Book Review: Greg Prato – Survival Of The Fittest: Heavy Metal in the 1990's

Book Review: Greg Prato – Survival of the Fittest: Heavy Metal in the 1990's
All Access: A-

Greg Prato - Survival of
the Fittest: Heavy Metal in
the 1990s

The party was over for glam-metal and more traditional metal acts weren't having such a good time of it either, their days in the sun darkened by dour, flannel-clad hordes from the Pacific Northwest intent on making everybody as depressed as they were.

Once and for all, a new lengthy examination of metal in the '90s by author Greg Prato completely eviscerates the wrongheaded party line that grunge was some kind of powerful insecticide that wiped out the entire genre as a whole, even if it did seem to, at the very least, harsh headbangers' buzz for a time. Still, after grunge's cleansing purge, heavy metal – beaten to a pulp in the press and, for a time, left for dead in record label boardrooms – miraculously recovered and even thrived, its durability enhanced by its own evolution.

Utilizing the oral history format that served him so well with other tomes, such as "Iron Maiden: '80, '81," "The Eric Carr Story" and "Grunge Is Dead: The Oral History of Seattle Rock Music," Prato covers a great deal of territory here, interviewing close to 90 subjects – Eddie Trunk, Riki Rachtman, Def Leppard's Joe Elliott, Overkill's Bobby Blitz, Les Claypool from Primus, Phil Anselmo, Cinderella's Tom Kiefer, Scott Weiland and others too numerous to mention – for over 600 pages of candid, insightful observations and memories from those who experienced one of the biggest sea changes in rock history. Along the way, Prato chronicles the splintering of metal and hard rock into seemingly a thousand sub-genres, as metal seemed to merge with "alternative rock."

In his forward to Prato's work, ex-Pantera bassist Rex Brown writes, "Back in the '90s, us and quite a few of our peers were doing something that was off-the-cuff, and you had to make it your own brand and style." Innovation was the order of the day, as bands like Pantera, Nine Inch Nails,Sepultura, Fear Factory, White Zombie and Kyuss expanded the possibilities of a genre that had gone stale, and Prato takes great pains to chronicle the onset and development of stylistic shifts that resulted in prog metal, extreme metal, funk metal, industrial metal, stoner metal and, of course, nu metal.

At the same time, Prato attacks the subject from all angles, painting a well-rounded picture of just what the hell happened in metal's most perplexing decade. It explores, in depth, Guns 'N Roses' increasingly grandiose aspirations and precipitous decline, the explosion of Nirvana, band break-ups, changes with KISS, Rush and Aerosmith, the "Gary Cherone Years" of Van Halen, and other earth-shattering events. Even with such a prodigious page count, "Survival of the Fittest: Heavy Metal in the 1990's" flies by, the conversational tone of the book resulting in a fairly quick read. Because of that, and the massive amount of interview material it contains, it's a work that owners can go back to again and again and still find it worthwhile to do so. For ordering information for paperback and Kindle, go to http://amzn.com/1512073067 and for Nook, visit http://www.barnesandnoble.com/w/survival-of-the-fittest-greg-prato/1122273381.
– Peter Lindblad

Hatriot: New centurions of thrash

Steve "Zetro" Souza puts Exodus behind him, looks ahead with Hatriot

By Peter Lindblad

Steve "Zetro" Souza of Hatriot

Steve "Zetro" Souza was there at ground zero. The Bay Area thrash-metal scene was exploding in the early 1980s, and Souza was right in the middle of a fiery musical conflagration, singing like demon for Legacy, the band that evolved into Testament, and recording their first demo with them.

"We thought every city had a scene like ours," said Souza. "Looking back on it in hindsight it was magical."

Three years after Legacy was founded, Souza came to a crossroads in his career. He was offered the chance to become lead vocalist for another Bay Area thrash outfit. He couldn't turn it down, and in 1986, he joined Exodus.

To his credit, Souza didn't just abandon his old Legacy mates. It was Souza who introduced them to his replacement, Chuck Billy. 

As for Souza, who's often been compared to AC/DC's Bon Scott, he was about to embark on an amazing thrill ride, with plenty of ups and downs. With Exodus, he sang on five records before the band disbanded, lending his uniquely evil, flesh-ripping caterwaul to 1987's Pleasures of the Flesh, 1989's Fabulous Disaster, 1990's Impact is Imminent, 1991's Good Friendly Violent Fun and 1992's Force of Habit. 

There have been other bands. Dublin Death Patrol, Tenet, AC/DZ – Souza's been with them all, teaming with Billy in Dublin Death Patrol. More than anything, though, Souza would like to see another project of his really take off, and that endeavor is the furious, all-consuming Hatriot, a band that includes his sons Cody (bass) and Nick (drums), and phenomenal young guitarist/composer Kosta "V,"  as well as second guitarist Miguel Esparza.

