set new standards for distortion in a top-selling context.

The Jeff Beck Group, whose leader had preceded Page as The Yardbirds' guitarist, released its debut record that same month: ''Truth'' featured some of the "most molten, barbed, downright funny noises of all time," breaking ground for generations of metal ax-slingers. In October, Page's new band, Led Zeppelin, made its live debut. The Beatles' so-called ''White Album'', which also came out that month, included "Birthday" and "Helter Skelter", then one of the heaviest-sounding songs ever released by a major band, and has been noted for its "proto-metal roar". The Pretty Things' rock opera ''S.F. Sorrow'', released in December, featured "proto heavy metal" songs such as "Old Man Going". In this period MC5s, who began as part of the Detroit garage rock scene, developed a raw distorted style that has been seen as a major influence on the future sound of both heavy metal and later punk music. Pink Floyd released two of their heaviest and loudest songs to date; "Ibiza Bar" and "The Nile Song", which was regarded as "one of the heaviest songs the band recorded". In January 1969, Led Zeppelin's self-titled debut album was released and reached number 10 on the ''Billboard'' album chart. In July, Zeppelin and a power trio with a Cream-inspired, but cruder sound, Grand Funk Railroad, played the Atlanta Pop Festival. That same month, another Cream-rooted trio led by Leslie West released ''Mountain'', an album filled with heavy blues-rock guitar and roaring vocals. In August, the group—now itself dubbed Mountain—played an hour-long set at the Woodstock Festival. Grand Funk's debut album, ''On Time'', also came out that month. In the fall, ''Led Zeppelin II'' went to number 1 and the album's single "Whole Lotta Love" hit number 4 on the ''Billboard'' pop chart. The metal revolution was under way.

Led Zeppelin defined central aspects of the emerging genre, with Page's highly distorted guitar style and singer Robert Plant's dramatic, wailing vocals. Other bands, with a more consistently heavy, "purely" metal sound, would prove equally important in codifying the genre. The 1970 releases by Black Sabbath (''Black Sabbath'' and ''Paranoid'') and Deep Purple (''In Rock'') were crucial in this regard. Black Sabbath had developed a particularly heavy sound in part due to an industrial accident guitarist Tony Iommi suffered before cofounding the band. Unable to play normally, Iommi had to tune his guitar down for easier fretting and rely on power chords with their relatively simple fingering. Deep Purple had fluctuated between styles in its early years, but by 1969 vocalist Ian Gillan and guitarist Ritchie Blackmore had led the band toward the developing heavy metal style. In 1970, Black Sabbath and Deep Purple scored major UK chart hits with "Paranoid" and "Black Night", respectively. That same year, two other British bands released debut albums in a heavy metal mode: Uriah Heep with ''Very 'eavy... Very 'umble'' and UFO with ''UFO 1''. Budgie brought the new metal sound into a power trio context. The occult lyrics and imagery employed by Black Sabbath and Uriah Heep would prove particularly influential; Led Zeppelin also began foregrounding such elements with its fourth album, released in 1971. On the other side of the Atlantic, the trend-setting group was Grand Funk Railroad, "the most commercially successful American heavy-metal band from 1970 until they disbanded in 1976, [they] established the Seventies success formula: continuous touring." Other bands identified with metal emerged in the U.S., such as Dust (first LP in 1971), Blue Öyster Cult (1972), and Kiss (1974). In Germany, Scorpions debuted with ''Lonesome Crow'' in 1972. Blackmore, who had emerged as a virtuoso soloist with Deep Purple's ''Machine Head'' (1972), quit the group in 1975 to form Rainbow. These bands also built audiences via constant touring and increasingly elaborate stage shows. As described above, there are arguments about whether these and other early bands truly qualify as "heavy metal" or simply as "hard rock". Those closer to the music's blues roots or placing greater emphasis on melody are now commonly ascribed the latter label. AC/DC, which debuted with ''High Voltage'' in 1975, is a prime example. The 1983 ''Rolling Stone'' encyclopedia entry begins, "Australian heavy-metal band AC/DC..." Rock historian Clinton Walker writes, "Calling AC/DC a heavy metal band in the seventies was as inaccurate as it is today.... [They] were a rock 'n' roll band that just happened to be heavy enough for metal." The issue is not only one of shifting definitions, but also a persistent distinction between musical style and audience identification: Ian Christe describes how the band "became the stepping-stone that led huge numbers of hard rock fans into heavy metal perdition."

In certain cases, there is little debate. After Black Sabbath, the next major example is Britain's Judas Priest, which debuted with ''Rocka Rolla'' in 1974. In Christe's description,

"Black Sabbath's audience was...left to scavenge for sounds with similar impact. By the mid-1970s, heavy metal aesthetic could be spotted, like a mythical beast, in the moody bass and complex dual guitars of Thin Lizzy, in the stagecraft of Alice Cooper, in the sizzling guitar and showy vocals of Queen, and in the thundering medieval questions of Rainbow.... Judas Priest arrived to unify and amplify these diverse highlights from hard rock's sonic palette. For the first time, heavy metal became a true genre unto itself."

Though Judas Priest did not have a top 40 album in the U.S. until 1980, for many it was the definitive post-Sabbath heavy metal band; its twin-guitar attack, featuring rapid tempos and a nonbluesy, more cleanly metallic sound, was a major influence on later acts. While heavy metal was growing in popularity, most critics were not enamored of the music. Objections were raised to metal's adoption of visual spectacle and other trappings of commercial artifice, but the main offense was its perceived musical and lyrical vacuity: reviewing a Black Sabbath album in the early 1970s, leading critic Robert Christgau described it as "dull and decadent...dim-witted, amoral exploitation."

Mainstream: late 1970s and 1980s

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. 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", do it yourself ethos. Underground metal bands began putting out cheaply recorded releases independently to small, devoted audiences. 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 papers such as the ''NME'' and ''Sounds'' took notice, with ''Sounds'' writer Geoff Barton christening the movement the "New Wave of British Heavy Metal". NWOBHM bands including Iron Maiden, Saxon, and Def Leppard reenergized 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. In 1980, the NWOBHM broke into the mainstream, as albums by Iron Maiden and Saxon, as well as Motörhead, reached the British top 10. Though less commercially successful, other NWOBHM bands such as Venom and Diamond Head would have a significant influence on metal's development. In 1981, Motörhead became the first of this new breed of metal bands to top the UK charts with ''No Sleep 'til Hammersmith''.

The first generation of metal bands was ceding the limelight. Deep Purple had broken up soon after Blackmore's departure in 1975, and Led Zeppelin broke up following drummer John Bonham's death in 1980. Black Sabbath was routinely upstaged in concert by its opening act, the Los Angeles band Van Halen. Eddie Van Halen established himself as one of the leading metal guitar virtuosos of the era—his solo on "Eruption", from the band's self-titled 1978 album, is considered a milestone. Randy Rhoads and Yngwie Malmsteen also became famed virtuosos, associated with what would be known as the neoclassical metal style. The adoption of classical elements had been spearheaded by Blackmore and the Scorpions' Uli Jon Roth; this next generation progressed to occasionally using classical nylon-stringed guitars, as Rhoads does on "Dee" from former Sabbath lead singer Ozzy Osbourne's first solo album, ''Blizzard of Ozz'' (1980).

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 Quiet Riot, Ratt, Mötley Crüe, and W.A.S.P. were influenced by traditional heavy metal of the earlier 1970s and incorporated the theatrics (and sometimes makeup) of glam rock acts such as Alice Cooper and Kiss. The lyrics of these glam metal bands characteristically emphasized hedonism and wild behavior. Musically, the style was distinguished by rapid-fire shred guitar solos, anthemic choruses, and a relatively pop-oriented melodic approach. The glam metal movement—along with similarly styled acts such as New York's Twisted Sister—became a major force in metal and the wider spectrum of rock music.

In the wake of the New Wave of British Heavy Metal and Judas Priest's breakthrough ''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. Def Leppard's videos for ''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. Between 1983 and 1984, heavy metal went from an 8 percent to a 20 percent share of all recordings sold in the U.S. 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."

