1 00:00:02,110 --> 00:00:02,710 [ METAL MUSIC PLAYING ] 2 00:00:03,810 --> 00:00:06,543 [ WOMAN SPEAKING INDISTINCTLY OVER P.A. ] 3 00:00:17,976 --> 00:00:20,076 Dunn: SO, WE'RE HERE AT SOUNDWAVE STUDIOS. 4 00:00:20,076 --> 00:00:22,343 THIS IS THE REHEARSAL STUDIO 5 00:00:22,343 --> 00:00:24,776 WHERE MANY OF THE BAY AREA THRASH BANDS 6 00:00:24,776 --> 00:00:26,976 HAVE JAMMED FOR A LOT OF YEARS. 7 00:00:26,976 --> 00:00:30,110 AND I'VE WANTED TO COME HERE AND SEE IT FOR MYSELF 8 00:00:30,110 --> 00:00:31,943 FOR A LONG TIME, SO LET'S GO IN. 9 00:00:31,943 --> 00:00:33,643 [ METAL MUSIC PLAYING ] 10 00:00:33,643 --> 00:00:37,076 [ TESTAMENT'S "INTO THE PIT" PLAYS ] 11 00:00:37,076 --> 00:00:40,543 TESTAMENT. THAT'S A GOOD START. 12 00:00:42,043 --> 00:00:43,510 EXODUS. 13 00:00:43,510 --> 00:00:46,443 [ MUSIC CONTINUES ] 14 00:00:46,443 --> 00:00:49,943 EN VOGUE. NOT VERY THRASH. 15 00:00:49,943 --> 00:00:52,276 [ MUSIC CONTINUES ] 16 00:00:52,276 --> 00:00:55,276 [ SINGING INDISTINCTLY ] 17 00:00:59,276 --> 00:01:02,343 THRASH IS ONE OF THE FASTEST AND MOST AGGRESSIVE METAL SUBGENRES, 18 00:01:02,343 --> 00:01:05,810 AND FOR MANY PEOPLE, IT DOESN'T EVEN SOUND LIKE MUSIC. 19 00:01:05,810 --> 00:01:09,276 EVEN FOR SOME DIE-HARD METAL FANS, IT'S TOO HEAVY. 20 00:01:09,276 --> 00:01:11,576 SO, HOW DID THIS EXTREME STYLE OF MUSIC 21 00:01:11,576 --> 00:01:13,710 GAIN SUCH A HUGE FANBASE, 22 00:01:13,710 --> 00:01:16,110 PRODUCING SOME OF METAL'S BIGGEST BANDS 23 00:01:16,110 --> 00:01:19,276 LIKE METALLICA, MEGADETH, AND SLAYER? 24 00:01:19,276 --> 00:01:20,943 AND WHY DOES IT REMAIN SO VITAL 25 00:01:20,943 --> 00:01:23,510 WHILE OTHER SUBGENRES HAVE BECOME EXTINCT? 26 00:01:23,510 --> 00:01:26,310 [ SONG ENDS ] 27 00:01:30,443 --> 00:01:32,976 [ "THE TROOPER" BY IRON MAIDEN PLAYING ] 28 00:01:41,876 --> 00:01:45,010 * YOU TAKE MY LIFE, BUT I'LL TAKE YOURS, TOO * 29 00:01:45,010 --> 00:01:47,843 * YOU'LL FIRE YOUR MUSKET, BUT I'LL RUN YOU THROUGH * 30 00:01:47,843 --> 00:01:50,443 * SO WHEN YOU'RE WAITING FOR THE NEXT ATTACK * 31 00:01:50,443 --> 00:01:54,110 * YOU BETTER STAND, THERE'S NO TURNING BACK * 32 00:01:54,110 --> 00:01:57,343 * THE BUGLE SOUNDS, THE CHARGE BEGINS * 33 00:01:57,343 --> 00:01:59,876 * BUT ON THIS BATTLEFIELD, NO ONE WINS * 34 00:01:59,876 --> 00:02:03,243 * THE SMELL OF ACRID SMOKE AND HORSES' BREATH * 35 00:02:03,243 --> 00:02:06,276 * AS I PLUNGE INTO CERTAIN DEATH * 36 00:02:06,276 --> 00:02:10,410 * OH, OH, OH, OH, OH, OH, OH, OH, OH * 37 00:02:11,943 --> 00:02:16,343 * OH, OH, OH, OH, OH, OH, OH, OH, OH * 38 00:02:24,543 --> 00:02:26,143 [ METAL MUSIC PLAYS ] 39 00:02:28,110 --> 00:02:30,743 Dunn: THRASH EMERGED FROM THE UNDERGROUND IN THE EARLY '80s 40 00:02:30,743 --> 00:02:34,610 AND WAS MUCH MORE EXTREME THAN METAL STYLES THAT CAME BEFORE IT 41 00:02:34,610 --> 00:02:38,143 CONTAINING GRAPHIC LYRICS ABOUT WARFARE, HUMAN SUFFERING, 42 00:02:38,143 --> 00:02:40,176 AND EVEN SERIAL KILLERS. 43 00:02:40,176 --> 00:02:42,843 BUT BEFORE I EXPLORE THE EVOLUTION OF THRASH, 44 00:02:42,843 --> 00:02:44,510 I WANT TO KNOW WHAT KIND OF PEOPLE 45 00:02:44,510 --> 00:02:46,710 WERE INSPIRED TO CREATE THIS MUSIC. 46 00:02:46,710 --> 00:02:50,010 WE WERE JUST LIVING OUT OUR TWISTED FANTASIES 47 00:02:50,010 --> 00:02:51,976 THAT WERE ILLEGAL TO CARRY OUT IN REAL LIFE. 48 00:02:51,976 --> 00:02:53,310 [ LAUGHS ] 49 00:02:53,310 --> 00:02:55,610 IT'S NOT A DAY GOES BY I DON'T WANT TO KILL SOMEBODY. 