In April, Hatriot released its volcanic second album, the Massacre Records release Dawn of the Centurion, a burning slab of old-school thrash that sticks to the basics – made it fast, make it loud, make it devastatingly brutal and leave a beautiful melodic corpse. Hot riffs, charred black, hold hands with pummeling beats and crushing bass maneuvers, as scary, impassioned and crazed lyrics are recited in sinister fashion to those who cannot deny their dark thoughts. 

Recently, Souza talked about Hatriot's plans for world domination, the new record and his days with Exodus in this revealing interview. 

Hatriot - Dawn of the Centurion 2014

When you first formed Hatriot, what did you want to do with it and does Dawn of the New Centurion match that vision?

Steve "Zetro" Souza: I honestly wasn't looking to do a new band at my age, but I met Kosta Varvatakis and was so impressed with his guitar abilities that I felt this was something I needed to do. The world needs new guitar heroes and new rock stars, so I felt I needed to make another serious run in metal and help showcase this kid's talents. In that regard I'd say it definitely matches my vision. Dawn of The New Centurion has some of the best guitar playing in thrash metal, and what people need to know is all the music and arrangements come from Kosta. He is a f**king monster when it comes to thrash metal, and is the perfect writing partner for me. He creates the riffs, and I put words to them.

What do you like most about working with Kosta "V" and where does he rank with other guitarists you've worked with?

SZS: He is right up there with all the greats. I have been very fortunate to work with a lot of amazing guitarists in my career, and Kosta is right there with them. I think the biggest difference is back in the early days of thrash there were a lot less people doing it. In the early '80s when I was jamming with Legacy, I had Alex Skolnick and Eric Peterson on guitar, and they were f**king amazingly good.  Then in Exodus it was Gary (Holt) and Rick (Hunolt), who went down in history as a great thrash guitar tag team. Kosta is right there on their skill level, but now there's a shredder in every neighborhood in the world. It's not as big of a deal as it was in the early days. It's a lot more difficult to make a name for yourself. If it was still 1988, Kosta Varvatakis would be a household name in metal.  Hopefully he still will be in this day and age. He is certainly good enough.

Steve "Zetro" Souza, formerly of Exodus

In making this album, was there a point at which you thought, "This is really something special?"

SZS: I knew it was going to be special before we ever recorded the first note. The thing with Hatriot is we are constantly writing material and working on new stuff, so by the time we go in and record a record we have the material fully worked up and ready to go. At that point it's just a matter of executing it in the studio, and capturing the best vibe possible. I knew it was really special when we were doing the demo recordings and pre-production. 

Vocally, was this album different for you in any way?

SZS: For the most part it was business as usual for me. I have a signature sound that fans expect from me, so I don't try and stray from that too much, but there are some more brutal vocal parts at times on this record. We experimented with some gang shouts and death-metal vocals just to add dynamics.  Then, of course, I do a lot of screaming when the song calls for it. It's all about what the song needs to be effective.

"Superkillafragsadisticactsaresoatrocious" and "Silence in the House of the Lord" are really heavy, hard-charging songs, as is "World Funeral." That's probably my favorite section of the record. Is there a particular sequence of songs on Dawn of the New Centurion where they just seem to fit together really well for you?

SZS: I did all of the sequencing for the album, as I do on all the records. I just want the album to have a flow to it, with dynamics, so it keeps the listener on edge. Lots of albums these days are so predictable, and it makes it where the listener gets bored with the record after one or two listens. I like the Hatriot records to have those dynamics that made the early thrash records so great. I think we achieved that with this album.

Steve "Zetro" Souza with son Cody

Hatriot is a bit of a family affair. How do you make that work?

SZS: It's really not as complicated as people think. My sons grew up around the music business, so they have an idea as to how things work. I am dad when I need to be with them, but most of the time we are band mates and good friends, the same way any other band operates. Most dads would give anything to have a common interest with their kids, and the fact that I get to be in a band with two of mine makes it all worth it. The only downside is we don't really get a separation between business and family, but for the most part having them in the band is all positive. I'm really enjoying it.

Lyrically, what topics, including gun rights, did you want to address on Dawn of the New Centurion?

SZS: I have always been drawn to the darker side of life, and that's where my lyrics go every time. On this record I have songs about corrupt world leaders, a "cabin in the woods" killer, the end of the world, and the entire human race going insane. There's plenty more in there, too. It's a sick and twisted record, the same way our debut record was lyrically. It's a f**king heavy metal album!

What made the early Bay Area thrash scene so special, especially when you started with Legacy, and do you ever think something like that will happen again?

