The Encyclopaedia Metallica by Malcolm Dome

355a9b6e93df201-261x361.jpeg Author Malcolm Dome
Isbn 9781842404034
File size 17.2MB
Year 2007
Pages 300
Language English
File format PDF
Category music


T h e E nc yc l o p a e d i a Me t a l l i c a by M a l c o l m D o m e and Jerry Ewing A C H R O M E D R E A MS P UBLICATION F i r s t E d i t ion 2007 Published by C h rome Dreams P O B O X 2 3 0 , N e w Malden, Surrey, K T 3 6 YY, UK b o o k s @ c h r o m W W W . C H R O M E DRE AMS.CO.UK I S B N 9 7 8 1 842404034 Copyright © 2 0 0 7 b y Chrome Dreams Edited by C a t hy Johnstone Cover Design S y l wia Grzeszczuk Layout Design M a rek Niedziewicz All rights reserved. No part of this book may be reproduced without the written permission of the publishers. A catalogue record for this book is available from the British Library. Printed and bound in Great Britain by William Clowes Ltd, Beccles, Suffolk Encyclopaedia Metallica The Authors would like to thank ... Sources from which quotes have been taken ...the following people for their support and assistance: Kerrang! magazine All at Chrome Dreams. RAW magazine Adair & Roxy. Playboy magazine All at TotalRock: Tony Wilson, Thekkles, Tabitha, Emma ‘SF’ Bellamy, The Bat, Ickle Buh, The PMQ, Katie P. Everyone at the Crobar/ Evensong: Sir Barrence, The Rector, The Crazy Bitch, The Lonely Doctor, Steve, Rick, Johanna, Bagel, Benjy, Maisie, Laura, Stuart, Steve Hammonds, John Richards, Dave Everley, Bob Slayer, David Kenny, The Unique One, Harjaholic, Al King, Jonty, Orange Chuffin’ Goblin (Baby), Lady E., Smelly Jacques, Anna Maria, Speccy Rachel. The Classic Rock crew: Scott Rowley, Sian Llewellyn, Geoff Barton, Ian Fortnam, Dave Ling is gay. The Metal Hammer mob: Chris Ingham, Jamie Hibbard, Caren Gibson, Alex Milas, James Gill, Jamez Isaacs, Alex Burrows. Metal Hammer magazine Q magazine Guitar World magazine So What! official Metallica fanzine www.encyclopedia-metallica. com Encyclopaedia Metallica brazen stripper, they conceal nothing. And there’s more. Without Metallica there might not have been a thrash movement at all. These guys have overcome accusations of ‘selling out’ across their career, to stand tall on their own principles. They might have made enormous musical and artistic mistakes, but they’ve done these on their own terms. They’ve literally used blood, semen and urine in pursuit of their artistic ambitions. From the smallest clubs in California, Metallica have risen to headline the biggest stadia on the planet. From a demo recorded on a ghetto blaster they’ve gone on to give us the biggest selling metal album ever. It’s the tale of a tennis protégé who swapped the racquet for drum sticks. And that of a man brought up in a Christian Science environment, who found fulfilment through a microphone and a guitar. But beyond the facts there’s the emotion, the passion, the music. A string of records that have inspired at least two generations of bands and fans. And a catalogue that will go on doing so for many years to come. In the annals of the metal genre, only Iron Maiden and Black Sabbath can hope to compete with Metallica when it comes to influence – and neither come close to matching the Americans’ remarkable commercial Intro Metallica. Thrash pioneers. The most commercially successful metal band of all time. Mutliple Grammy Award winners. Over 100 million records sold…Yes, all that’s true. But, for once, the facts don’t even begin to encompass the magnitude of what this band have achieved just over a quarter-ofa-century since they began life, almost as a con trick perpetrated by drummer Lars Ulrich. Con trick? Well, yes. Because this is the man who persuaded a record company owner to put a track from his ‘band’ on a compilation – even though, actually, the ‘band’ didn’t exist. And this is the man who convinced guitarist/vocalist James Hetfield to join the mythical ‘band’, because they could do a song for the aforementioned compilation. Now, that is some piece of political trickery. And if you wanna know more, then you’d better get stuck into this book, right? But that merely scratches the surface. Metallica’s story encompasses death, insanity, bitterness, addiction, controversy, hirings, firings, therapists…it’s more like a soap opera than any other band you’d care to mention. Moreover, this lot have never been afraid to show everything in public. Like the most  Encyclopaedia Metallica power and prowess. Any band who picks off a guitar and goes for a LOUD riff, is automatically plugging into the heritage, history and hirsute pursuits of