50 00:02:55,610 --> 00:02:57,843 FORTUNATELY, THE CRIMINAL JUSTICE SYSTEM 51 00:02:57,843 --> 00:02:59,176 FROWNS UPON SUCH THINGS. 52 00:02:59,176 --> 00:03:01,110 I'M ONE OF THE EASIEST-GOING DUDES YOU'LL EVER SEE 53 00:03:01,110 --> 00:03:02,410 HANGING OUT -- AND YOU KNOW THIS -- 54 00:03:02,410 --> 00:03:05,343 BUT YOU PUT ME IN TRAFFIC, 55 00:03:05,343 --> 00:03:08,343 AND I'M -- DUDE, I'M A DEATH-ROW CRIMINAL. 56 00:03:08,343 --> 00:03:09,810 [ LAUGHS ] 57 00:03:09,810 --> 00:03:12,743 AND I SAVE THAT -- THAT HATRED AND APPLY IT TO SLAYER LYRICS 58 00:03:12,743 --> 00:03:14,276 IN THE WEIRDEST WAYS, YOU KNOW. 59 00:03:14,276 --> 00:03:17,143 Dunn: WAS YOUR EXPERIENCE AS A YOUNGSTER FEEDING INTO 60 00:03:17,143 --> 00:03:20,443 THE NEED TO CREATE FASTER, AGGRESSIVE, INTENSE MUSIC? 61 00:03:20,443 --> 00:03:23,110 I DON'T KNOW THAT WHAT HAPPENED TO ME AS A KID 62 00:03:23,110 --> 00:03:25,843 CAN DRIVE ANYBODY TO DO ANYTHING BUT KILL THEIR PARENTS. 63 00:03:25,843 --> 00:03:29,576 FOR ME, WHAT DROVE ME TO WANT TO PLAY METAL MUSIC 64 00:03:29,576 --> 00:03:33,410 WAS SIMPLY, I JUST WANTED TO...FIT IN. 65 00:03:33,410 --> 00:03:35,143 I JUST WANTED TO BE A PART OF THINGS. 66 00:03:35,143 --> 00:03:37,910 MY NICKNAME IS A.D. DAVE, YOU KNOW, 67 00:03:37,910 --> 00:03:40,710 'CAUSE I'M, LIKE -- I'M A LITTLE HYPER. 68 00:03:40,710 --> 00:03:43,776 IF I'M STILL HYPERACTIVE AT 45, 69 00:03:43,776 --> 00:03:46,576 AT 16, 17, I MUST'VE BEEN WHACKED. 70 00:03:46,576 --> 00:03:50,276 I THINK A COMBINATION OF THAT AND THE ENJOYMENT OF PUNK MUSIC, 71 00:03:50,276 --> 00:03:53,343 WHETHER IT WAS CIRCLE JERKS, DEAD KENNEDYS, MINOR THREAT, 72 00:03:53,343 --> 00:03:57,143 THAT JUST FUELS WHAT I THINK I HAD ALREADY. 73 00:03:57,143 --> 00:04:00,210 [ METAL MUSIC PLAYING ] 74 00:04:00,210 --> 00:04:01,743 [ SINGING INDISTINCTLY ] 75 00:04:06,010 --> 00:04:09,843 Kahn-Harris: ONE OF THE THINGS THAT DEFINES THRASH METAL IN THE EARLY '80s 76 00:04:09,843 --> 00:04:13,443 IS A SENSE OF SERIOUSNESS, A KIND OF AUSTERITY, 77 00:04:13,443 --> 00:04:14,776 INFLUENCED BY PUNK. 78 00:04:14,776 --> 00:04:17,010 NOT NECESSARILY ALWAYS BY THE MUSIC OF PUNK, 79 00:04:17,010 --> 00:04:19,210 BUT PERHAPS BY SOME OF THE ATTITUDE OF PUNK. 80 00:04:19,210 --> 00:04:21,810 PUNK WAS BORN, IN PART, FROM FRUSTRATION. 81 00:04:21,810 --> 00:04:24,876 PUNK EMERGED AT A TIME OF GREAT LOSS OF CONFIDENCE 82 00:04:24,876 --> 00:04:28,576 IN THE WEST ABOUT WHERE THE WORLD WAS GOING. 83 00:04:28,576 --> 00:04:31,310 Weinstein: WHEN THRASH STARTED IN THE EARLY '80s, 84 00:04:31,310 --> 00:04:33,510 THATCHER AND REAGAN WERE IN CHARGE, 85 00:04:33,510 --> 00:04:37,176 AND WE HAD A HIGHLY CONSERVATIVE, 86 00:04:37,176 --> 00:04:40,010 VERY RESTRICTIVE KIND OF SOCIETY. 87 00:04:40,010 --> 00:04:43,143 AND IF YOU'RE A TEENAGER, ESPECIALLY A TEENAGED MALE, 88 00:04:43,143 --> 00:04:44,476 YUCK, 89 00:04:44,476 --> 00:04:47,643 YOU DON'T WANT TO LIVE IN A PLACE WHERE THEY ARE IN CHARGE. 90 00:04:47,643 --> 00:04:49,943 THIS MADE MALES FEEL LIKE 91 00:04:49,943 --> 00:04:52,510 THEY HAD TO FIGHT AGAINST THE SYSTEM 92 00:04:52,510 --> 00:04:54,110 JUST TO STAY IN PLACE, 93 00:04:54,110 --> 00:04:56,810 AND THAT KIND OF AGGRESSION LEADS TO A SENSE 94 00:04:56,810 --> 00:04:59,243 OF WANTING TO BE LOUDER AND FASTER. 