SZS: It will never happen again. People try to recreate that time, but if you weren't there you missed it.  It was a very special time in heavy metal history because it was a natural thing, and not fabricated. It was not manufactured by the record business and exploited at that point in time. The scene in the Bay Area at the beginning was a very tight knit one. All the bands would support each other, and there was something happening every night of the week. It wasn't just a weekend thing. You might go see Exodus do a show on a Tuesday night, and the Metallica guys would be there hanging out. That kind of thing happened all the time. So it was a very exciting era for thrash, even though we didn't realize it at the time.

Reflecting on your time in Exodus, was it a difficult decision to join the band?

SZS: To be honest, I really had to think on it for a few days when I was asked to join in 1986. I had so much time and energy invested in Legacy that I hated to throw that all away, but at the same time, Exodus was on another level in the eyes of the metal scene. They had a record out and people around the world knew of the band.So I knew it was a great opportunity for me, and I decided to go for it. The fans didn't embrace me at first, and it was a lot of work to win them over. It wasn't until the success of Fabulous Disaster that I really felt like Exodus was my baby. By that point the fans were on my side.

Artistically or career-wise, what was the most gratifying experience you had with Exodus?

SZS: I know it sounds cliche, but the whole ride was amazing, even the bad times. I wouldn't trade it for anything. For specifics I'd say the "Headbangers Ball" tour that we did with Anthrax and Helloween was a definite highlight. The tour we did with Black Sabbath was amazing because I became friends with Ronnie Dio. How fucking metal is that? The most gratifying overall would be the tour cycle for the Fabulous Disaster record. We were full-fledged rock stars at that point. Media hounded us and fans were rabid. It was a whirlwind, and we had amazing shows during that record cycle. That was definitely the peak of the Exodus success during the glory days of thrash.

In what ways have your experiences with Hatriot mirrored those you had with Exodus and in what ways are they totally different?

SZS: Similarities? For starters there is the youth factor. The ages of the band guys in Hatriot ranges from 19 to 25. You can add two of them together, and it doesn't even make one of me! So that's a similar thing to the early days in Exodus. We were young and hungry for it back then. Nobody was a lazy rock star at that point. We also had a cycle in Exodus that we use in Hatriot: make a record, then go on the road, then immediately do another record, then back on the road, etc. With that method we never lose momentum. The biggest differences between the two bands are big ones. First off, there's no real music industry anymore. Not like the big machine of the old days. Everything is independent now, which is a cool thing, but there's not a lot of resources like back in the day. There's no buying on tours and getting on MTV. It's not a huge thing like it was. Another big thing is the technology of today.  From recording albums to networking with fans on social media, technology has leveled the playing field. There's no half million dollar records now. We do records for ten grand. There's no passing out flyers outside a club. It's all done on Facebook. I hate a lot of that sh*t, but that's where we are today as a society. 

What are your hopes for Hatriot?

SZS: I hope to make this thing as big as it can be. My days in Exodus will always be wonderful memories for me, but I am hoping to add another chapter to the book with Hatriot. I don't want to just be known as the "former singer of Exodus." I want this to stand on its own. I'm 50 years old, but I have a lot more metal left in me.

CD Review: Hatriot – Dawn of the New Centurion

CD Review: Hatriot – Dawn of the New Centurion

Massacre Records

All Access Rating: B+

Hatriot - Dawn of the New Centurion 2014

Charlton Heston wasn't going to give up his guns, not while he was alive anyway. Those enemies of freedom that dared try would have to kill him first.

Before God and country, and members of the National Rifle Association, this steely-eyed "cowboy" once held a rifle above his head and warned that the only way they'd take it was "from my cold, dead hands."

Michael Moore made a big deal about it in "Bowling for Columbine," his scathing indictment of the pro-gun lobby. And now, Steve "Zetro" Souza, the former Exodus front man who now heads up the unstoppable thrash-metal throwback Hatriot, is offering a counterpoint, unearthing audio of Heston's quote to introduce "My Cold Dead Hands," an intense and vicious defense of the Second Amendment and gun rights that opens the band's ferocious sophomore effort Dawn of the New Centurion.

Souza is just as passionate about preserving the basic tenets of thrash, as Dawn of the New Centurion provides the kind of visceral thrills, relentless sonic violence and startling energy that started the wildfire that engulfed metal in the early days of Metallica, Souza's own Legacy – which would morph into Testament – and, not to be outdone, Exodus. A seething cauldron of frenzied thrash, Dawn of the New Centurion is barely harnessed thrash-metal fury, comprised of indestructible song structures, hammering drums, a bewildering variety of raging, high-velocity guitar riffs – courtesy of the mysteriously named Kosta "V" – and Souza's demonic, almost reptilian vocals.

Gnashing his teeth in the midst of dizzying cyclones of sound, Souza loads lethal doses of venom into murderous, vengeful lyrics, his hell-spawned screeds coming through loud and clear in the chugging, surging monolith "Superkillafragadisticactsaresoatrocious," and its earthquake of a successor, the dangerously seismic, hard-charging "Silence in the House of the Lord." Even more brutal and punishing is the rampaging "World Funeral," a Slayer-like blitzkrieg of death and destruction with an explosive solo from Kosta "V" that is pure hell fire.