Metallica. That’s the law. Metallica have also been responsible for expanding the parameters of metal. They have constantly evolved, and never shirked, from incorporating different musical ideals and ideologies. This is one act who refuse to accept that there are limitations, always searching and seeking to take their music further. They’ve also been pioneers. They were the ones who made it cool to release albums solely consisting of cover versions. They made it credible for metalheads to work with an orchestra. And it’s all been done on their terms. Even when they finally relented and did their first ever promo video, it was done to their own dictates, with no room for comfortable compromise. Perhaps that’s the greatest legacy Metallica have left us – the belief that it is possible to achieve astonishing success without ever having to relent and buckle, under business pressures. For this band, there is but one question to be asked: ‘is it worthy of our own high standards?’ How many others can say that so consistently. What we have done with this book is present the story of Metallica as never before. Each detail, every fascinating facet has been unearthed. This isn’t just a collection of bare facts, but a document that unravels the soul of the band, a documentary on the contributions made by disparate individuals and organisations to one of the truly legendary tales of rock history. The only entry missing comes under ‘F’. For ‘Fans’. But now you’re here, the story is complete. Enjoy. Malcolm Dome and Jerry Ewing – London, August, 2007. Encyclopaedia Metallica Malcolm Dome Jerry Ewing Malcolm Dome first heard Metallica in 1982 - and liked what he heard. A year later he reviewed their debut album, ‘Kill ’Em All’, for Kerrang! magazine – and, again, liked what he heard. Not that he ever expected Metallica to become megastars back then. Dome started his carer in journalism with the now defunct weekly UK music paper Record Mirror in 1979. His first feature was on Samson (featuring vocalist Bruce Dickinson, now of Iron Maiden; back then he was merely Bruce Bruce). His first live review was Iron Maiden at The Marquee in London; his first album review was Samson’s debut, and his first interview was with Hawkwind. Since then he’s written for any number of rock music magazines – Kerrang!, Metal Mania, RAW, Metal Hammer, Classic Rock and Metal Forces, to name but a small selection, and is regularly invited to contribute to television and DVD rock music documentaries. Malcolm still writes for both Metal Hammer and Classic Rock and is heavily involved with the highly regarded radio station TotalRock ( Dome’s been involved with the rock/metal media in four separate decades, and is coming up to 30 years on the job. Phew! There seems to be no parole from rock ’n’ roll – and he’d have it no other way. By a bizarre twist of fate, being born in Exeter in the mid60s never harmed Jerry Ewing and he somehow managed a typical Australian childhood growing up in North Sydney, lapping up the delights of sun, sea, surf and Skyhooks, mostly on his beloved Manly Beach. By the time he was old enough to drink a tinny of VB he was back in England and confronted by a multitude of Two Tone fans. Undaunted, his love of AC/DC kept him sane and he threw himself into the arms of the NWOBHM with aplomb. Surviving an English higher education (via public school, but don’t tell anyone, they won’t believe you if you do) he found himself working on groundbreaking and respected UK metal mag Metal Forces in 1989, where only his hair was bigger than his ego. Since then he’s edited, written for or generally bothered Terror Magazine, Vox, Metal Hammer, Cutting Edge, Maxim, Stuff and Bizarre. Ewing devised and set-up Classic Rock magazine for Dennis Publishing in 1988, and continues to write for that journal to this day. He also works as a broadcaster on Total Rock Radio and is regularly featured on television and DVD with his views on metal and rock acts. Jerry thinks ‘Ride The Lightning’ is the best Metallica album,  but accepts that ‘Master Of Puppets’ is their finest. And he still enjoys banging his head to ‘Creeping Death’ to this very day. He has a beautiful daughter who he loves very much, but still lists whingeing about Chelsea football club and drinking with Malcolm Dome as his hobbies. He once wrote a book about Liverpool footballer Steve McManaman, but doesn’t like to talk about it. Encyclopaedia Metallica A A YEAR AND A HALF IN THE LIFE OF METALLICA ‘A Year And A Half In The Life Of Metallica’, directed by Adam Dubin, was originally