95 00:04:59,243 --> 00:05:02,276 Dunn: IF YOU LOVED PUNK, WHY WAS IT THAT YOU DECIDED 96 00:05:02,276 --> 00:05:05,776 TO PLAY THRASH METAL INSTEAD OF JUST BECOMING A PUNK GUITARIST? 97 00:05:05,776 --> 00:05:08,476 WELL, FOR ME, MUSICIANSHIP WAS REALLY IMPORTANT. 98 00:05:08,476 --> 00:05:10,743 YOU DIDN'T REALLY HAVE GREAT GUITAR PLAYERS IN PUNK. 99 00:05:10,743 --> 00:05:12,876 YOU DIDN'T REALLY HAVE GREAT MUSICIANS IN PUNK. 100 00:05:12,876 --> 00:05:13,910 YOU HAD GREAT SONGS, 101 00:05:13,910 --> 00:05:16,743 BUT AS A MUSICIAN, I WANTED TO DO MORE, 102 00:05:16,743 --> 00:05:19,276 AND IT SEEMED LIKE THRASH PROVIDED THE POSSIBILITY 103 00:05:19,276 --> 00:05:23,110 TO APPLY THE MUSICIANSHIP THAT I'D WORKED SO HARD ON 104 00:05:23,110 --> 00:05:26,310 TO THE ATTITUDE OF PUNK. 105 00:05:26,310 --> 00:05:29,010 [ METAL MUSIC PLAYING ] 106 00:05:36,576 --> 00:05:40,010 THRASH METAL REQUIRES DEXTERITY AND VIRTUOSITY, 107 00:05:40,010 --> 00:05:43,610 BUT THRASH MUSICIANS DIDN'T FIND THESE QUALITIES IN PUNK MUSIC. 108 00:05:43,610 --> 00:05:46,510 THE OTHER MAIN INFLUENCE ON THRASH WAS A GROUP OF BANDS 109 00:05:46,510 --> 00:05:48,743 THAT EMERGED FROM ENGLAND IN THE LATE '70s 110 00:05:48,743 --> 00:05:51,943 CALLED THE NEW WAVE OF BRITISH HEAVY METAL. 111 00:05:51,943 --> 00:05:53,710 * I KNOW THAT YOU'RE GONNA SCRATCH ME * 112 00:05:53,710 --> 00:05:57,510 * AND MAIN ME AND MA-A-A-A-UL * 113 00:05:59,910 --> 00:06:04,110 * YOU KNOW I'M HELPLESS FROM YOUR MESMERIZING CAT CALL * 114 00:06:04,110 --> 00:06:06,743 Dunn: WHAT WAS IT ABOUT THE NEW WAVE OF BRITISH HEAVY METAL 115 00:06:06,743 --> 00:06:08,010 THAT YOU WERE ATTRACTED TO? 116 00:06:08,010 --> 00:06:09,576 WELL, IT WAS THE ENERGY. 117 00:06:09,576 --> 00:06:12,776 FIRST AND FOREMOST, THERE WAS A DIFFERENT ENERGY. 118 00:06:12,776 --> 00:06:16,010 THE NEW WAVE OF BRITISH HEAVY METAL WAS BASICALLY HARD ROCK, 119 00:06:16,010 --> 00:06:18,143 METAL'S ANSWER TO THE PUNK MOVEMENT. 120 00:06:18,143 --> 00:06:19,710 THERE WERE A BUNCH OF THE METAL DUDES 121 00:06:19,710 --> 00:06:21,876 THAT TOOK THE ENERGY AND THE SPIRIT OF PUNK 122 00:06:21,876 --> 00:06:25,776 AND MADE THE RIFTS HEAVIER, MADE THE RIFTS MORE INTRICATE, 123 00:06:25,776 --> 00:06:27,176 AND THERE WAS JUST A DIFFERENT LEVEL 124 00:06:27,176 --> 00:06:30,010 OF -- OF JUST KIND OF MUSICAL WEIGHT TO IT. 125 00:06:30,010 --> 00:06:32,010 I ACTUALLY STARTED AS A MUSICIAN, 126 00:06:32,010 --> 00:06:33,843 WAS WITH THE BRITISH INVASION. 127 00:06:33,843 --> 00:06:36,210 AS FAR AS MY GUITAR-PLAYING STYLE, IT WAS PRETTY MUCH 128 00:06:36,210 --> 00:06:38,510 CRAFTED AROUND THE NEW WAVE OF BRITISH HEAVY METAL. 129 00:06:38,510 --> 00:06:40,776 THANK GOD FOR ENGLAND, OR I WOULDN'T BE ABLE TO PLAY A NOTE. 130 00:06:40,776 --> 00:06:42,110 [ LAUGHS ] 131 00:06:42,110 --> 00:06:44,810 THERE WAS CERTAINLY AN AGGRESSION AND INTENSITY TO, 132 00:06:44,810 --> 00:06:46,810 LIKE, PRIEST AND MAIDEN AND MOTORHEAD 133 00:06:46,810 --> 00:06:50,876 THAT HADN'T EXISTED IN MUSIC UNTIL THOSE BANDS CAME. 134 00:06:50,876 --> 00:06:53,976 LISTENING TO SABBATH, THE GODFATHERS OF HEAVY METAL, 135 00:06:53,976 --> 00:06:56,610 STILL SOME OF THEIR MUSIC WAS REALLY ROOTED IN THE BLUES. 136 00:06:56,610 --> 00:06:59,143 FOR ME, PRIEST SWEPT ALL THE BLUES OUT OF THEIR MUSIC. 