And that's not the only example of his electrifying speed and brilliant tonality, as Hatriot displays an innate ability to vary tempos, with the blistering "Your Worst Enemy" running smack dab into the heavy wrecking ball that is "The Fear Within," its building drama, stampeding blast beats and melodic guitars erupting into a riot that keeps escalating. The aggression is amplified, and so is the excitement, as Hatriot races toward the heart-stopping closer "Consolation for the Insane," bringing this crazed carnival ride to a blazing end.

At times, the sonic carnage not only threatens to overwhelm any semblance of melody, it burns the evidence, and because of this, Dawn of the New Centurion might be a powerhouse record with classy production that hits like a brick to the face, but its songs are far from memorable. Not quite as raw as its predecessor, Dawn of the New Centurion is, nevertheless, a shot of adrenaline to the heart, scary and bestial, moving with instrumental agility, a fast pace that would kill anybody with a heart condition and slashing sharpness. The family affair that is Hatriot – Souza's sons Cody, on bass, and Nick, on drums, round out the lineup – is not at all dysfunctional, at least not musically speaking.
http://www.massacre-records.de/
– Peter Lindblad

CD Review: Toxic Holocaust – From the Ashes of Nuclear Destruction

CD Review: Toxic Holocaust – From the Ashes of Nuclear Destruction

Relapse Records

All Access Review: B-

Toxic Holocaust - From the Ashes of
Nuclear Destruction 2013

Joel Grind is from the wrong side of thrash metal’s tracks. Obsessed with death, satanic imagery and the ever-present specter of nuclear annihilation, Portland, Oregon’s Grind, a feral wild child who doesn’t even look old enough to drink, and whatever black thrash/punk sewer rats he’s able to find to play alongside him in Toxic Holocaust have wallowed in the filth and grime of the metal underground like demonic pigs in mud since 1999, content to bash away at insanely fast, primitive hardcore that’s best enjoyed while huffing ammonia in a janitor’s closet or shooting rats at the local dump.

And there’s no use in trying to civilize Grind, who seems to like residing in places that even those bound for hell would avoid, as the new 22-track Toxic Holocaust anthology From the Ashes of Nuclear Destruction indicates. Rummaging through a land fill of caked-in-dirt demos, garbage-strewn compilations and vinyl-only splits with the likes of Municipal Waste and other scum-of-the-earth types, From the Ashes of Nuclear Destruction is anything but clean and holy. It is vile stuff, indeed, and yet, however vulgar and utterly silly it all is, the trashy D-beats, cloudy production and sulfuric, blackened riffage of Toxic Holocaust are also irresistibly entertaining.

The product of too many hours spent under the influence of ‘80s metal hellions Venom, Bathory and Exodus, as well as punk violators Black Flag and Gang Green, Toxic Holocaust let it rip on raw, hellish speed-metal rides like “Created to Kill,” “Send Them to Hell,” “Never Stop the Massacre,” “Army of One,” and the fuzzed-out rampages of “Reaper’s Grave” and “Death Brings Death” – Grind’s vocals at times almost indiscernible, but always evil. Showing no love for Christianity, Grind and his minions pound the gnarly “Nuke the Cross” into the ground and discharge the high-velocity “666” without pity. “Bitch” and “Agony of the Damned” are more dynamic and heavy, showcasing Toxic Holocaust’s relentless drive and ability to downshift tempos in the blink of an eye.

In one sitting, it’s almost impossible to take it all in. Manuel Noriega would have given up and been grateful to face his fate after about five minutes of this. Still, although you wouldn’t want your mother to know you’re listening to this and even liking it a little, Toxic Holocaust is sort of fun, like a bad horror movie. It gets monotonous after a while and some diversity would be a welcome addition. A steady diet of From the Ashes of Nuclear Destruction might drive one mad, but in small doses, it’s a guilty, even dangerous, pleasure, even if it does sound occasionally like someone is suffocating it with a pillow.

http://www.toxicholocaust.com/

– Peter Lindblad

CD Review: Saxon – Sacrifice

CD Review: Saxon  – Sacrifice

UDR/EMI

All Access Review: A-

Saxon - Sacrifice 2013

James Cameron’s “Titantic” had star power, amazing special effects and a budget that rivaled the gross national product of some small countries. “Made in Belfast,” Saxon’s blue-collar tribute to those who put their blood, sweat and tears into building the doomed luxury liner, was recorded for their rampaging new album Sacrifice with considerably less money and a leading man in Biff Byford who looks more like a motorcycle club president than Leonardo DiCaprio. And yet, it’s “Made in Belfast” that’s more deserving of an Oscar.