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 and acts from the East Coast like Poison and 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 became international stars with ''The Final Countdown'' (1986). Its title track hit number 1 in 25 countries. In 1987, MTV launched a show, ''Headbanger's Ball'', 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."

One band that reached diverse audiences was Guns N' Roses. In contrast to their glam metal contemporaries in L.A., they were seen as much more raw and dangerous. With the release of their chart-topping ''Appetite for Destruction'' (1987), they "recharged and almost single-handedly sustained the Sunset Strip sleaze system for several years." The following year, Jane's Addiction emerged from the same L.A. hard-rock club scene with its major label debut, ''Nothing's Shocking''. Reviewing the album, ''Rolling Stone'' declared, "as much as any band in existence, Jane's Addiction is the true heir to Led Zeppelin." 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 such as New York's Winger and New Jersey's Skid Row sustained the popularity of the glam metal style.

Other metal genres: 1980s, 1990s, and 2000s

Many subgenres of heavy metal developed outside of the commercial mainstream during the 1980s. Several attempts have been made to map the complex world of underground metal, most notably by the editors of Allmusic, as well as critic Garry Sharpe-Young. Sharpe-Young's multivolume metal encyclopedia separates the underground into five major categories: thrash metal, death metal, black metal, power metal, and the related subgenres of doom and gothic metal.

Thrash metal

Thrash metal emerged in the early 1980s under the influence of hardcore punk and the New Wave of British Heavy Metal, particularly songs in the revved-up style known as speed metal. The movement began in the United States, with Bay Area thrash metal being the leading scene. The sound developed by thrash groups was faster and more aggressive than that of the original metal bands and their glam metal successors. Low-register guitar riffs are typically overlaid with shredding leads. Lyrics often express nihilistic views or deal with social issues using visceral, gory language. Thrash has been described as a form of "urban blight music" and "a palefaced cousin of rap."

The subgenre was popularized by the "Big Four of Thrash": Metallica, Anthrax, Megadeth, and Slayer. Three German bands, Kreator, Sodom, and Destruction, played a central role in bringing the style to Europe. Others, including San Francisco Bay Area's Testament and Exodus, New Jersey's Overkill, and Brazil's Sepultura, also had a significant impact. While thrash began as an underground scene, and remained largely that for almost a decade, the leading bands in the movement began to reach a wider audience. Metallica brought the sound into the top 40 of the ''Billboard'' album chart in 1986 with ''Master of Puppets''; two years later, the band's ''...And Justice for All'' hit number 6, while Megadeth and Anthrax had top 40 records.

Though less commercially successful than the rest of the Big Four, Slayer released one of the genre's definitive records: ''Reign in Blood'' (1986) was described by ''Kerrang!'' as the "heaviest album of all time." Two decades later, ''Metal Hammer'' named it the best album of the preceding twenty years. Slayer attracted a following among far-right skinheads, and accusations of promoting violence and Nazi themes have dogged the band. In the early 1990s, thrash achieved breakout success, challenging and redefining the metal mainstream. Metallica's self-titled 1991 album topped the ''Billboard'' chart, Megadeth's ''Countdown to Extinction'' (1992) hit number 2, Anthrax and Slayer cracked the top 10, and albums by regional bands such as Testament and Sepultura entered the top 100.

Death metal

Thrash soon began to evolve and split into more extreme metal genres. "Slayer's music was directly responsible for the rise of death metal," according to MTV News. The NWOBHM band Venom was also an important progenitor. The death metal movement in both North America and Europe adopted and emphasized the elements of blasphemy and diabolism employed by such acts. Florida's Death and the Bay Area's Possessed are recognized as seminal bands in the style. Both groups have been credited with inspiring the subgenre's name, the latter via its 1984 demo ''Death Metal'' and the song "Death Metal," from its 1985 debut album ''Seven Churches'' (1985).

Death metal utilizes the speed and aggression of both thrash and hardcore, fused with lyrics preoccupied with Z-grade slasher movie violence and Satanism. Death metal vocals are typically bleak, involving guttural "death growls," high-pitched screaming, the "death rasp," and other uncommon techniques. Complementing the deep, aggressive vocal style are downtuned, highly distorted guitars and extremely fast percussion, often with rapid double bass drumming and "wall of sound"–style blast beats. Frequent tempo and time signature changes and syncopation are also typical.

Death metal, like thrash metal, generally rejects the theatrics of earlier metal styles, opting instead for an everyday look of ripped jeans and plain leather jackets. One major exception to this rule was Deicide's Glen Benton, who branded an inverted cross on his forehead and wore armor on stage. Morbid Angel adopted neo-fascist imagery. These two bands, along with Death and Obituary, were leaders of the major death metal scene that emerged in Florida in the mid-1980s. In the UK, the related style of grindcore, led by bands such as Napalm Death and Extreme Noise Terror, emerged out of the anarcho-punk movement.

Black metal

The first wave of black metal emerged in Europe in the early and mid-1980s, led by Britain's Venom, Denmark's Mercyful Fate, Switzerland's Hellhammer and Celtic Frost, and Sweden's Bathory. By the late 1980s, Norwegian bands such as Mayhem and Burzum were heading a second wave. Black metal varies considerably in style and production quality, although most bands emphasize shrieked and growled vocals, highly distorted guitars frequently played with rapid tremolo picking, a "dark" atmosphere Satanic themes are common in black metal, though many bands take inspiration from ancient paganism, promoting a return to pre-Christian values. Numerous black metal bands also "experiment with sounds from all possible forms of metal, folk, classical music, electronica and avant-garde." Darkthrone drummer Fenriz explains, "It had something to do with production, lyrics, the way they dressed and a commitment to making ugly, raw, grim stuff. There wasn't a generic sound."

By 1990, Mayhem was regularly wearing corpsepaint; many other black metal acts also adopted the look. Bathory inspired the Viking metal and folk metal movements and Immortal brought blast beats to the fore. Some bands in the Scandinavian black metal scene became associated with considerable violence in the early 1990s, with Mayhem and Burzum linked to church burnings. Growing commercial hype around death metal generated a backlash; beginning in Norway, much of the Scandinavian metal underground shifted to support a black metal scene that resisted being co-opted by the commercial metal industry. According to former Gorgoroth vocalist Gaahl, "Black Metal was never meant to reach an audience.... [We] had a common enemy which was, of course, Christianity, socialism and everything that democracy stands for."

By 1992, black metal scenes had begun to emerge in areas outside Scandinavia, including Germany, France, and Poland. The 1993 murder of Mayhem's Euronymous by Burzum's Varg Vikernes provoked intensive media coverage. Around 1996, when many in the scene felt the genre was stagnating, several key bands, including Burzum and Finland's Beherit, moved toward an ambient style, while symphonic black metal was explored by Sweden's Tiamat and Switzerland's Samael. In the late 1990s and early 2000s decade, Norway's Dimmu Borgir brought black metal closer to the mainstream, as did Cradle of Filth, which ''Metal Hammer'' calls England's most successful metal band since Iron Maiden.

Power metal

During the late 1980s, the power metal scene came together largely in reaction to the harshness of death and black metal. Though a relatively underground style in North America, it enjoys wide popularity in Europe, Japan, and South America. Power metal focuses on upbeat, epic melodies and themes that "appeal to the listener's sense of valor and loveliness." The prototype for the sound was established in the mid-to-late 1980s by Germany's Helloween, which combined the power riffs, melodic approach, and high-pitched, "clean" singing style of bands like Judas Priest and Iron Maiden with thrash's speed and energy, "crystalliz[ing] the sonic ingredients of what is now known as power metal."

Traditional power metal bands like Sweden's HammerFall, England's DragonForce, and Florida's Iced Earth have a sound clearly indebted to the classic NWOBHM style. Many power metal bands such as Florida's Kamelot, Finland's Nightwish, Italy's Rhapsody of Fire, and Russia's Catharsis feature a keyboard-based "symphonic" sound, sometimes employing orchestras and opera singers. Power metal has built a strong fanbase in Japan and South America, where bands like Brazil's Angra and Argentina's Rata Blanca are popular.