137 00:06:59,143 --> 00:07:00,343 THAT WAS HEAVY METAL. 138 00:07:00,343 --> 00:07:02,543 WHY WERE YOU DRIVEN TO TAKE THESE INFLUENCES 139 00:07:02,543 --> 00:07:04,176 AND TURN IT INTO SOMETHING NEW? 140 00:07:04,176 --> 00:07:07,176 DID I KNOW WE WERE DOING ANYTHING NEW? NO. 141 00:07:07,176 --> 00:07:10,110 WE WERE JUST BASICALLY RIDING THE COATTAILS OF GIANTS 142 00:07:10,110 --> 00:07:11,810 LIKE MAIDEN AND PRIEST AND THEM 143 00:07:11,810 --> 00:07:15,843 AND JUST DO OUR OWN LITTLE TWISTED BAY-AREA VERSION OF IT, 144 00:07:15,843 --> 00:07:18,176 YOU KNOW, WHICH WAS TAKE THE EPIC SONGS OF THEM, 145 00:07:18,176 --> 00:07:21,543 AND WE CHANGED IT ABOUT KILLING PEOPLE AND [BLEEP] LIKE THAT. 146 00:07:21,543 --> 00:07:24,343 [ METAL MUSIC PLAYING, SINGING INDISTINCTLY ] 147 00:07:33,610 --> 00:07:35,776 Dunn: THRASH WASN'T JUST A MIXTURE OF PUNK 148 00:07:35,776 --> 00:07:37,610 IN THE NEW WAVE OF BRITISH HEAVY METAL. 149 00:07:37,610 --> 00:07:40,676 ITS SCREECHING VOCALS AND ULTRA-FAST RHYTHM GUITAR 150 00:07:40,676 --> 00:07:43,243 MADE IT A UNIQUE MUSICAL STYLE. 151 00:07:43,243 --> 00:07:45,510 BUT PERHAPS ITS MOST UNIQUE CHARACTERISTIC 152 00:07:45,510 --> 00:07:48,376 WAS THE RELENTLESS BEAT OF THE DOUBLE BASS DRUM. 153 00:07:48,376 --> 00:07:50,010 SO WHERE DID THIS COME FROM, 154 00:07:50,010 --> 00:07:53,110 AND WHY DID IT BECOME ESSENTIAL TO THE SOUND OF THRASH? 155 00:07:53,110 --> 00:07:55,810 MAYBE YOU COULD TELL ME WHY THE DOUBLE BASS 156 00:07:55,810 --> 00:07:58,110 IS IMPORTANT TO THE SOUND OF THRASH? 157 00:07:58,110 --> 00:08:00,143 Bostaph: I THINK IT BRINGS A LEVEL OF EXCITEMENT TO THE MUSIC. 158 00:08:00,143 --> 00:08:02,676 INSTEAD OF JUST GOING, "BOOM, GAH, DOO, GAH." 159 00:08:02,676 --> 00:08:04,410 I MEAN, GOING -- [ TAPPING FAST BEAT ] 160 00:08:04,410 --> 00:08:05,443 IT'S JUST MORE INTENSE. 161 00:08:05,443 --> 00:08:07,110 AND YOU HEAR THAT LOW-END THUMP IN, 162 00:08:07,110 --> 00:08:08,176 ESPECIALLY WITH THE GUITARS, 163 00:08:08,176 --> 00:08:09,810 OR IF IT'S COMPLEMENTING WHAT'S GOING ON, 164 00:08:09,810 --> 00:08:12,276 I THINK THAT'S THE TRUE IDENTITY OF THRASH MYSELF. 165 00:08:12,276 --> 00:08:14,376 ONE OF THE THINGS THAT THE DOUBLE BASS DRUM DOES 166 00:08:14,376 --> 00:08:17,843 IS IT BREAKS THE MONOTONY OF THAT VERY FAST BASS SNARE, 167 00:08:17,843 --> 00:08:19,243 BASS SNARE, BASS SNARE, BASS SNARE. 168 00:08:19,243 --> 00:08:22,376 ADDING DOUBLE BASS CREATES A SENSE OF VARIETY INTO THE MUSIC, 169 00:08:22,376 --> 00:08:24,543 AND IT CREATES A RHYTHMIC COMPLEXITY, 170 00:08:24,543 --> 00:08:26,476 AND IT CREATES A SENSE OF PACE. 171 00:08:26,476 --> 00:08:29,376 IT ADDS RELENTLESSNESS AND PROPULSION TO THE MUSIC. 172 00:08:29,376 --> 00:08:32,143 [ METAL MUSIC PLAYING ] 173 00:08:32,143 --> 00:08:35,543 Dunn: WHERE DID YOU HEAR THE DOUBLE-BASS STYLE 174 00:08:35,543 --> 00:08:37,410 BEFORE YOU STARTED CREATING IT YOURSELF? 175 00:08:37,410 --> 00:08:39,810 FROM MOTORHEAD -- WAS THE FIRST TIME I HEARD 176 00:08:39,810 --> 00:08:42,443 DOUBLE BASS DONE AT THAT PATTERN. 177 00:08:42,443 --> 00:08:44,576 I'VE HEARD OF OTHER DOUBLE-BASS DRUMMERS, 178 00:08:44,576 --> 00:08:46,876 BUT I DON'T THINK THEY DID ANYTHING LIKE THAT 179 00:08:46,876 --> 00:08:49,310 AT THAT TEMPO AND THAT STYLE OF BEAT. 180 00:08:49,310 --> 00:08:51,210 THE DRUMMER THAT INTRODUCED ME 181 00:08:51,210 --> 00:08:53,510 TO THAT DOUBLE-BASS TYPE OF THING 182 00:08:53,510 --> 00:08:55,243 WAS PHIL TAYLOR FROM MOTORHEAD 183 00:08:55,243 --> 00:08:58,810 WHEN I FIRST HEARD "OVERKILL" IN EARLY 1979. 