In comparison, Cameron’s interminably long film has nothing on the widescreen epic that serves as the awe-inspiring centerpiece of Sacrifice, Saxon’s third killer album in a row out now on the UDR label. As good a place to start with Sacrifice as any, “Made in Belfast” is an interesting anomaly for Saxon. Dramatic and devastatingly heavy at times, with a crushing, knee-buckling chorus as damaging as the iceberg that tore a gigantic hole into Titanic’s supposedly indestructible hull, “Made in Belfast” also sweeps across the Irish countryside on wheeling Celtic mandolin courtesy of Paul Quinn. And the aural landscape Saxon paints is breathtaking.

An experiment that works astonishingly well, against all odds, the contrast of punishing heavy-metal riffs, soaring twin-guitar helixes, and lovely folk accents is a refreshing change for Saxon, but don’t expect them to make a habit of it. Fascinated by history, just as Saxon was when they penned their own examination of the Kennedy assassination in “Dallas 1 p.m.” some thirty years ago, the New Wave of British Heavy Metal vanguards go old school and burn up the asphalt on “Warriors of the Road,” a fireball of delirious metal energy that’s a throwback to Saxon’s early ‘80s work. The bruising, hard-nosed contemplation of modern-day frustration that is “Standing in a Queue” is just as nostalgic, although it seems to pine just as much for the simple, but brutally effective, hooks of Bon Scott-era AC/DC as it does for their NWOBHM heyday.

Still hungry for new adventures, however, Saxon displays how enamored they are with the explosive, riotous sound of thrash on Sacrifice by raining down torrents of serrated guitar noise – designed by Quinn and his partner in crime Doug Scarratt – in the violent, feverish mosh pit of a title track. And they seethe with rage on the menacing “Wheels of Terror,” but Saxon hasn’t given up on melody, a crucial element of the classic Saxon sound found on “Guardians of the Tomb,” the bruising workingman anthem “Walk the Steel” and “Stand Up and Fight,” all of which feed on the raw fury and searing speed of Exodus or Testament.

The limited deluxe edition of Sacrifice is paired with a bonus disc of extras that find Saxon re-imagining a handful of their most revered classic songs – among them, a majestically orchestrated version of “Crusader,” lush acoustic takes on “Requiem” and “Frozen Rainbow,” and a frenzied “Forever Free.” Still, it’s the hot, molten core of Sacrifice and its brazen “go for the throat” attitude that ought to send old fans and new converts alike into paroxysms of rock ‘n’ roll ecstasy. Saxon's not dead yet. In fact, they seem to found metal’s fountain of youth, as Sacrifice burns with a relentless intensity – no ballads were allowed here – that belies their age.
–    Peter Lindblad 

John Tempesta Offers Up 3 Decades of Skin Pounding Mayhem in The Rock Gods and Metal Monsters Auction

In a career spanning two decades, drummer John Tempesta has built a body of work that's deservedly earned him a place among metal's most popular and well-respected players. Perhaps best known for his tenure with Rob Zombie - both in White Zombie and with Rob's solo project - John worked his way up through the drumming ranks with an extensive resume that includes gigs with Exodus, Testament, Zakk Wylde's Black Label Society, Tony Iommi, Helmet and Scum of The Earth (which features John's brother, guitarist Mike Tempesta (who is also a consignor in the auction). And these days John can be found touring the world behind the drum throne of The Cult.

John has gone into his closet of rock relics and hand picked dozens of rarities from his days with White Zombie, Testament, Helmet and The Cult including heads, cymbals, sticks, passes, tour used clothing and accessories, photos and a super cool pair of Nike sneakers he used on tour with The Cult in 2011.  



WHITE ZOMBIE JOHN TEMPESTA SIGNED & TOUR USED DRUM HEAD
'Astro-Creep: 2000' is the fourth and final studio album by White Zombie. The album proved to be their most commercially successful recording, peaking at number six on the Billboard 200 with the aid of the popular hit singles "More Human than Human" and "Super-Charger Heaven". It is also the one and only album to feature drummer John Tempesta. Offered up for the 2012 Rock Gods and Metal Monsters auction is the one and only, original kick drum head from the 1995 'Astro-Creep: 2000' world tour, which measures 24 inches in diameter and has been signed by John Tempesta. It has custom graphics, shows some (albeit light) wear and is overall in excellent condition. While this realistically should hang at the Rock 'n Roll Hall Of Fame, it can easily be displayed on your wall!

John Tempesta's White Zombie Tour Used Drum Head - Signed

Up Close and Personal - John Tempesta's Personalization - Now this Rocks!