released as a double VHS back in 1992 (and currently to be found as a single, four hour DVD) and is a documentary centred around the making of ‘The Black Album’ and the early part of the ensuing three-year tour that followed in the album’s wake. The original VHS version featured, on its first tape, the making of the album segment and three music promo videos for ‘Enter Sandman’, ‘The Unforgiven’ and ‘Nothing Else Matters’. The second tape concentrated on the ‘Wherever We May Roam’ tour, as well as Metallica’s performance at Wembley Stadium at the Freddie Mercury Tribute Concert of 1992. That also featured two music promo videos, in this case ‘Wherever I May Roam’ and ‘Sad But True’. The film captures many of the disagreements between Metallica and producer Bob Rock through the recording process of ‘The Black Album’, owing to Rock’s introduction of new and extreme working conditions, as costs spiralled to $1million.  Encyclopaedia Metallica AIN’T MY BITCH The opening song from Metallica’s sixth studio album, ‘Load’, this goes a long way to disproving the theory supplied by disgruntled thrash fans that Metallica had either gone soft or had sold out. A furiously paced frenetic rocker, it sneers out at the listener in an act of supreme defiance, and in a manner the band who had recorded ‘Kill ’Em All’ would be proud. The song began life in demo form simply titled ‘Bitch’, and was originally recorded in early April 1996. The ‘Bitch’ in the eventual title caused some controversy, but in truth only from a media looking for anything with which to have a dig at the band. In truth the message is simple: if there’s a problem it’s not mine and I don’t care. The song proved very popular while the band were performing material from both ‘Load’ and ‘ReLoad’, something they’ve proved increasingly reluctant to do of late. It was also the first Metallica track to feature Kirk Hammett playing slide guitar. The studio, owned by the A&M Record Company, has been used by artists as wide ranging as Bruce Springsteen (‘Lucky Town’), Leonard Cohen and Rage Against The Machine (‘The Battle Of Los Angeles’), while Crowded House also recorded their ‘Woodface’ album there. ALAGO, MICHAEL Michael Alago was the Elektra Record Company executive who, if the mainstream press are to be believed, discovered Metallica. He was certainly the person responsible for signing the band from the Megaforce label in America, and acted as the group’s A&R man.  In their 1992 book ‘Metallica: A Visual Documentary’ authors Xavier Russell and Mark Putterford allege that Alago used unusual tactics to sign the band, and allude to some sort of homosexual liaison between Alago and either Lars Ulrich or James Hetfield in order for Metallica to secure their desired deal. A&M STUDIOS A&M Studios in Los Angeles was where Metallica recorded some of the material for ‘The $5.98 EP: Garage Days Re-Revisited’ in July 1987. 10 Encyclopaedia Metallica  Although Metallica have never openly commented on the allegations, in 1992 Jerry Ewing questioned Lars Ulrich on the subject when interviewing him for ‘Metal Forces’ magazine. Ulrich merely laughed it off before requesting the offending section of the book be faxed to him. Upon publication of ‘Metallica: A Visual Documentary’ the offending section was still intact. has never commented on the bizarre and unfounded allegations.  For the record both James Hetfield and Lars Ulrich are in happy, heterosexual relationships. ALCOHOLICA Nickname given to the band around 1985, because of their renowned partiality to beverages of an alcoholic nature. The band even did a jokey photo shoot around this time with ‘Kerrang!’ magazine’s Peter Cronin , the legend ‘Alcoholica’ being used as a backdrop, in the style of the Metallica logo. One fan even went so far as to adapt the ‘Kill ’Em All’ album cover, replacing the hammer and blood with an empty vodka bottle and split liquid of the same vintage, for a T-shirt. Needless to say the band’s logo read ‘Alcoholica’ on this clothing item. It is said that the band’s management, Peter Mensch and Cliff Burnstein, were concerned at the  Alago quit the music business in 2003, although he still manages the gay dance music star and ex-porn actor Colton Ford. He now works as a photographer and recently had a collection of homoerotic art published entitled ‘Rough Gods’. In an interview with ‘Gay And Lesbian Times’ in July, 2007 Alago says that signing Metallica was one of the most memorable moments of his career, stating Metallica had “incredible energy” and were “great people”. He goes