184 00:08:58,810 --> 00:09:00,476 THAT WAS JUST WHAT BLEW MY HEAD OFF. 185 00:09:00,476 --> 00:09:02,710 [ "OVERKILL" BY MOTORHEAD PLAYING ] 186 00:09:17,310 --> 00:09:21,776 * ONLY WAY TO FEEL THE NOISE IS WHEN IT'S GOOD AND LOUD * 187 00:09:21,776 --> 00:09:25,843 * SO COOL I CAN'T BELIEVE IT, SCREAMING WITH THE CROWD * 188 00:09:25,843 --> 00:09:28,210 * DON'T SWEAT IT * 189 00:09:28,210 --> 00:09:30,643 * GET IT BACK TO YOU * 190 00:09:30,643 --> 00:09:31,943 Dunn: THE DOUBLE BASS CLAIM 191 00:09:31,943 --> 00:09:33,576 THAT YOU USED ON THE SONG "OVERKILL." 192 00:09:33,576 --> 00:09:35,876 Taylor: YEAH. CAN YOU TELL ME HOW YOU CAME UP WITH THAT? 193 00:09:35,876 --> 00:09:37,176 I JUST GOT A BRAND-NEW KIT, 194 00:09:37,176 --> 00:09:39,443 AND SO I WAS PRACTICING ON MY DUAL BASS DRUMS. 195 00:09:39,443 --> 00:09:40,676 AND I WAS JUST GOING -- 196 00:09:40,676 --> 00:09:42,310 [TAPPING FEET] YOU KNOW, LIKE THAT. 197 00:09:42,310 --> 00:09:45,543 AND EDDIE AND LEMMY HAPPENED TO ARRIVE WHILE I WAS DOING THAT, 198 00:09:45,543 --> 00:09:46,943 AND ACCORDING TO THEM, 199 00:09:46,943 --> 00:09:49,343 THEY SAID THEY STOOD OUTSIDE THE ROOM, 200 00:09:49,343 --> 00:09:52,310 AND THEY BOTH SAID, "THAT'S [BLEEP] GOOD" TO EACH OTHER. 201 00:09:52,310 --> 00:09:54,710 AND ONE DAY, ME AND EDDIE JUST CAME IN THE ROOM 202 00:09:54,710 --> 00:09:57,010 WHILE HE WAS PRACTICING HIS DOUBLE BASS DRUMS 203 00:09:57,010 --> 00:09:58,710 AND WROTE "OVERKILL." YOU KNOW. 204 00:09:58,710 --> 00:10:01,176 Dunn: MOTORHEAD KIND OF SET IN MOTION 205 00:10:01,176 --> 00:10:04,010 THIS KIND OF IMPULSE OR DRIVE TO PLAY FASTER, LOUDER. 206 00:10:04,010 --> 00:10:05,443 WELL, WE CERTAINLY HELPED A LOT, YEAH. 207 00:10:05,443 --> 00:10:06,910 WHY DID YOU WANT TO PLAY FAST? 208 00:10:06,910 --> 00:10:08,576 I DON'T KNOW. 209 00:10:08,576 --> 00:10:10,676 IT WAS JUST, LIKE, IT SEEMED LIKE A GOOD IDEA AT THE TIME. 210 00:10:10,676 --> 00:10:12,976 YOU PLAY IT ABOUT A THOUSAND MILES AN HOUR. 211 00:10:12,976 --> 00:10:14,476 I CAN TELL YOU THAT. 212 00:10:14,476 --> 00:10:16,376 SO, YOU GUYS ARE GETTING FASTER WITH AGE. 213 00:10:16,376 --> 00:10:17,976 SEEMS TO BE, YEAH. 214 00:10:17,976 --> 00:10:20,710 I MEAN, WE WANT TO GET OFF STAGE AND HAVE A REST, YOU KNOW. 215 00:10:20,710 --> 00:10:22,776 GET BACK IN OUR WHEELCHAIRS. 216 00:10:22,776 --> 00:10:25,443 [ "OVERKILL" PLAYING ] 217 00:10:29,976 --> 00:10:32,010 Dunn: SOME PEOPLE CALL MOTORHEAD A THRASH METAL BAND. 218 00:10:32,010 --> 00:10:33,176 YES, THEY DO, INDEED. 219 00:10:33,176 --> 00:10:35,076 AND WHY DO YOU THINK THEY DO THAT? 220 00:10:35,076 --> 00:10:37,610 [ LAUGHS ] I HAVEN'T GOT A CLUE, REALLY. 221 00:10:37,610 --> 00:10:39,343 I DON'T KNOW. [ LAUGHS ] 222 00:10:39,343 --> 00:10:42,576 I MEAN, I ONLY EVER ASSOCIATE THE WORD THRASH 223 00:10:42,576 --> 00:10:43,943 WITH WHAT YOUR DAD DID TO YOU, YOU KNOW, 224 00:10:43,943 --> 00:10:45,376 WHEN HE WENT AND TOOK HIS BELT OFF. WHACK! 225 00:10:45,376 --> 00:10:47,343 I MEAN, I STILL DON'T QUITE KNOW 226 00:10:47,343 --> 00:10:49,843 HOW IT WORKED ITS WAY INTO THE MUSIC GENRE. 