TESTAMENT JOHN TEMPESTA 1993 SIGNED & OWNED LEATHER JACKET
Following his departure from Exodus, John Tempesta only had to travel a few miles south on I-80 to join fellow San Francisco thrashers Testament, with whom he would go on to record two albums between 1993 and 1994. Up for grabs in the auction is this very cool leather jacket, worn extensively by John during his Testament years, as can been seen in various photos from that time. The jacket is well worn and Tempesta signed the "inside" of the jacket with a silver marker.

Interesting side story:  Ian Astbury of The Cult happens to own a similar jacket, which he bought at the time from Billy Duffy (also The Cult), who worked at a Kensington Market (London) leather shop. Ian can be seen wearing this jacket in the official 'Love Removal Machine' video. Not only did Ian and Billy end up in the same band, but several years later John would join them as well. Either way, this is a cool jacket with great history and provenance in overall excellent condition!

The jacket is well worn and Tempesta signed the "inside" of the jacket with a silver marker. This jacket can easily find it's way into your personal arsenal of cool jackets' closet, can you just imagine the conversations that can be started by simply opening up the jacket and saying…"have I got a story for you".

John Tempesta - Testament Days Jacket

Inside of jacket bears John Tempesta's signature

THE CULT JOHN TEMPESTA SIGNED & TOUR USED CHINA CYMBAL

This Zildjian Oriental China 'Trash' cymbal has extensively been used by John Tempesta on recent The Cult tours. It measures 18 inches in diameter, is boldly signed by 'JT' and contains (easily) 100+ fingerprints from the master himself! The cymbal is in excellent condition and comes with a great (signed) 8 x 10 inch The Cult publicity photo.

John Tempesta Tour Used China Cymbal - The Cult 

John Tempesta signed China Cymbal - The Cult

Be sure and check out all of John's personal relics featured in the auction by simply typing JTP in the Auction Search Box. 

Each item offered comes with a certificate of authenticity personally signed by John.


The Rock Gods and Metal Monsters Auction will go live and open for bidding on Saturday, April 21st and come to a close a week later on Sunday, April 29th. For more information visit our Auction Page. Grab your VIP All Access Pass today and get yourself a piece of metal history.

Click on the Auction tab at the top of the page to start feasting your eyes on John's relics! 

Metal Evolution - "Thrash"

Metal Evolution: "Thrash" - Episode 106 
Sam Dunn
VH1 Classic

All Access Review:  A-

Squaring off against everything that ‘80s glam metal represented, the soldiers of thrash – glam’s uglier, angrier cousin – wanted to eradicate every trace of makeup, lipstick and hairspray from heavy metal’s dark underworld. Or, as Megadeth’s Dave Mustaine puts it in the “Thrash” installment of Sam Dunn’s “Metal Evolution” documentary series, the androgynous purveyors of glam metal, many of whom looked almost as pretty as the girls they were bedding, were “fleas on the balls of a camel” and thrash “was a flea bomb.”

The strongest of pesticides, thrash almost killed glam metal dead. Grunge would finish the job in the ‘90s. Obviously a fan of one of metal’s most extreme sub-genres, Dunn, author of the acclaimed “Metal A Headbanger’s Journey” documentary, explores the fiery origins and virus-like developments of thrash metal in the latest chapter of “Metal Evolution,” which appeared over New Year’s Eve weekend on VH-1 Classic. Up to this point, Dunn has done a fine job detailing with great care the genealogy of heavy metal. Every piece is rife with riveting interview material, classic live footage and historical fact. With the exuberant enthusiasm of a fan and the intellectual curiosity of an anthropologist, which is what he is, Dunn has dissected the body of and probed into every nook and cranny of that most reviled of all musical forms.

So far, “Metal Evolution” has taken viewers on a loud, crazed journey through all the mayhem and madness metal has produced over the years. Yes, it’s a history lesson, but the scope of Dunn’s work is wide-ranging, studying the influence of classical and jazz on metal, while also investigating the connection between the gritty, early ‘70s Detroit proto-punk sound of The Stooges and the MC5 and confronting the strained relations between English punk and the New Wave of British Heavy Metal. And that’s just a small sampling of Dunn’s exhaustive, but never tedious, testimony.

“Thrash” is another winner. Starting off at its birthplace, Soundwave Studios in California’s Bay Area, where Testament is running through a fiery rehearsal, Dunn, through content-rich talks with Mustaine, Slayer’s Dave Lombardo, Testament’s Alex Skolnick and Metallica’s Lars Ulrich, finds the merging streams of hardcore punk and NWOBHM flowing electricity into thrash’s roiling sea. Taking the energy and spirit of punk and the melodic aggression of bands like Iron Maiden and Judas Priest, thrash’s innovators, like Slayer and Exodus, upped the ante.