Closely related to power metal is progressive metal, which adopts the complex compositional approach of bands like Rush and King Crimson. This style emerged in the United States in the early and mid-1980s, with innovators such as Queensrÿche, Fates Warning, and Dream Theater. The mix of the progressive and power metal sounds is typified by New Jersey's Symphony X, whose guitarist Michael Romeo is among the most recognized of latter-day shredders.

Doom and gothic metal

Emerging in the mid-1980s with such bands as California's Saint Vitus, Maryland's The Obsessed, Chicago's Trouble, and Sweden's Candlemass, the doom metal movement rejected other metal styles' emphasis on speed, slowing its music to a crawl. Doom metal traces its roots to the lyrical themes and musical approach of early Black Sabbath. The Melvins have also been a significant influence on doom metal and a number of its subgenres. Doom emphasizes melody, melancholy tempos, and a sepulchral mood relative to many other varieties of metal.

The 1991 release of ''Forest of Equilibrium'', the debut album by UK band Cathedral, helped spark a new wave of doom metal. During the same period, the doom-death fusion style of British bands Paradise Lost, My Dying Bride, and Anathema gave rise to European gothic metal, with its signature dual-vocalist arrangements, exemplified by Norway's Theatre of Tragedy and Tristania. New York's Type O Negative introduced an American take on the style.

In the United States, sludge metal, mixing doom and hardcore, emerged in the late 1980s—Eyehategod and Crowbar were leaders in a major Louisiana sludge scene. Early in the next decade, California's Kyuss and Sleep, inspired by the earlier doom metal bands, spearheaded the rise of stoner metal, while Seattle's Earth helped develop the drone metal subgenre. The late 1990s saw new bands form such as the Los Angeles–based Goatsnake, with a classic stoner/doom sound, and Sunn O))), which crosses lines between doom, drone, and dark ambient metal—the ''New York Times'' has compared their sound to an "Indian raga in the middle of an earthquake".

New fusions: 1990s and early 2000s

The era of metal's mainstream dominance in North America came to an end in the early 1990s with the emergence of Nirvana and other grunge bands, signaling the popular breakthrough of alternative rock. Grunge acts were influenced by the heavy metal sound, but rejected the excesses of the more popular metal bands, such as their "flashy and virtuosic solos" and "appearance-driven" MTV orientation.

Glam metal fell out of favor due not only to the success of grunge, but also because of the growing popularity of the more aggressive sound typified by Metallica and the post-thrash groove metal of Pantera and White Zombie. A few new, unambiguously metal bands had commercial success during the first half of the decade—Pantera's ''Far Beyond Driven'' topped the ''Billboard'' chart in 1994—but, "In the dull eyes of the mainstream, metal was dead." Some bands tried to adapt to the new musical landscape. Metallica revamped its image: the band members cut their hair and, in 1996, headlined the alternative musical festival Lollapalooza founded by Jane's Addiction singer Perry Farrell. While this prompted a backlash among some long-time fans, Metallica remained one of the most successful bands in the world into the new century. Like Jane's Addiction, many of the most popular early 1990s groups with roots in heavy metal fall under the umbrella term "alternative metal." Bands in Seattle's grunge scene such as Soundgarden, credited as making a "place for heavy metal in alternative rock", and Alice in Chains were at the center of the alternative metal movement. The label was applied to a wide spectrum of other acts that fused metal with different styles: Faith No More combined their alternative rock sound with punk, funk, metal, and hip hop; Primus joined elements of funk, punk, thrash metal, and experimental music; Tool mixed metal and progressive rock; bands such as Fear Factory and Ministry and Nine Inch Nails began incorporating metal into their industrial sound, and vice versa, respectively; and Marilyn Manson went down a similar route, while also employing shock effects of the sort popularized by Alice Cooper. Alternative metal artists, though they did not represent a cohesive scene, were united by their willingness to experiment with the metal genre and their rejection of glam metal aesthetics (with the stagecraft of Marilyn Manson and White Zombie—also identified with alt-metal—significant, if partial, exceptions). Alternative metal's mix of styles and sounds represented "the colorful results of metal opening up to face the outside world."

In the mid- and late 1990s came a new wave of U.S. metal groups inspired by the alternative metal bands and their mix of genres. Dubbed "nu metal", bands such as Slipknot, Linkin Park, Limp Bizkit, Papa Roach, P.O.D., Korn, Disturbed and Rammstein incorporated elements ranging from death metal to hip hop, often including DJs and rap-style vocals. The mix demonstrated that "pancultural metal could pay off." Nu metal gained mainstream success through heavy MTV rotation and Ozzy Osbourne's 1996 introduction of Ozzfest, which led the media to talk of a resurgence of heavy metal. In 1999, ''Billboard'' noted that there were more than 500 specialty metal radio shows in the U.S., nearly three times as many as ten years before. While nu metal was widely popular, traditional metal fans did not fully embrace the style. By early 2003, the movement's popularity was on the wane, though several nu metal acts such as System Of A Down retained substantial followings.

Recent trends: mid–late 2000s

Metal remained popular in the 2000s, particularly in continental Europe. By the new millennium Scandinavia had emerged as one of the areas producing innovative and successful bands, while Belgium, Holland and especially Germany were the most significant markets. Established continental metal bands that placed multiple albums in the top 20 of the German charts between 2003 and 2008, including Finnish band Children of Bodom, Norwegian act Dimmu Borgir, Germany's Blind Guardian and Sweden's HammerFall.

Metalcore, an originally American hybrid of thrash metal and hardcore punk, emerged as a commercial force in the mid-2000s decade. It is rooted in the crossover thrash style developed two decades earlier by bands such as Suicidal Tendencies, Dirty Rotten Imbeciles, and Stormtroopers of Death. Through the 1990s, metalcore was mostly an underground phenomenon. By 2004, melodic metalcore—influenced as well by melodic death metal—was popular enough that Killswitch Engage's ''The End of Heartache'' and Shadows Fall's ''The War Within'' debuted at numbers 21 and 20, respectively, on the ''Billboard'' album chart.

Bullet for My Valentine of Wales' 3rd studio album ''Fever'' debuted at position number 3 on The Billboard 200 and number 1 on Billboard's Rock and Alternative charts, making it the band's most successful record to date. In recent years, metalcore bands have received prominent slots at Ozzfest and the Download Festival. Lamb of God, with a related blend of metal styles, hit the ''Billboard'' top 10 in 2006 with ''Sacrament''. The success of these bands and others such as Trivium, which has released both metalcore and straight-ahead thrash albums, and Mastodon, which plays in a progressive/sludge style, has inspired claims of a metal revival in the United States, dubbed by some critics the "New Wave of American Heavy Metal".

The term "retro-metal" has been applied to such bands as Australia's Wolfmother and Airbourne. Wolfmother's self-titled 2005 debut album had "Deep Purple-ish organs," "Jimmy Page-worthy chordal riffing," and lead singer Andrew Stockdale howling "notes that Robert Plant can't reach anymore." "Woman", a track from the album, won for Best Hard Rock Performance at the 2007 Grammy Awards. Slayer's "Eyes of the Insane" won for Best Metal Performance in 2007; their "Final Six" won the same award in 2008. Metallica took the honor in 2009 for "My Apocalypse".