227 00:10:49,843 --> 00:10:51,343 I DID SEE AND HEAR ALL THE BANDS 228 00:10:51,343 --> 00:10:53,143 THAT SEEM TO BE PLAYING INCREDIBLY FAST. 229 00:10:53,143 --> 00:10:55,876 WHEN WE FIRST SAW METALLICA WAS WHEN THEY SUPPORTED US. 230 00:10:55,876 --> 00:10:57,910 CHRIST, I THINK IT WAS 1982. 231 00:10:57,910 --> 00:10:59,376 AND I REMEMBER AT THE TIME THINKING, 232 00:10:59,376 --> 00:11:01,776 "[BLEEP], WHAT KIND OF MUSIC ARE THEY PLAYING?" 233 00:11:01,776 --> 00:11:03,543 'CAUSE IT WAS, LIKE, SO FAST. 234 00:11:03,543 --> 00:11:06,243 [ METALLICA'S "PHANTOM LORD" PLAYS ] 235 00:11:12,310 --> 00:11:14,176 Dunn: MANY PEOPLE REGARD METALLICA 236 00:11:14,176 --> 00:11:16,276 AS THE FIRST THRASH METAL BAND, 237 00:11:16,276 --> 00:11:17,976 SO HOW DID THEY GET STARTED, 238 00:11:17,976 --> 00:11:20,910 AND WHY DID THEIR SOUND CONNECT WITH SO MANY FANS? 239 00:11:27,743 --> 00:11:29,110 Dunn: WHEN PEOPLE THINK OF THRASH, 240 00:11:30,010 --> 00:11:32,110 THEY GENERALLY THINK OF THE BAY AREA, 241 00:11:32,110 --> 00:11:33,810 BUT THAT'S NOT WHERE IT STARTED. 242 00:11:33,810 --> 00:11:36,510 I'VE COME TO L.A. TO MEET WITH BRIAN SLAGEL, 243 00:11:36,510 --> 00:11:38,143 HEAD OF METAL BLADE RECORDS, 244 00:11:38,143 --> 00:11:40,610 TO FIND OUT HOW HE AND METALLICA'S LARS ULRICH 245 00:11:40,610 --> 00:11:43,210 HELPED KICKSTART THRASH METAL IN THIS CITY. 246 00:11:43,210 --> 00:11:47,110 WE ALL LIVED, BREATHED, EAT, SLEPT, 24 HOURS A DAY, METAL. 247 00:11:47,110 --> 00:11:48,476 IT WAS A SCENE. IT WAS A CULTURE. 248 00:11:48,476 --> 00:11:49,643 IT WAS A MOVEMENT. MM-HMM. 249 00:11:49,643 --> 00:11:51,110 AND WE ALL DID ANYTHING WE COULD. 250 00:11:51,110 --> 00:11:52,476 I COULDN'T PLAY AN INSTRUMENT. 251 00:11:52,476 --> 00:11:54,643 I WAS TERRIBLE AT IT, SO THE ONE THING I COULD DO 252 00:11:54,643 --> 00:11:57,610 WAS TRY TO HELP EXPOSE THIS TO OTHER PEOPLE. 253 00:11:57,610 --> 00:11:59,643 Ulrich: LOS ANGELES, AT THAT TIME, 254 00:11:59,643 --> 00:12:02,176 WAS FULL OF FM RADIO, AND IT WASN'T MY BAG. 255 00:12:02,176 --> 00:12:04,443 SO, THERE WAS A MICHAEL SCHENKER SHOW 256 00:12:04,443 --> 00:12:06,710 UP AT THE PLACE CALLED THE COUNTRY CLUB 257 00:12:06,710 --> 00:12:08,743 UP BY WHERE BRIAN SLAGEL LIVED. 258 00:12:08,743 --> 00:12:11,010 SO, I WENT TO THE SHOW, AND AFTER THE SHOW, 259 00:12:11,010 --> 00:12:13,110 I WAS IN THE PARKING LOT AND SAW A KID 260 00:12:13,110 --> 00:12:15,110 WEARING A SAXON EUROPEAN TOUR SHIRT. 261 00:12:15,110 --> 00:12:18,276 NOW, NOBODY IN L.A. AT THAT POINT KNEW WHO SAXON WAS. 262 00:12:18,276 --> 00:12:19,376 SO, I RAN UP TO THE KID 263 00:12:19,376 --> 00:12:21,110 AND SAID, "WHERE'D YOU GET THAT T-SHIRT?" 264 00:12:21,110 --> 00:12:22,876 HE SAID, "OH, I JUST MOVED HERE FROM EUROPE. 265 00:12:22,876 --> 00:12:23,976 I'M INTO THIS SCENE." 266 00:12:23,976 --> 00:12:25,910 I SAID, "OH, MY GOD, I'M INTO THIS SCENE, TOO." 267 00:12:25,910 --> 00:12:27,943 BRIAN WAS A MOGUL IN THE MAKING, 268 00:12:27,943 --> 00:12:30,476 AND HE WANTED TO MAKE A COMPILATION RECORD 269 00:12:30,476 --> 00:12:34,243 OF THE HEAVIER LOCAL L.A. BANDS, AND ME AND HETFIELD DROVE UP 270 00:12:34,243 --> 00:12:37,310 WITH OUR LITTLE [BLEEP] FOSTEX CASSETTE TAPE, 271 00:12:37,310 --> 00:12:40,610 AND HE DID A GOOD JOB, BRIAN, OF, LIKE, NOT VOMITING 272 00:12:40,610 --> 00:12:41,910 AS HE WAS HEARING 273 00:12:41,910 --> 00:12:44,643 OUR REALLY BADLY RECORDED VERSION OF "HIT THE LIGHTS." 