As Skolnick relates in “Thrash,” musicians like him loved punk’s songs and its undeniable vitality; however, what was missing was musicianship, and they wanted desperately to create something that would challenge their chops. Thrash was it. Heavy and punishing, the riffs raged, flying at unheard-of speeds. And the guttural vocals screamed and growled, spitting out graphically violent lyrical imagery that occasionally touched on war and social issues but more often told stories of serial killers and gruesome deaths. Using this symbiotic relationship as a jumping-off point, Dunn segues into how thundering, high-velocity double-kick drums became the driving force behind Trash. Ulrich and Testament’s Paul Bostaph give all the credit to Motorhead’s Phil Taylor for bringing the double-kick drums into fashion, and Thrash’s young vanguard of drummers took Taylor’s style and gave it a shot of adrenaline. Taylor is one of the surprising stars of Dunn’s “Thrash,” a metal veteran telling his war stories and explaining his absolutely vital contribution to metal, with Dunn hanging on every word.

When the conversation turns to Metallica, Jon Zazula, founder of Megaforce Records, and his wife reveal how their mom-and-pop metal label served as the launching pad for the band that would become Thrash’s version of The Beatles. Metallica’s tale serves as the lynchpin for “Thrash,” as Dunn follows the band from its lowly beginnings on through the explosion of San Francisco’s underground metal scene and into the controversial, MTV-courting “Black” album, which some in the Thrash community saw a betrayal of its values. Dunn and Lombardo make no bones about how they felt. It was treason, but to Dunn’s credit, he shares his feelings with Ulrich, who offers Metallica’s side of things. Ulrich feels that “betrayal” is such an ugly word and that if Metallica had done a rehashing of … And Justice for All, that would have been Metallica selling out. They needed to do the “Black” album to expand their horizons and grow artistically, as Ulrich explains. His reasoning makes perfect sense.

So does Nunn’s storytelling. In less capable hands, “Thrash” could have been a jumbled mess, but he sticks to the philosophy of “Metal Evolution,” and that is to follow each stage of metal’s growth and development to the wherever the story leads. Slayer’s Reign in Blood is treated with awe and respect, and the story behind landmark show at the Roseland Ballroom in New York City that led to major-label deals for Raven, Metallica and, eventually, Anthrax is told with an insider’s perspective.  By the end of “Thrash,” Nunn has traversed Sweden to investigate Thrash’s unlikely revival in the land of ice, snow and Lutherans – the Gothenburg sound, which, after Thrash’s mid-‘90s swoon, which married melody and harmonies with blinding speed and crushing heaviness in bands like In Flames – and Richmond, Va.’s burgeoning scene, which roared to life because of Lamb of God. Though previous segments of “Metal Evolution” – including a surprisingly sincere look at “Glam,” strategically shown the week before “Thrash,” the juxtaposition probably being no accident – were strong statements of purpose, “Thrash” is the best of the lot. Next week, it’s “Grunge,” as Dunn goes to Seattle to take on the movement that many say destroyed the careers of bands like Warrant and Ratt, among others. Let’s hope Dunn treats the subject matter with just as much care as he does with Thrash.

- Peter Lindblad

Metal Evolution Thrash

View the Full Episode - Right Here, Right Now!

Episode Summary - Arguably metal's most popular and passionate genre, Sam journeys to Northern California to trace the roots of Thrash by interviewing the architects of this hugely popular genre. Sam interviews Metallica, Megadeth, Anthrax, Slayer, Testament, Exodus, and many more Thrash Metal legends.

Click here for more information on VH1's Metal Evolution

Collectible Heavy Metal Posters:
  
Anthrax
Megadeth
Metallica
Slayer

METAL IS ALIVE AND WELL (AND LOUD!!!)

The American Carnage Tour - Anthrax, Megadeth and Slayer

September 26, 2010 - Houston, Texas

All Access Concert Review: A

Each generation has their festivals and some eventually morph into the stuff of legends. The sixties provided the Trips Festival, the 14-hour Technicolor Dream, Monterey and Woodstock. The seventies offered the Isle of Wight, Glastonbury, Knebworth and the Texxas Jam. Live Aid was arguably the biggest festival of the eighties and the next decade saw memorable events such as Lollapalooza and (a muddy version of) Woodstock.

And then there are the genre specific festivals. Jazz has been thriving for decades in Newport, Montreux and The Hague. Punk festivals have been challenged the establishments in England since 1976 and Texas’ own Austin has become an annual global Mecca for alternative and unsigned bands. Whatever your fancy, your crumbled stub to one of these events is a true badge of honor and includes subsequent bragging right.

Such holds just as true in the leather and studded world of Heavy-Metal. The early days of N.W.O.B.H.M. and trash-metal gave birth to the legendary “Aardschok” festivals in the Netherlands (attended by yours truly), Castle Donnington and the annual ‘Monsters of Rock”. Better yet, if there is a genre that has kept the phenomena of day (or weekend) long music events alive; than it is without question the vast legions of headbangers. Thumb through an issue of Metal Hammer, Classic Rock or the before mentioned Aardschok and you’ll find a dazzling array of mostly summer festivals in just about every European country. South-America, Japan, Australia and yes, even the US with its “Rocklahoma” and “Rock at the Bayou” has continued the trend of these marathon eardrum onslaughts.