See also

Heavy metal subgenres

List of heavy metal bands

List of heavy metal festivals

Timeline of heavy metal music

Notes

References

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External links

[ Allmusic] entry for heavy metal

Category:Rock music Category:Rock music genres Category:American styles of music Category:European music

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name	Mark Knopfler
background	solo_singer
birth name	Mark Freuder Knopfler
born	August 12, 1949Glasgow, Scotland
origin	Newcastle upon Tyne, England
instrument	Vocals, guitar
genre	RockRoots rockCeltic rockCountry rockBlues-rock
occupation	Musician, Songwriter, Record producer, Film score composer
years active	1965–present
label	Vertigo, Mercury, Warner
associated acts	Dire StraitsThe Notting HillbilliesChet AtkinsEmmylou HarrisBob DylanEric ClaptonSonny Landreth
website	MarkKnopfler.com
notable instruments	Mark Knopfler StratocasterFender TelecasterGibson Les PaulPensa Custom MKIISteinberger GL-2 }}

Mark Freuder Knopfler, OBE (born 12 August 1949) is a British guitarist, singer, songwriter, record producer and film score composer. He is best known as the lead guitarist, vocalist, and songwriter for the British rock band Dire Straits, which he co-founded in 1977. After Dire Straits disbanded in 1995, Knopfler went on to record and produce six solo albums, including ''Golden Heart'' (1996), ''Sailing to Philadelphia'' (2000), and ''Get Lucky'' (2009). He has composed and produced film scores for eight films, including ''Local Hero'' (1983), ''Cal'' (1984), and ''The Princess Bride'' (1987). In addition to his work with Dire Straits and as a solo artist and composer, Knopfler has recorded and performed with many prominant musical artists, including Chet Atkins, The Chieftains, Eric Clapton, Bob Dylan, Emmylou Harris, Jools Holland, Sonny Landreth, and Van Morrison. He has produced albums for such artists as Tina Turner, Bob Dylan, and Randy Newman.

Knopfler is one of the most respected fingerstyle guitarists of the modern rock era, and was ranked 27th on ''Rolling Stone'' magazine's list of 100 Greatest Guitarists of All Time. Knopfler and Dire Straits have sold in excess of 120 million albums to date. A four-time Grammy Award winner, Knopfler is the recipient of the Edison Award and the Steiger Award, and holds three honorary doctorate degrees in music from universities in the United Kingdom.

Early life (1949–1976)

Mark Freuder Knopfler was born on 12 August 1949 in Glasgow, Scotland, to an English mother and Hungarian Jewish father—an architect whose anti-fascist sympathies forced him to flee from his native Hungary. The family settled in Knopfler's mother's home town of Blyth, Northumberland in North East England when he was 7 years old. He and his younger brother David attended Gosforth Grammar School. Inspired by his uncle Kingsley's harmonica and boogie-woogie piano playing, he wanted to buy an expensive Fiesta Red Fender Stratocaster just like Hank Marvin's, but had to settle for a £50 twin-pick-up Höfner Super Solid. During the 1960s, he formed and joined schoolboy bands and listened to singers like Elvis Presley and guitarists Chet Atkins, Scotty Moore, B.B King, Django Reinhardt, Hank Marvin, and James Burton. At 16, he made a local TV appearance as part of a harmony duo, with his classmate Sue Hercombe.

In 1968, after studying journalism for a year at Harlow Technical College, Knopfler was hired as a junior reporter in Leeds for the ''Yorkshire Evening Post''. Two years later, he decided to further his studies, and went on to graduate with a degree in English at the University of Leeds. In April 1970, while living in Leeds, Knopfler recorded a demo disk of an original song he'd written, "Summer's Coming My Way". The recording included Mark Knopfler (guitar and vocals), Steve Phillips (second guitar), Dave Johnson (bass), and Paul Granger (percussion). Johnson, Granger, and vocalist Mick Dewhirst played with Mark in the band Silverheels.

Upon graduation in 1973, Knopfler moved to London and joined a High Wycombe-based band called Brewers Droop, appearing on the album ''The Booze Brothers''. One night while spending some time with friends, the only guitar available was an old acoustic with a badly warped neck that had been strung with extra-light strings to make it playable. Even so, he found it impossible to play unless he finger-picked it. He said in a later interview, "That was where I found my 'voice' on guitar." After a brief stint with Brewers Droop, Knopfler took a job as a lecturer at Loughton College in Essex—a position he held for three years. Throughout this time, he continued performing with local pub bands, including the Café Racers. He also formed a duo with long-time associate bluesman Steve Phillips called The Duolian String Pickers.

By the mid-1970s, Knopfler devoted much of his musical energies to his group, the Café Racers. His brother David moved to London, where he shared a flat with John Illsley—a guitarist who changed over to bass guitar. In April 1977, Mark gave up his flat in Buckhurst Hill and moved in with David and John. The three began playing music together, and soon Mark invited John to join the Café Racers.

Dire Straits (1977–1995)

Dire Straits' first demos were done in three sessions during 1977, with Pick Withers as drummer, David Knopfler as rhythm guitarist and John Illsley on bass guitar. On 27 July 1977 they recorded the now famous demo tapes of five songs: "Wild West End", "Sultans of Swing", "Down To The Waterline", "Sacred Loving" (a David Knopfler song) and "Water of Love". In what was probably October they recorded "Southbound Again", "In The Gallery" and "Six Blade Knife" for BBC Radio London and, finally, on 9 November demo tapes were made of "Setting Me Up", "Eastbound Train" and "Real Girl". Many of these songs reflected Mark's experiences in Newcastle, Leeds and London, and were to be featured on their first album, the self-titled ''Dire Straits'' which was released in the following year: "Down To The Waterline" recalled images of life in Newcastle; "In The Gallery" is a tribute to a Leeds sculptor/artist named Harry Phillips, (father of Steve Phillips); and "Lions", "Wild West End" and "Eastbound Train" were all drawn from Mark's early days in the capital.

Initially on its release, ''Dire Straits'' received little fanfare in the UK, but when "Sultans of Swing" was released as a single it became a chart hit in The Netherlands and album sales took off across Europe and then in the United States and Canada, and finally the UK. The group's second album, ''Communiqué'', produced by Jerry Wexler and Barry Beckett, followed in 1979, reaching number one in France while the first album was still at number three.

There were frequent personnel changes within Dire Straits after the release of their third album ''Making Movies'', with Mark Knopfler increasingly becoming the driving force behind the group. Released in 1980, ''Making Movies'' marked a move towards more complex arrangements and production which continued for the remainder of the group's career. The album included many of Mark Knopfler's most personal compositions, most notably "Romeo and Juliet" and "Tunnel of Love". ''Love over Gold'' followed in 1982 and included the UK #2 hit "Private Investigations", "Telegraph Road", "Industrial Disease" and "It Never Rains" as well as the title track to that album.

With ''Love Over Gold'' still in the albums charts, the band released a four-song EP titled ''ExtendedancEPlay'' in early 1983. Featuring the hit single "Twisting By the Pool", this was the first output by the band that featured new drummer Terry Williams, (formerly of Rockpile), who had replaced Pick Withers in November 1982. A world tour followed later in 1983, and in March 1984 the double album ''Alchemy Live'' was released. ''Alchemy Live'' documented the recordings of two live shows in Hammersmith Odeon in London in July 1983, and reached number three in the UK Albums Chart.

During 1983 and 1984 Knopfler was involved with other projects as well, including writing and producing the music score to the film ''Local Hero'' which was a large success, and it was followed in 1984 by his scores for the films ''Cal'' and ''Comfort and Joy''. Also during this time Knopfler produced Bob Dylan's ''Infidels'' album, as well as Aztec Camera and Willy DeVille; he also wrote ''Private Dancer'' for Tina Turner's comeback album of the same name. Dire Straits' biggest studio album by far was their fifth, ''Brothers in Arms,'' recorded at Air Studios Montserrat and released in May 1985. It became an international blockbuster which has now sold more than 30 million copies worldwide, and is the fourth best selling album in UK chart history. ''Brothers In Arms'' spawned several chart singles including the US # 1 hit "Money for Nothing", which was the first video ever to be played on MTV in Britain. It was also the first compact disc to sell a million copies and is largely credited for launching the CD format as it was also one of the first DDD CDs ever released. Other successful singles were "So Far Away", "Walk of Life", and the album's title track. The band's 1985–86 world tour of over 230 shows was immensely successful.

After the ''Brothers in Arms'' tour Dire Straits ceased to work together for some time, Knopfler concentrating mainly on film soundtracks. Knopfler joined the charity ensemble Ferry Aid on "Let It Be" in the wake of the Zeebrugge ferry disaster. The song reached #1 on the UK singles chart in March 1987. Knopfler wrote the music score for the film ''The Princess Bride'' which was released at the end of 1987.