274 00:12:44,643 --> 00:12:46,143 AND "HIT THE LIGHTS" ENDED UP 275 00:12:46,143 --> 00:12:48,143 ON THE FIRST "METAL MASSACRE" ALBUM, 276 00:12:48,143 --> 00:12:50,110 EVEN IF THERE WAS ONE ADDITIONAL "T" 277 00:12:50,110 --> 00:12:51,876 IN THE SPELLING OF "METALLICA." 278 00:12:51,876 --> 00:12:55,143 THAT WAS SORT OF HOW METALLICA GOT ITS START WAY BACK. 279 00:12:55,143 --> 00:12:58,310 * PLAY NICE * 280 00:12:58,310 --> 00:13:01,510 * PLAY NI-I-I-I-CE * 281 00:13:01,510 --> 00:13:03,643 Dunn: THE METALLICA SONG "HIT THE LIGHTS" 282 00:13:03,643 --> 00:13:05,443 ON THE METAL MASSACRE COMPILATION 283 00:13:05,443 --> 00:13:07,643 MARKED THE BEGINNING OF THRASH METAL, 284 00:13:07,643 --> 00:13:09,110 BUT IN THE EARLY '80s, 285 00:13:09,110 --> 00:13:12,576 L.A. WAS KNOWN FOR A TOTALLY DIFFERENT STYLE OF METAL -- 286 00:13:12,576 --> 00:13:13,810 GLAM METAL. 287 00:13:13,810 --> 00:13:16,543 SO, HOW DID THESE TWO STYLES OF METAL CO-EXIST? 288 00:13:16,543 --> 00:13:18,343 YOU HAD TO BE IN ONE CORNER OR THE OTHER. 289 00:13:18,343 --> 00:13:20,143 YOU'RE EITHER IN THE GLAM METAL CATEGORY, 290 00:13:20,143 --> 00:13:22,110 OR YOU'RE IN THE HEAVIER CATEGORY. 291 00:13:22,110 --> 00:13:24,910 THE HEAVIER CATEGORY JUST KIND OF GOT HEAVIER AND HEAVIER. 292 00:13:24,910 --> 00:13:28,410 YOU HAD METALLICA AND OMEN AND, YOU KNOW, BITCH. 293 00:13:28,410 --> 00:13:31,010 YEAH. AND THEN SLAYER CAME ALONG AFTER THAT. 294 00:13:31,010 --> 00:13:33,010 King: THE WAY THE HAIR METAL BANDS 295 00:13:33,010 --> 00:13:35,143 PRESENTED THEMSELVES WAS ALIEN TO US. 296 00:13:35,143 --> 00:13:38,476 WE WANTED TO BE THE ANTI-RATT, THE ANTI-POISON. 297 00:13:38,476 --> 00:13:40,310 Dunn: FUNNY STORY I'VE HEARD, TOO, 298 00:13:40,310 --> 00:13:42,176 IS THAT YOU GUYS DID WEAR A LITTLE BIT OF MAKEUP. 299 00:13:42,176 --> 00:13:43,343 YEAH, WE DID. 300 00:13:43,343 --> 00:13:45,410 BUT, YOU KNOW, THAT'S PART OF BEING IN L.A. 301 00:13:45,410 --> 00:13:47,210 YOU GOT TO WEAR MAKEUP OF SOME SORT. 302 00:13:47,210 --> 00:13:49,110 WE DIDN'T WANT TO PRESENT OURSELVES LIKE THAT. 303 00:13:49,110 --> 00:13:50,743 SO, WE SAID, "ALL RIGHT, EYELINER, DEMONS." 304 00:13:50,743 --> 00:13:52,010 NOT NECESSARILY ALICE COOPER, 305 00:13:52,010 --> 00:13:54,643 BUT THE ANTITHESIS OF WHAT WAS HAPPENING IN L.A. 306 00:13:54,643 --> 00:13:56,710 YEAH, SLAYER WORE MAKEUP, OKAY, 307 00:13:56,710 --> 00:13:58,710 BUT, I MEAN, WE JUST WORE BLACK EYELINER, 308 00:13:58,710 --> 00:14:01,210 WHICH WHAT WE WERE DOING IS COPYING OZZY AT THE TIME 309 00:14:01,210 --> 00:14:02,276 'CAUSE IT LOOKED EVIL. 310 00:14:02,276 --> 00:14:04,110 BUT IT WASN'T LONG AFTER THAT 311 00:14:04,110 --> 00:14:06,543 THAT WE WERE CONVINCED THAT WE DIDN'T NEED THAT. 312 00:14:06,543 --> 00:14:08,176 Dunn: IN THE FOLKLORE, IT'S SUGGESTED THAT THERE WAS 313 00:14:08,176 --> 00:14:10,976 A LOT OF ANIMOSITY BETWEEN HAIR AND THRASH METAL CAMPS. 314 00:14:10,976 --> 00:14:13,643 IS THAT TRUE? THAT'S NOT -- THAT'S NOT FOLKLORE. 315 00:14:13,643 --> 00:14:16,243 THAT'S REAL BECAUSE THE HAIR BANDS STOOD FOR GLAM. 316 00:14:16,243 --> 00:14:17,376 I MEAN, I LOOK AT IT LIKE 317 00:14:17,376 --> 00:14:20,210 GLAM IS THE FLEAS ON THE CAMEL'S BALLS, 318 00:14:20,210 --> 00:14:23,410 AND THRASH WAS KIND OF LIKE A FLEA BOMB. 319 00:14:23,410 --> 00:14:26,443 MOTLEY CRUE, RATT, STEALER, SO ON, 320 00:14:26,443 --> 00:14:29,210 THEY SORT OF REPRESENTED EVERYTHING THAT WE WERE AGAINST. 