on to add: “I love men. I love the look of them and the smell of them. And that inspires me to want to shoot their photographs”. To the author’s knowledge Alago 11 Encyclopaedia Metallica band’s excessive love of bars and bottles. And they certainly were world-class libators. ‘All Within My Hands’ is a bare, open look at the psychosis suffered by mainman James Hetfield, who spent much of the album venting his spleen in an attempt to banish his demons. At eight minutes and 49 seconds it is the longest track on the album as well as the most stark. ‘I will ALL WITHIN MY HANDS The final track from Metallica’s eighth studio album, ‘St. Anger’, 12 Encyclopaedia Metallica only let you breath the air that I receive’, Hetfield rages. ‘Then we’ll see if I’ll let you love me’. It’s shockingly open stuff from a man whose lyrics were once concerned only with religion, politics and social injustice. Yet, ever since some of the songs on ‘The Black Album’ Hetfield has become increasingly personal with his lyrics, as they became some kid of catharsis for the demons he was hiding. Now, having confronted those demons, the vitriol seems to pour out of him unabated, with the band putting in suitably stark, thrash metal performances. AM I EVIL? The most famous song from Metallica’s favourite NWOBHM sons Diamond Head. ‘Am I Evil?’ originally appeared on Diamond Head’s 1980 album ‘Lightning To The Nations’. It has appeared on no less than four Metallica demos and albums, including ‘Ron McGovney’s ’82 Garage Demo’, ‘Metal Up Your Ass’ (1982), the 1991 re-issue of ‘Kill ’Em All’ and 1998’s ‘Garage Inc.’, as well as several B-sides including ‘Creeping Death’. Diamond Head 13 Encyclopaedia Metallica Diamond Head were one of Lars Ulrich’s all-time favourite bands, and he even stayed with the group’s Sean Harris and Brian Tatler (vocals and guitar, respectively) in 1981 while in England, catching as many NWOBHM bands as he could. Cliff Burton, ‘…And Justice For All’, was always going to be a bittersweet affair. And so it proved. It’s the album that gave them their first taste of mainstream acceptance and success and it contains some of their finest songs. Yet the production seems off-kilter and certainly at odds with the fullbodied sound of ‘Ride The Lightning’ and ‘Master Of Puppets’. And you can barely hear that in Jason Newsted they have a new bass player. Musically ‘…And Justice For All’ is Metallica’s most complex album, almost progressive thrash, with lengthy songs and thoughtful time signatures. At first listen it can sound unrelentingly inharmonious, but given time, songs like the excellent ‘Harvester Of Sorrow’, ‘Blackened’ and ‘The Shortest Straw’ are not without an inherent melody. Cliff Burton gets one writing credit, on ‘To Live Is To Die’, while Jason ‘Newkid’ Newsted also gets one on ‘Blackened’. However the one song that makes the album so pivotal, and equally debatable, in Metallica’s canon of work is ‘One’. An antiwar song, it opens slowly and melodically, misleading the listener that it might even be a ballad, before packing an almighty thrash punch as it builds to a brilliant climax. Based on Dalton Trumbow’s novel and film ‘Johnny Got His Gun’, which tells the tale of a First World War soldier who has lost all his limbs and much of his face, yet retains his senses, it explores the idea of being aware (ANESTHESIA) PULLING TEETH Cliff Burton’s bass showcase from Metallica’s ‘Kill ’Em All’ debut album, and the only Metallica track on which James Hetfield doesn’t have a writing credit. Lars doesn’t have one either, but neither does he on ‘Motorbreath’. Allowed free reign, Burton displays the full range of his considerable musical expertise on ‘(Anesthesia) Pulling Teeth’, which ranged from the classical influences he instilled into Metallica’s songwriting, to jazz-fusion and straightforward heavy metal. Perhaps not as accomplished as ‘Orion’ from ‘Master Of Puppets’, the piece is still remarkable for a young man starting out recording his first album with his first major band. And listened to through headphones with the lights off, it can induce a feeling that you are indeed having your teeth extracted. …AND JUSTICE FOR ALL Metallica’s fourth album, and first following the tragic death of 14 Encyclopaedia Metallica but unable to communicate with the world around you. Metallica chose to produce a promo video for the track, something they had never done before, and immediately faced further accusations of selling out from the narrow-minded element of their fanbase. And yet the full-length video, which included