Mark Knopfler also took part in a comedy skit (featured on the French and Saunders Show) titled "The Easy Guitar Book Sketch" with comedian Rowland Rivron and fellow British musicians David Gilmour, Lemmy from Motorhead, Mark King from Level 42, and Gary Moore. Phil Taylor explained in an interview that Knopfler used Gilmour's guitar rig and managed to sound like himself when performing in the skit.

Dire Straits regrouped for the 11 June 1988 Nelson Mandela 70th Birthday Tribute concert at Wembley Stadium, in which they were the headline act, and were accompanied by Elton John and Eric Clapton, who by this time had developed a strong friendship with Knopfler. Shortly after this, drummer Terry Williams left the band. In September 1988 Mark Knopfler announced the official dissolution of Dire Straits, saying that he "needed a rest", and in October 1988, a "best of" album, ''Money for Nothing'', was released and reached number one in the United Kingdom.

In 1989 Knopfler formed The Notting Hillbillies, a band at the other end of the commercial spectrum. It leaned heavily towards American roots music - folk, blues and country music. The band members included keyboardist Guy Fletcher, with Brendan Croker and Steve Phillips. For both the album and the tour Paul Franklin was added to the line-up on pedal steel. The Notting Hillbillies sole studio album, ''Missing...Presumed Having a Good Time'' was released in 1990, and Knopfler then toured with the Notting Hillbillies for the remainder of that year. He further emphasized his country music influences with his 1990s collaboration with Chet Atkins, ''Neck and Neck''. The Hillbillies toured the UK in early 1990 with a limited number of shows, it was strictly low key, packing out smaller venues, such as Newcastle University.

In 1990 Knopfler, John Illsley, and Alan Clark performed as Dire Straits at the Knebworth gig, joined by Eric Clapton, Ray Cooper, and guitarist Phil Palmer (who was at that time part of Eric Clapton's touring band), and in January the following year, Knopfler, John Illsley and manager Ed Bicknell decided to reform Dire Straits. Knopfler, Illsley, Alan Clark, and Guy Fletcher set about recording what turned out to be their final studio album accompanied by several part-time sidemen, including Phil Palmer, Paul Franklin, percussionist Danny Cummings and Toto drummer Jeff Porcaro.

The follow-up to ''Brothers In Arms'' was finally released in September 1991. ''On Every Street'' was nowhere near as popular as its predecessor, and met with a mixed critical reaction, with some reviewers regarding the album as an underwhelming comeback after a six year break. Nonetheless, the album sold well and reached #1 in the UK. A gruelling world tour to accompany the album followed, which lasted until the end of 1992. This was to be Dire Straits' final world tour; it was not as well received as the previous ''Brothers In Arms'' tour, and by this time Mark Knopfler had had enough of such massive operations. This drove the band into the ground, and ultimately led to the group's final dissolution in 1995.

Following the tour, Knopfler took some time off from the music business. In 1993, he received an honorary music doctorate from the University of Newcastle upon Tyne. Two more Dire Straits albums were released, both live albums. ''On the Night'', released in May 1993, documented Dire Straits' final world tour. In 1995, following the release of ''Live at the BBC'', Mark Knopfler quietly dissolved Dire Straits and launched his career as a solo artist.

Since the break-up of Dire Straits, Knopfler has shown no interest in reforming the group. However, keyboardist Guy Fletcher has been associated with almost every piece of Knopfler's solo material to date, while Danny Cummings has also contributed frequently, including Knopfler's last three solo album releases ''All the Roadrunning'' (with Emmylou Harris), ''Kill to Get Crimson'' and ''Get Lucky''. In October 2008 Knopfler declined a suggestion by John Illsley that the band should reform. Illsley said that a reunion would be "entirely up to Mark", however he also suggested that Knopfler was enjoying his continued success as a solo artist, saying that "He's doing incredibly well as a solo artist, so hats off to him. He's having a perfectly good time doing what he's doing". Knopfler meanwhile is quoted as saying "Oh, I don't know whether to start getting all that stuff back together again", and that the global fame that came his way in the 1980s "just got too big".

Solo career (1996–present)

Mark Knopfler's first solo album, ''Golden Heart'', featuring the UK single "Darling Pretty", was released in March 1996. During the recording sessions for the album the main line-up of Knopfler's backing band, also known as "The 96ers," was formed, featuring Knopfler's old bandmate Guy Fletcher on keyboards, and has lasted much longer than any Dire Straits line-up.

Also in 1996, Mark Knopfler recorded guitar for Ted Christopher's Dunblane massacre tribute cover of Knocking on Heaven's Door

In 1997 Knopfler recorded the soundtrack for the movie ''Wag the Dog''. During that same year ''Rolling Stone'' magazine listed "Rock 'n' Roll Hall of Fame's 500 Songs That Shaped Rock and Roll", which included "Sultans of Swing", Dire Straits' first hit. 2000 saw the release of Knopfler's next solo album, ''Sailing to Philadelphia.'' This has been his most successful to date, possibly helped by the number of collaborators to the album like Van Morrison.

In 2002 Mark Knopfler gave four charity concerts with former Dire Straits members John Illsley, Chris White, Danny Cummings and Guy Fletcher, playing old material from the Dire Straits years. The concerts also featured The Notting Hillbillies with Brendan Croker and Steve Phillips. At these four concerts (three of the four were at the Shepherd's Bush, the fourth at Beaulieu on the south coast) they were joined by Jimmy Nail, who provided backing vocals for Knopfler's 2002 composition "Why Aye Man".

Also in 2002 Knopfler released his third solo album, ''The Ragpicker's Dream''. However, in March 2003 he was involved in a motorbike crash in Grosvenor Road, Belgravia and suffered a broken collarbone, broken shoulder blade and seven broken ribs. The planned ''Ragpicker's Dream'' tour was subsequently cancelled, but Knopfler recovered and was able to return to the stage in 2004 for his fourth album, ''Shangri-La.''

''Shangri-La'' was recorded at the Shangri-La Studio in Malibu, California in 2004, where The Band made recordings years before for their documentary/movie, ''The Last Waltz.'' In the promo for "Shangri-La" on his official website he said that his current line-up of Glenn Worf (bass), Guy Fletcher (keyboards), Chad Cromwell (drums), Richard Bennett (guitar) and Matt Rollings (piano) "play Dire Straits songs better than Dire Straits did." The "Shangri-La" tour took Knopfler to countries such as India and the United Arab Emirates for the first time. In India, his concerts at Mumbai and Bangalore were very well received, with over 20,000 fans gathering at each concert to listen to a legend many thought would never visit their country.

In November 2005 a compilation, ''The Best of Dire Straits & Mark Knopfler: Private Investigations'' was released, consisting of material from most of Dire Straits' studio albums and Knopfler's solo and soundtrack material. The album was made available in two editions, as a single CD (with a grey cover) and as a double CD (with the cover in blue), and was well-received. The only previously unreleased track on the album is "All the Roadrunning", a duet with country music singer Emmylou Harris, which was followed in 2006 by an album of duets of the same name.

Released in April 2006, ''All the Roadrunning'' reached #1 in Denmark and Switzerland, #2 in Norway and Sweden, #3 in Germany, Holland and Italy, #8 in Austria and UK, #9 in Spain, #17 in the United States (''Billboard'' Top 200 Chart), #25 in Ireland and #41 in Australia. ''All the Roadrunning'' was nominated for "Best Folk Rock/Americana Album" at the 49th Grammy Awards (11 February 2007) but lost out to Bob Dylan's nomination for ''Modern Times''.

Joined by Emmylou Harris, Knopfler supported ''All the Roadrunning'' with a limited – 15 gigs in Europe, 1 in Canada and 8 in the USA – but highly successful tour of Europe and N America. Selections from the duo's 28 June performance at the Gibson Amphitheatre, Universal City, California, were released as a DVD entitled ''Real Live Roadrunning'' on 14 November 2006. In addition to several of the compositions that Harris and Knopfler recorded together in the studio, ''Real Live Roadrunning'' features solo hits from both members of the duo, as well as three tracks from Knopfler's days with Dire Straits.