1990/ 1991 became significant in the history of metal by means of the legendary ‘Clash of the Titans’ tour. The first leg (September/ October 1990) consisted of 17 shows in Europe, featuring Slayer, Megadeth, Testament and Suicidal Tendencies. The second leg (May through July of 1991) featured three of the four biggest trash-metal bands – Slayer, Megadeth and Anthrax. This all-American event contained an impressive 50 shows and after all was said and done, the “Clash of the Titans” tour went down as one of the most memorable metal events in history. Original tour memorabilia such as posters and shirts demand top-dollar among collectors and if your attendance to one of the original ‘Titan’ shows will draw instant respect from your fellow ‘bangers. Metallica, obviously the other ‘Big Four’ was already in a whole different league and was just months away from releasing the ‘Black’ album, which would eventually sell a staggering 15 million copies.

Anthrax

Now two decades later, Slayer, Megadeth, Testament and Anthrax still carry the trash-torch with the same pride, energy, piss and vinegar. And much like 20 years ago, a two-phased ‘Titans’ tour is tearing through the US. Dubbed the ‘American Carnage’ tour, there was initially only one leg planned, featuring Slayer, Megadeth and Testament. Chronic back problems of Slayer bassist/ vocalist of Tom Araya (caused by his decade’s long aggressive style of headbanging) prompted a last minute cancellation and Slayer was replaced by other Bay-Area legend Exodus. Six months later, a second leg was announced, this time with the exact same line-up as the 1991 formation and consisting of Slayer, Megadeth and Anthrax. Confident of drawing sell-out crowds and a new generation of metal heads, Kerry King (Slayer) correctly said prior to the start of this tour “If you’ve got into this kind of music after ’92, you never saw us play together”.

Megadeth

I already saw the first ‘Carnage’ event here in Houston on March 25 and was really happy with my safe seat in the balcony…..and my earplugs. Yeah, yeah, save me the “boos”. I did the mosh pit thing as far back as the 70s. Now, I just enjoy watching it from a distance. By the way, even though Exodus was the opening act, they stole the price for most incredible pit ever by separating the floor in two halves like the red sea during (what else?) “Toxic Waltz”, followed by a massive stampede of body blows by over a thousand crazy kids on the word “go”…..now that was a sight!

Going in my "box"

Scott Ian of Anthrax graciously invited me last Sunday for the ‘real’ titanic clash, which too became a most memorable event. Pulling exclusively from their “vintage” catalog, Anthrax dished out classics such as ‘Caught in a Mosh’, ‘Indians’, ‘Antisocial’ and ‘I am the Law’. With Joey Belladonna back, Anthrax remains one of the most entertaining, energetic and engaging metal acts around. Megadeth served up a ‘front-to-back’ of their 1990 epic ‘Rust in Peace’ album, with staple songs such as ‘Hanger 18’ and ‘Lucretia’.  Fittingly, they ended their set with their masterpieces ‘Peace Sells’ and ‘Symphony of Destruction’. Slayer is Slayer. Raucous, fast, intimidating. They too offered a full version of their 1990 ‘Seasons in the Abyss’ mixed up with cult classics such as ‘Angel of Death’, ‘South of Heaven’ and ‘Raining Blood’.

No Caption Needed

This time, I didn’t have the safety of a balcony seat and in my rush to get out the door, I forget my plugs. Admittedly, I had several scenes of “No Country for Old Men” flashing through my mind. The sell-out crowd was in a 4-hour frenzy, lead by a seemingly never-ending array of stage divers and mosh pit pushers and shovers. But truth to be told, a show like this has to be experienced from the floor. The highly addictive intensity made me stand my ground (for as much that’s possible) and you know what, it felt damn good! OK, I didn’t make an attempt to loose my front teeth on stage (although I did see plenty of “war veterans” who obviously have a lousy dental plan), but it was great to be in the middle of it all. The best part however was to see that next generation Kerry King talked about. At some point, the balcony seat will become my only option but as long as these fresh metal heads keep the pit alive and the floor unsafe, metal will be “Alive and Well”.

This second leg of the tour runs through October 21. If possible, go earn your metal badge of honor…….I can highly recommend a General Admission ticket!

-  Jacques van Gool

Backstage Auctions

Be sure and check out The Rock Gods 'n Metal Monsters Auction - Live on Halloween at Backstage Auctions! The auction will feature the private collections of Al Jourgensen, Rudy Sarzo, Graham Bonnet, John 5, Scott Rockenfield and more! 

Artist Links: 

Anthrax

Megadeth

Slayer