clips from the film ‘Johnny Got His Gun’ (for which the band purchased the rights to the film) intercut with footage of the band performing the song within the stark confines of a Los Angeles warehouse, remains one of Metallica’s most impressive music promos, which of course became the norm for the band from then on in. Production wise, however, ‘… And Justice For All’ just doesn’t seem to sit right. Indeed Metallica themselves have since claimed that they would love the chance to remix the album. In fact, rumour has it a re-mixed version with a more substantial bass sound has been doing the rounds for a while but has never been officially released. One suggestion concerning the almost total absence of a bass sound is that the band were still coming to terms with the tragic loss of Burton and that Newsted was too new to the fold to stamp his authority, and was not attendant at the mixing sessions. Newsted has also pointed out that the bass lines follow the rhythm guitar 15 Encyclopaedia Metallica parts very closely, which may go some way to explaining the lack of bass. Whatever, this was the final album handled by Flemming Rasmussen (who was brought in when things didn’t work out with original choice, Mike Clink), and the band would look to Bob Rock for their next album. Regardless, ‘…And Justice For All’ was the album that broke Metallica into the arena league. It entered the US charts at number six and number four in the UK, while both ‘Harvester Of Sorrow’ and ‘One’ cracked the UK Top 20. Initially the band found some of the song structures too complex to perform on stage, although ‘One’ quickly established itself as a live favourite, complete with pyrotechnical display. Lately more and more songs from the album have found their way back into Metallica’s live set. ‘Dyers Eve’ got its very first airing on the 20032004 ‘Madly In Anger With The World’ tour, while ‘…And Justice For All’ itself was played for the first time since October 1989, at the beginning of the band’s 2007 ‘Sick Of The Studio’ tour. In all, ‘…And Justice For All’ is a triumph. But one still tainted by tragedy. Frayed Ends Of Sanity’, ‘To Live Is To Die’, ‘Dyers Eve’ . ANTHRAX Fellow members of what was termed The Big Four of thrash by the media, Anthrax and Metallica have always had a strong bond between them. Indeed, when Metallica were recording their debut album, ‘Kill ’Em All’, in New York, Anthrax allowed them to use their rehearsal room to stay in after they’d been thrown out of Johnny Zazula’s house for breaking into his drinks cabinet. Devoid of any humanitarian facilities, Metallica were allowed to freshen up at the homes of various members of Anthrax. John Bush, who would later replace singer Joey Belladonna in Anthrax, was, when fronting Armored Saint, asked to join Metallica prior to ‘Ride The Lightning’, with James Hetfield still not being entirely comfortable handling guitar and vocal duties. Anthrax also sampled Metallica’s ‘Master Of Puppets’ on their track ‘I’m The Man!’ and they covered ‘Phantom Lord’ for the album ‘Tribute To The Four Horsemen’. Anthrax were the band on tour with Metallica in 1986, when they suffered the fateful bus crash in Ljungby, Sweden, that claimed the life of Cliff Burton. Tracklisting ‘Blackened’, ‘…And Justice For All’, ‘Eye Of The Beholder’, ‘One, ‘The Shortest Straw’, ‘Harvester Of Sorrow’, ‘The 16 Encyclopaedia Metallica false tales. The Obscene Publications Squad didn’t see things quite that way when the ‘Streets Of London’ single was released and promptly confiscated the lot, making it the Anti Nowhere League’s most famous song. It can now be found on various Anti Nowhere League compilation CDs. The band called it a day in 1987. However in 1992, when Metallica appeared at Wembley Arena, Anti Nowhere League singer Animal guested with the band as they played ‘So What’ as an encore. He said of the experience on his website at the time: “As I waited at the edge of the stage waiting to go on, it suddenly dawned on me I was just about to stand in front of 10,000 punters who didn’t know me from Adam and sing a song I couldn’t fucking remember. All ANTI NOWHERE LEAGUE British punk rock band who are most famous for their cover of Ralph McTell’s dusty old folk tune ‘Streets Of London’ and its B-side ‘So What’. The latter track was covered by Metallica, originally as an extra track on the Japanese import of ‘The Black Album’, then later as the B-side to the single ‘The Unforgiven’. The song also featured on ‘Garage Inc.’