A charity event in 2007 went wrong. A Fender Stratocaster guitar signed by Knopfler, Clapton, Brian May, and Jimmy Page was to be auctioned for £20,000 to raise the money for a children's hospice, was lost when being shipped. It "vanished after being posted from London to Leicestershire, England". Parcelforce, the company responsible, agreed to pay US$30,000 for its loss.

Knopfler released his fifth solo studio-album ''Kill to Get Crimson'' on 14 September 2007 in Germany, 17 September in the UK and 18 September in the United States. During the autumn of 2007 he played a series of intimate 'showcases' in various European cities to promote the album. A tour of Europe and North America followed in 2008. Many older songs from the early solo days, such as Cannibals (from Golden Heart), were brought back to life. Cannibals opened up shows throughout Europe. Cannibals was received extremely well particularly in Ireland as it was released by an Irish Country Artist David Maguire in 2007. The new version of Cannibals that David Maguire and his Band released was the 7th most requested song on Irish radio that year.

Continuing a pattern of high productivity through his solo career, Knopfler began work on his next studio album, entitled ''Get Lucky'', in September 2008 with long-time band mate Guy Fletcher, who again compiled a pictorial diary of the making of the album on his website. The album was released on September 14 the following year and Knopfler subsequently undertook an extensive tour across Europe and America. The album met with moderate success on the charts (much of it in Europe) reaching #1 only in Norway but peaking in the Top 5 in most major European countries (Germany, Italy, Holland). The album peaked at #2 on the Billboard European Album chart and at #5 on the Billboard Rock Album chart.

Knopfler's solo live performances can be characterized as relaxed—almost workmanlike. He uses very little stage production, other than some lighting effects to enhance the music's dynamics. He has been known to sip tea on stage during live performances. Richard Bennett, who has been playing with him on tour since 1996, has also joined in drinking tea with him on stage. On 31 July 2005, at the Queen Elizabeth Theatre in Vancouver, BC, the tea was replaced with whisky as a "last show of tour" sort of joke.

In February 2009, Knopfler gave an intimate solo concert at the Garrick Club in London. Knopfler had recently become a member of the exclusive gentlemen's club for men of letters.

In 2010, Knopfler appeared on the newest Thomas Dolby release, the EP ''Amerikana''. Knopfler performed on the track "17 Hills".

In February 2011, Knopfler began work on his next solo album, once again working with Guy Fletcher. A release date is yet to be announced. In July 2011, it was announced that Knopfler would take time out from recording this album in order to take part in a European tour with Bob Dylan during October and November.

Country music

In addition to his work in Dire Straits and solo, Mark Knopfler has made several contributions to country music. In 1988 he formed country-focused band The Notting Hillbillies, with Guy Fletcher, Brendan Croker and Steve Phillips. The Notting Hillbillies sole studio album, ''Missing...Presumed Having a Good Time'' was released in 1990 and featured the minor hit single "Your Own Sweet Way". Knopfler further emphasised his country music influences with his collaboration with Chet Atkins, ''Neck and Neck'', which was also released in 1990. "Poor Boy Blues", taken from that collaboration, peaked at #92.

Knopfler's other contributions include writing and playing guitar on John Anderson's 1992 single "When It Comes to You" (from his album ''Seminole Wind''). In 1993 Mary Chapin Carpenter also released a cover of the Dire Straits song "The Bug". Randy Travis released another of Knopfler's songs, "Are We In Trouble Now", in 1996. In that same year, Knopfler's solo single "Darling Pretty" reached a peak of #87.

Knopfler collaborated with George Jones on the 1994 "The Bradley Barn Sessions" album performing guitar duties on the classic J.P. Richardson composition White Lightnin'.

Knopfler is featured on Kris Kristofferson's album "The Austin Sessions", (on the track "Please Don't Tell Me How The Story Ends") released in 1999 by Atlantic Records.

In 2006 Knopfler and Emmylou Harris made a country album together titled ''All the Roadrunning''. Knopfler also charted two singles on the Canadian country music singles chart.

Again in 2006, Knopfler contributed the song "Whoop De Doo" to Jimmy Buffett's "Gulf and Western" style album "Take the Weather with You".

Personal life

Mark Knopfler has been married three times. His first marriage was to Kathy White, his long-time girlfriend from school days. They separated before Knopfler moved to London to join Brewers Droop in 1973. In November 1983, Knopfler married his second wife, Lourdes Salomone. Their marriage produced twin sons, Benji and Joseph (born 1987), both of whom are musically talented and aspiring musicians, according to Knopfler. His marriage to Salomone ended in 1993. On Valentine's Day 1997, Knopfler married his third and current wife, British actress and writer Kitty Aldridge on the Caribbean island of Barbados. They had been dating for three years. Their marriage so far has produced two daughters, Isabella (born 1998) and Katya Ruby Rose (born 2003). The family currently lives in Chelsea.

Musical style and equipment

Musical style

Mark Knopfler is left-handed, but plays right-handed, and fingerpicks (using a personal variant of the clawhammer style) instead of using a plectrum (i.e., "pick"). Fingerpicking is usually associated with the acoustic guitar, but Knopfler usually (though not always) plays an electric guitar. He revealed during a French interview that he uses a pick for his rhythm work during recording sessions. He surprised the interviewer by pulling a pick out of his pocket and saying that he usually carries one. He has long favoured Fender Telecaster and Stratocaster style guitars. Fender carries a Mark Knopfler Artist Series Stratocaster. During the 1980s he came to appreciate the tone of the Gibson Les Paul and his original 1958 has been used regularly in the studio and on stage.

Guitars

Knopfler has estimated that he now owns "around 70 guitars". They include:

National Triplate, 1930s National Style O 14 fret

Pensa Custom MKII, a custom Pensa guitar given to Knopfler by his friend Rudy Pensa in 2005 Pensa custom-built solid body guitars, models MK-1, MK-2, and MK-80 are named in Knopfler's honour Red-painted (Stratocaster style) Melancon Pro Artist

Hofner V-2 (Mark's first guitar)

Fender Stratocasters, including a 1962 Fiesta Red and a 1954 Sunburst (one of the first ever produced), which Knopfler named "Jurassic Strat"

Gibson Les Paul Special (used in the 1970s)

National Tricone 1928 model

National Style O Resonator guitar 1937 model ("Romeo and Juliet"), a replica of which is available from National Resophonic Guitars

Fender Telecaster 1952

Burns Baldwin 12-string ("Angel of Mercy" and the ''Get Lucky'' album)

Ovation Acoustic

Schecter Telecaster and Stratocaster models (from 1980 on)

Rickenbacker 425 (Used on Portobello Belle, later on The Ragpicker's Dream session)

Fernandes Stratocaster

Ovation Adamas (''Love Over Gold'' album, ''Brothers in Arms'' tour)

Gibson Chet Atkins (''Love Over Gold'' album)

Erlewine Automatic ("Industrial Disease")

Martin Acoustics, HD-40MK, 000-40S Mark Knopfler, and 00028 ("Brothers in Arms")

Gibson SG (Two Young Lovers, Alchemy tour)

Gibson Les Paul 1958, 1959, and 1984 models

Pensa-Suhr R Custom (Knopfler's first Pensa) (''Brothers in Arms'' album, "Ride Across the River" and "So far Away")

Gretsch Super Chet, 6120 (''Golden Heart'' album)

Steinberger GL2 (''Brothers in Arms'' tour)

Beltona Electro Resonator

Flamed Pensa, 3 models (late 1980s)

Gibson J45 (''On Every Street'' album)

Gibson Super 400 (''On Every Street'' album and tour)

Godin L.R. Baggs (''On Every Street'' tour)

Red Pensa (''On Every Street'' tour)

Ramírez Spanish Guitar (from 1992 on)

Pensa-Suhr, black (''Golden Heart'' album and tour)

Gibson ES-335

Danelectro Silvertone

Gibson Southerner

Fender Jazzmaster

Eko 700

Teisco Spectrum, 2 models

Danelectro 59 DC

Fender Duo Sonic 11 (''Kill to Get Crimson'' album)

Gibson Advanced Jumbo

Gibson ES-330

NS 14, Steve Phillips (''Get Lucky'' album)

Monteleone Isabella

Don Grosh Electrajet

Gibson Dove

Effects

Throughout his career Knopfler has used a wide selection of effect pedals in the studio and during live performances. Here is a list of some of them:

Alesis Quadraverb

Boss BF-2 Flanger

Boss CE-2 Chorus

Boss CE-300 Chorus

Boss CS-2 Compressor

Boss DM-2 Delay

MXR Micro Amp

Boss OC-2 Octaver

Boss PH-2 Phaser

DeltaLab Digital Delay

Ibanez UE 303 Multi Effect

Lexicon 300 Reverb

Mantec Preamp

Master Room Reverb

Morley Volume Pedal

Mic-Mix Dyna-Flanger

MXR Analog Delay

Roland Graphic Equalizer

Roland SRE 555 Chorus/Echo

Yamaha REV 5

Zoom Multieffect 9010

Amplifiers

Knopfler has often used many different combinations of amplifiers and cabinets to create his desired sounds.

