A new book, Metal Mythology by Andy Boot, explores the ancient folklore, myths and occult philosophies that have inspired some of heavy metal's biggest bands and their most famous hits. The author, a former writer for music magazine Kerrang!, argues that the genre serves as a modern vessel for stories passed down through thousands of years.
Music as a Vault of Ancient Stories
Andy Boot explains that heavy metal carries a "strange double life." On the surface, it is noise, rebellion, volume and aggression, but below lives "something older, stranger and far more enduring." He describes metal as a vault where "ancient mythologies, occult philosophies and folkloric remnants continue to breathe."
The 61-year-old author notes that myths helped people understand why the sun rose, why crops failed, and why the sea swallowed ships. These tales were told at firesides, in temples, and later in penny dreadfuls, Gothic magazines and Sunday sermons. In the second half of the 20th century, these stories found a new home in heavy metal, which became "the vessel for an inheritance stretching back thousands of years."
Key Influences on Metal's Biggest Stars
Boot points to key historical figures whose influence shaped metal's icons. JRR Tolkien, the creator of Middle-Earth, inspired Robert Plant and Jimmy Page of Led Zeppelin to write The Battle of Evermore, which appeared on the band's untitled 1971 album. Other hits such as Ramble On and Misty Mountain Hop also have strong ties to The Lord of the Rings universe.
Occultist Aleister Crowley, dubbed "the wickedest man in the world" by newspapers, is called "the first rock star" by Boot. Led Zeppelin's Jimmy Page became a devotee, and his fascination with Crowley, ceremonial magic, runic symbols and occult iconography "became part of the band's mythos."
Scottish folklorist James George Frazer, whose 1890 book The Golden Bough is regarded as a reference tool for those exploring Paganism, also influenced the genre. The Newcastle band Skyclad takes its name from a reference to ritual nudity.
Why Myths and Metal Collided
Boot argues that metal seeks "big stories; battles, gods, heroes, demons, sacred places, epics, visions, crusades, quests." He says metal is theatre, so it seeks theatrical stories. The collision of myths and metal came because both the sound and the time were right, with the Black Country – home to Black Sabbath, Judas Priest, Godflesh and Diamond Head – playing a key role.
In the dawn of the industrial era, Birmingham was in the middle of the canal system, so people from all over the country converged there, bringing shared stories. A revival of interest in traditional English, Scottish and Irish music coincided with rock bands moving beyond the basic rhythm and blues blueprint, creating "a perfect storm."
Favourite Legends and a Missed Opportunity
Among his favourite legends, Boot highlights Murders in the Rue Morgue by Iron Maiden, which relays Edgar Allan Poe's tale of a mysterious murder by a gorilla in 19th century Paris. He also notes Hemispheres by Rush, an allegory about the conflict between heart and mind played out as a war between Greek gods.
One long-standing myth has yet to feature in any heavy metal song: the story of Spring-Heeled Jack. The devil-like creature with glowing eyes, reported across the country since the Victorian era, targeted women in suburban areas, grabbing and tearing at their clothes. Boot says: "It's such a brilliant story but to my knowledge no band has ever used it in their music. Maybe that's my follow-up book!"
Metal Mythology by Andy Boot (Mirror Books, £12.99) is on sale now.