. The filth-laden ‘So What’ came about, allegedly, from the Anti Nowhere League overhearing a conversation between two men in a pub as they tried to outdo each other with more outrageous tales, and was written to rebuff those who embellish themselves with 17 Encyclopaedia Metallica Arguably the most unusual Metallica tribute band of them all, the Finnish group Apocalyptica, started out in 1996, when four classically trained cellists (Eicca Toppinen, Paavo Lötjönen, Max Lilja, and Antero Manninen) got together to play Metallica covers. Later that year they released the album ‘Plays Metallica By Four Cellos’, featuring only covers of the band, adapted for cello. On 1998’s ‘Inquisition Symphony’, they expanded their range with the album featuring just four Metallica covers, the rest of the tracks including songs by Pantera, Sepultura and Faith No More, as well as three original tunes. By 2000’s ‘Cult’, the new-look Apocalyptica (with a fresh lineup) were concentrating on their own songs, with just two Metalli- that kept running through my head was ‘Run you silly old fucker!’.” The event acted as a catalyst for the Anti Nowhere League, and by 1993 the band were active again and have remained so to this day. APOCALYPTICA 18 Encyclopaedia Metallica ca covers making up the numbers, and 2003’s ‘Reflections’ saw the covers dropped altogether. Since then, they’ve brought in a number of major names to gust on their records - from Slayer drum maestro Dave Lombardo to HIM vocalist Ville Valo, Soulfly’s Max Cavalera, Till Lindemann of Rammstein and Lacuna Coil singer Cristina Scabbia – but no-one from Metallica has yet appeared, even though they supported the band twice. One for trivia fiends: Metallica used Apocalyptica’s version of ‘Master Of Puppets’ in the documentary ‘Some Kind Of Monster. the intention of releasing a series of solo albums. Instead the record appeared under the Blue Oyster Cult moniker, but without the involvement of Bouchard himself. It also appears on the Blue Oyster Cult live albums ‘Some Enchanted Evening’ and ‘A Long Day’s Night’, and Swedish metal band Arch Enemy use the chorus of ‘Astronomy’ for the song ‘Pilgrim’ from their ‘Burning Bridges’. ASTRONOMY A cover of a song by legendary US heavy metal band Blue Oyster Cult which appeared on Metallica’s ‘Garage Inc.’. ‘Astronomy’ first appeared on Blue Oyster Cult’s 1974 album ‘Secret Treaties’. It was taken from a poem written by the band’s equally legendary producer Sandy Pearlman, titled ‘The Soft Doctrines Of Immaginos’, in which aliens guide a human, Immaginos, through history dabbling in events that would eventually leads to the outbreak World War I. Blue Oyster Cult returned to the song on their 1988 album ‘Imaginos’, which was largely written over several years by the band’s drummer, Albert Bouchard, with ATTITUDE The 12th song from Metallica’s seventh studio album, ‘ReLoad’, this reflects the rebellious nature that has always been inherent in the band, basically suggesting that there’s nothing wrong with breaking the rules and being a rebel every now and then, a sentiment few Metallica fans would argue with. The song was originally known in demo form as both ‘Lenny’ and ‘Sweat’. 19

Author Malcolm Dome Isbn 9781842404034 File size 17.2MB Year 2007 Pages 300 Language English File format PDF Category Music Book Description: FacebookTwitterGoogle+TumblrDiggMySpaceShare Compiled from exclusive interviews with the band, this definitive rock reference chronicles all the facts surrounding one of the biggest metal bands to ever take the stage: Metallica. Containing numerous confessions that have never before been published, this A-to-Z listing of all the major subjects close to headbangers’ hearts includes songs, albums, gigs, personnel, significant places, and many more. For Metallica fans and music lovers alike, this guide is sure to enlighten readers with its revelations of rock-and-roll Babylon. About the Author Malcolm Dome was instrumental in founding the Total Rock Radio station in London, where he still works. He is the coauthor of Eddie Van Halen: Know the Man, Play the Music and Metallica: The Complete Guide to Their Music. Jerry Ewing is a former editor for Metal Hammer magazine and a current member of the Total Rock Radio team.     Download (17.2MB) Hammered: Heavy Tales from the Hard-Rock Highway Dewey and Elvis: The Life and Times of a Rock ‘n’ Roll Deejay Metallica: The Complete Illustrated History The Pitchfork 500: Our Guide to the Greatest Songs from Punk to the Present Encyclopedia of Heavy Metal Music Load more posts

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