Crate VC5212 amplifier

Crate 2x12 cabinet

Fender Concert

Fender Vibrolux

Fender Twin Reverb

Gallien & Krueger amplifier

Jim Kelley combo

Jim Kelley heads

Komet amplifiers

Marshall JTM heads

Marshall 4x12 cabinet

Mesa Boogie heads

Music Man HD 130

Soldano SLO 100

Roland Jazz Chorus

Tone King Imperial

Vox AC30

On the "Get Lucky" tour in 2010, Knopfler used a pair of custom built Reinhardt guitar amp heads with matching cabinets, and a Tone King combo in between that is used on some songs.

Honours and awards

1983 BRIT Award for Best British Group (with Dire Straits)

1986 Grammy Award for Best Rock Performance by a Duo or Group with Vocal with Dire Straits (for "Money for Nothing")

1986 Grammy Award nomination for Song of the Year (for "Money for Nothing")

1986 Grammy Award for Best Country Instrumental Performance with Chet Atkins (for "Cosmic Square Dance")

1986 Juno Award for International Album of the Year (for ''Brothers in Arms'' with Dire Straits)

1986 BRIT Award for Best British Group (with Dire Straits)

1987 BRIT Award for Best British Album (for ''Brothers in Arms'' with Dire Straits)

1991 Grammy Award for Best Country Vocal Collaboration with Chet Atkins (for "Poor Boy Blues")

1991 Grammy Award for Best Country Instrumental Performance with Chet Atkins (for "So Soft, Your Goodbye")

1992 Grammy Award nomination for Best Country Instrumental Performance with Chet Atkins (for "Neck and Neck")

1993 Honorary Doctor of Music from Newcastle University

1995 Honorary Doctor of Music from the University of Leeds

1999 OBE 2001 Masiakasaurus knopfleri (a species of dinosaur) was named after him by scientists who had listened to his music while digging the fossils. 2003 Edison Award for Outstanding Achievements in the Music Industry, the highest award for musicians in the Netherlands

2006 Grammy Award for Best Surround Sound Album (for ''Brothers in Arms'' 20th Anniversary Edition with Dire Straits)

2007 Honorary Doctor of Music from the University of Sunderland

2007 Grammy Award nomination for Best Contemporary Folk/Americana Album with Emmylou Harris (for "All the Roadrunning").

2009 Music Producers Guild Award for Best Studio (for Knopfler's British Grove Studios

2009 PRS for Music Heritage Award (with Dire Straits)

2011 Steiger Award

Knopfler's influence

Played together with Dire Straits' drummer Pick Withers on Bob Dylan's studio album ''Slow Train Coming'', which was recorded in May 1979 and released 20 August; providing Dylan with what Dylan considered his best guitar backing since the days of Mike Bloomfield and Robbie Robertson. Knopfler also played in and co-produced Dylan's 1983 album ''Infidels''.

British author and humorist Douglas Adams said about Knopfler, in his book ''So Long, and Thanks for All the Fish'': "Mark Knopfler has an extraordinary ability to make a Schecter Custom Stratocaster hoot and sing like angels on a Saturday night, exhausted from being good all week and needing a stiff drink." The dinosaur species ''Masiakasaurus knopfleri'' was named after Knopfler. The palaeontologists were listening to Dire Straits recordings when they discovered the species.

On "Weird Al" Yankovic's parody of "Money for Nothing", "Money for Nothing/Beverly Hillbillies*", which merges the instrumentals of "Money For Nothing" with the lyrics to the theme song for the American television series ''The Beverly Hillbillies'' ("The Ballad of Jed Clampett"), Knopfler played guitar in the song, recreating the guitar riff from the original song. He would only allow Yankovic to parody the song if he was allowed to play on the recording.

Knopfler's song "Going Home" from the soundtrack to ''Local Hero'' is played before kick-off at Newcastle United's home matches at St James' Park.

"Going Home" is also the theme music for John Stanley on Sydney radio station 2UE.

According to director Rob Reiner, Knopfler agreed to write the music for Reiner's ''The Princess Bride'' on one condition: Reiner had to put the hat that he wore in ''This Is Spinal Tap'' in ''Princess Bride'', "somewhere in evidence", as homage to the rock mockumentary. The hat makes its appearance in ''Princess Bride'' in the Grandson's (Fred Savage) bedroom. Indian cricket superstar Sachin Tendulkar is a fan of Mark Knopfler. They once had a joint interview on cricket commentator Harsha Bhogle's show ''Harsha Online''.

The 2008 stage production Celtic Thunder has covers of multiple Mark Knopfler songs. "Brothers in Arms", written by Mark Knopfler and performed originally by Dire Straits, is performed by Ryan Kelly. As well, the song "Irish Boy" (from ''Cal'') and "Going Home" (from ''Local Hero'') are performed together as an instrumental, entitled "Cal/Local Hero".

Discography

Dire Straits albums

''Dire Straits'' (1978)

''Communiqué'' (1979)

''Making Movies'' (1980)

''Love over Gold'' (1982)

''Alchemy'' (1984, live)

''Brothers in Arms'' (1985)

''Money for Nothing'' (1988, compilation)

''On Every Street'' (1991)

''On the Night'' (1993, live)

''Live at the BBC'' (1995, live)

''Sultans of Swing: The Very Best of Dire Straits'' (1998, compilation)

''The Best of Dire Straits & Mark Knopfler: Private Investigations'' (2005, compilation)

Solo albums

''Golden Heart'' (1996)

''Sailing to Philadelphia'' (2000)

''The Ragpicker's Dream'' (2002)

''Shangri-La'' (2004)

''The Trawlerman's Song EP'' (2005, EP)

''One Take Radio Sessions'' (2005, EP live)

''The Best of Dire Straits & Mark Knopfler: Private Investigations'' (2005, compilation)

''Kill to Get Crimson'' (2007)

''Get Lucky'' (2009)

Soundtrack albums

''Local Hero'' (1983)

''Cal'' (1984)

''Comfort and Joy'' (1984)

''The Princess Bride'' (1987)

''Last Exit to Brooklyn'' (1989)

''Screenplaying'' (1993 compilation)

''Wag the Dog'' (1998)

''Metroland'' (1999)

''A Shot at Glory'' (2002)

Collaborative albums

''Missing...Presumed Having a Good Time'' (with The Notting Hillbillies, 1990)

''Neck and Neck'' (with Chet Atkins, 1990)

''All the Roadrunning'' (with Emmylou Harris, 2006)

''Real Live Roadrunning'' (with Emmylou Harris, 2006)

Produced albums

''Infidels'' (1983) by Bob Dylan. Although Mark disowned the reworked version of the album as released, his production is still noticeable. Left off the album, but later released on The Bootleg Series, is the critically acclaimed "Blind Willie McTell", featuring only Dylan, singing and playing piano, accompanied by Mark Knopfler on acoustic guitar.

''Knife'' (1984) by Aztec Camera. This Scottish indie/new wave band was mostly a vehicle for the work of Roddy Frame, much as Dire Straits only ever recorded Mark Knopfler compositions.

''Miracle'' (1987) by Willy DeVille. The album was dedicated to Mark and his wife "for their support which was nothing short of a Miracle in a time of Dire Straits." The album ends with the ballad "Storybook Love", the theme from The Princess Bride movie.

''Land of Dreams'' (1988) by Randy Newman. The album includes the single "It's Money that Matters", which unabashedly revisits the Dire Straits song "Money for Nothing".

''The Sailor's Revenge'' (2011) by Bap Kennedy. As of October 2011, the album is still unreleased.

Additional albums

The following additional albums contain guitar performances or guest appearances by Mark Knopfler.

''The Booze Brothers'' by Brewers Droop (1973)

''Slow Train Coming'' by Bob Dylan (1979)

''Sandy McLelland & the Backline'' by Sandy McLelland (1979)

''Gaucho'' by Steely Dan (1980)

''Solo in Soho'' by Phil Lynott (1980)

''The Philip Lynott Album'' by Phil Lynott (1982)

''Beautiful Vision'' by Van Morrison (1982)

''Release'' by David Knopfler (1983)

''Phil Everly'' by Phil Everly (1983)

''Love Over and Over'' by Kate and Anna McGarrigle (1983)

''Climate of Hunter'' by Scott Walker (1984)

''Never Told a Soul'' by John Illsley (1984)

''The Rock Connection'' by Cliff Richard (1984)

''Boys and Girls'' by Bryan Ferry (1985)

''Stay Tuned'' BY Chet Atkins (1985)

''Break Every Rule'' by Tina Turner (1986)

''...Nothing Like the Sun'' by Sting (1987)

''Primitive Dance'' by Paul Brady (1987)

''Sails'' by Chet Atkins (1987)

''Soldier of Fortune'' by Thin Lizzy (1987)

''C.G.P.'' by Chet Atkins (1988)

''Down in the Groove'' by Bob Dylan (1988)

''Glass'' by John Illsley (1988)

''Shouting Stage'' by Joan Armatrading (1988)

''Foreign Affair'' by Tina Turner (1989)

''River of Time'' by The Judds (1989)

''Brendan Croker & the Five O'Clock Shadows'' by Brendan Croker (1989)

''Hell to Pay'' by Jeff Healey (1990)

''Knebworth: The Album'' by Various Artists (1990)

''Damn Right, I've Got the Blues'' by Buddy Guy (1991)

''The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991'' by Bob Dylan (1991)

''Honky Tonk Demos'' by Various Artists (1991)

''Country Rockers'' by Various Artists (1992)

''Dulcimer Sessions'' by David Schnaufer (1992)

''Ain't I a Woman'' by Rory Block (1992)

''Cookin' with the Blues'' by Various Artists (1992)

''Citizen Steely Dan'' by Steely Dan (1993)

''Heartbeat'' by Hank Marvin (1993)

''Southwestern Cookin'' by Various Artists (1994)

''Flyer'' by Nanci Griffith (1994)

''Bradley Barn Sessions'' by George Jones (1994)

''Read My Licks'' by Chet Atkins (1994)

''Greatest Hits, Vol. 2'' by Weird Al Yankovic (1994)

''Adios Amigo: A Tribute to Arthur Alexander'' by Various Artists (1994)

''Long Black Veil'' by The Chieftains (1995)

''Confessin' the Blues'' by Various Artists (1995)

''The Way I Should'' by Iris DeMent (1996)

''Paradise'' by John Anderson (1996)

''Twang!: A Tribute to Hank Marvin & the Shadows'' by Various Artists (1996)

''Not Fade Away (Remembering Buddy Holly)'' by Various Artists (1996)

''Pickin' the Hits'' by Chet Atkins (1997)

''Nothin' but the Taillights'' by Clint Black (1997)

''Blues Legends'' by Various Artists (1997)

''Closing In on the Fire'' by Waylon Jennings (1998)

''Guilty: 30 Years of Randy Newman'' by Randy Newman (1998)

''Man to Woman: Men of Note Sing for a Cause'' by Various Artists (1998)

''Celtic Christmas, Vol. 4'' by Various Artists (1998)

''Tribute to Tradition'' by Various Artists (1998)

''Austin Sessions'' by Kris Kristofferson (1999)

''Another World'' by Gerry Rafferty (2000)

''Showbiz Kids: The Steely Dan Story 1972-1980'' by Steely Dan (2000)

''Prince's Trust 10th Anniversary Birthday Party'' by Various Artists (2000)

''Guitar Heroes'' by Various Artists (2001)

''Singles Collection'' by Hank Marvin (2001)

''Timeless: Hank Williams Tribute'' by Various Artists (2001)

''Good Rockin' Tonight: The Legacy of Sun Records'' by Various Artists (2001)

''Buried Treasures, Vol. 3'' by Lindisfarne (2001)

''Human'' by Rod Stewart (2001)

''Small World Big Band'' by Jools Holland (2001)

''Seminole Wind'' by John Anderson (1992)

''Chet Picks on the Grammys'' by Chet Atkins (2002)

''Jools Holland's Big Band Rhythm & Blues'' by Jools Holland (2002)

''RCA Country Legends'' by John Anderson (2002)

''Vagabonds, Kings, Warriors, Angels'' by Thin Lizzy (2002)

''Parallel Tracks'' by the Royal Scots Dragoon Guards (2003)

''Double Shot Rocks'' by Alan Merrill (2003)

''Deja Vu (All Over Again)'' by John Fogerty (2004)

''Is It Rolling Bob? A Reggae Tribute to Bob Dylan'' (2004)

''Very Best of Celtic Christmas'' by Various Artists (2004)

''Guitar Ballads: Over 2 Hours of Relaxing Classics'' by Hank Marvin (2004)

''B. B. King & Friends: 80'' by B.B. King (2005, guest appearance)

''Is It Rolling Bob? Dub Versions'' by Various Artists (2005)

''Just for a Thrill'' by Bill Wyman's Rhythm Kings (2005)

''36 Classic Guitar Favourites'' by Hank Marvin (2005)

''Sea Fever'' by William Topley (2005)

''Prairie Home Companion Duets'' by Various Artists (2006)

''East to West'' by Paul Burch (2006)

''Take the Weather with You'' by Jimmy Buffett (2006)

''Uncovered'' by Tony Joe White (2006)

''Timeless'' by Various Artists (2007)

''After Midnight Live'' by Eric Clapton (2007)

''Songbird: Rare Tracks and Forgotten Gems'' by Emmylou Harris (2007)

''...Earth to the Dandy Warhols...'' by The Dandy Warhols (2008, dobro)

''Burning Your Playhouse Down: The Unreleased Duets'' by George Jones (2008)

''From the Reach'' by Sonny Landreth (2008, guest appearance)

''Legacy, Vol. 1'' by Jeff Healey (2009, guest appearance)

''Life Goes On'' by Gerry Rafferty (2009)

''Greatest and Latest: Just a Thrill and Live'' by Bill Wyman (2009)

''The Secret Policeman's Balls'' by Various Artists (2009)

''Live At Knebworth'' by Various Artists (2010)

''Streets of Heaven'' by John Illsley (2010)

''Just Across the River'' by Jimmy Webb (2010, guest appearance)

''Mercury'' by Pieta Brown (2011)

''Gathering'' by Diane Schuur (2011)

''Freak Flag'' by Greg Brown (2011)

''Back Pages'' by America (2011)

''A Map Of The Floating City'' by Thomas Dolby (2011, guest appearance)

References

External links

Official website

Webradio PrivateInvestigations dedicated to Dire Straits&Mark Knopfler

Mark Knopfler Boom Like That

the long road – Mark Knopfler Sessions

Mark Knopfler News

Mark Knopfler "Old News"

Category:1949 births Category:Alumni of the University of Leeds Category:British guitarists Category:English rock guitarists Category:English Jews Category:British Jews Category:British male singers Category:English rock singers Category:British singer-songwriters Category:Dire Straits members Category:Fingerstyle guitarists Category:Grammy Award winners Category:Lead guitarists Category:Living people Category:People from Newcastle upon Tyne Category:Resonator guitarists Category:Brit Award winners Category:People educated at Gosforth Academy

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