321 00:14:29,210 --> 00:14:32,310 THEY WERE LIKE THE KINGS OF THE SUNSET STRIP. 322 00:14:32,310 --> 00:14:36,876 IT WAS NOT EASY TRYING TO FORCE OUR WAY INTO THAT WHOLE SETUP. 323 00:14:36,876 --> 00:14:38,643 IT WAS VERY LONELY. [ LAUGHS ] 324 00:14:38,643 --> 00:14:40,610 I CAN TELL YOU, IT WAS VERY LONELY 325 00:14:40,610 --> 00:14:42,276 TO BE METALLICA IN L.A. IN 1982. 326 00:14:42,276 --> 00:14:44,576 THERE WAS NOT A LOT OF LOVE 327 00:14:44,576 --> 00:14:46,276 FOR THE TYPE OF THING THAT WE WERE DOING. 328 00:14:46,276 --> 00:14:49,110 AND SO, WE STARTED PLAYING SOME SHOWS UP IN SAN FRANCISCO 329 00:14:49,110 --> 00:14:50,243 EVERY THREE, FOUR WEEKS, 330 00:14:50,243 --> 00:14:52,476 AND INSTANTLY, THINGS STARTED HAPPENING. 331 00:14:52,476 --> 00:14:54,976 WE GOT A FOLLOWING, SO WE PACKED UP OUR [BLEEP] 332 00:14:54,976 --> 00:14:56,643 AND FINISHED OUR DAY JOBS, 333 00:14:56,643 --> 00:14:59,443 AND WE WERE IN SAN FRANCISCO PERMANENTLY 334 00:14:59,443 --> 00:15:02,376 FROM EARLY FEBRUARY OF 1983. 335 00:15:02,376 --> 00:15:03,910 DO ALL YOUR AUDIENCES REACT THE SAME 336 00:15:03,910 --> 00:15:05,843 IN THE DIFFERENT PLACES YOU PLAY? 337 00:15:05,843 --> 00:15:09,110 UP IN SAN FRANCISCO, THEY'RE A LOT BETTER. 338 00:15:09,110 --> 00:15:10,976 A LOT BETTER. 339 00:15:10,976 --> 00:15:12,443 THERE'S [BLEEP] IN L.A. SUCKS. 340 00:15:12,443 --> 00:15:14,010 L.A. SUCKS. ONE, TWO, THREE -- 341 00:15:14,010 --> 00:15:16,310 All: L.A. SUCKS! 342 00:15:16,310 --> 00:15:19,110 [ METAL MUSIC PLAYING ] 343 00:15:21,110 --> 00:15:23,110 Dunn: A SMALL, UNDERGROUND METAL SCENE WAS DEVELOPING 344 00:15:23,110 --> 00:15:25,476 IN THE BAY AREA DURING THE EARLY '80s, 345 00:15:25,476 --> 00:15:28,610 BUT IT WASN'T UNTIL METALLICA ARRIVED IN 1983 346 00:15:28,610 --> 00:15:31,010 THAT THRASH STARTED TO EXPLODE. 347 00:15:31,010 --> 00:15:32,676 Osegueda: I REMEMBER, WE ALL WENT TO SEE 348 00:15:32,676 --> 00:15:35,376 THIS BAND, METALLICA, PLAY AT THE KEYSTONE BERKELEY. 349 00:15:35,376 --> 00:15:38,343 AND WE WALKED IN, AND I JUST [EXHALES SHARPLY] 350 00:15:38,343 --> 00:15:40,243 NEVER SAW ENERGY LIKE THAT IN MY LIFE. 351 00:15:40,243 --> 00:15:43,110 I JUST -- LIKE, THE CROWD EVEN TRIPPED ME OUT. IT SCARED ME. 352 00:15:43,110 --> 00:15:45,276 IT WAS JUST TURBOCHARGED MUSIC. 353 00:15:45,276 --> 00:15:47,410 IT WAS SO MUCH HEAVIER THAN PUNK OR METAL 354 00:15:47,410 --> 00:15:48,943 THAT WE'D HEARD PUT TOGETHER. 355 00:15:48,943 --> 00:15:51,343 SAN FRANCISCO WAS SO EMBRACING OF THIS HEAVY MUSIC, 356 00:15:51,343 --> 00:15:53,010 AND METALLICA FELT THAT ACCEPTANCE 357 00:15:53,010 --> 00:15:55,576 FROM THIS CROWD OF HUNGRY METALHEADS UP HERE 358 00:15:55,576 --> 00:15:57,376 THAT WEREN'T REALLY AFFECTED 359 00:15:57,376 --> 00:15:59,276 BY WHAT WAS HAPPENING IN L.A. AT THE TIME. 360 00:15:59,276 --> 00:16:00,943 Holt: PEOPLE IN THE BAY AREA, YOU KNOW -- 361 00:16:00,943 --> 00:16:02,243 THE FIRST TIME WE PLAYED WITH SLAYER, 362 00:16:02,243 --> 00:16:03,610 THEY HAD THE EYELINER. 363 00:16:03,610 --> 00:16:05,810 THAT [BLEEP] HAD TO GO JUST TO PLAY A SHOW WITH EXODUS 364 00:16:05,810 --> 00:16:08,343 'CAUSE OUR FANS WERE NOT GONNA STAND FOR IT. 365 00:16:08,343 --> 00:16:10,110 THEY LOVED SLAYER, BUT THEY WERE, LIKE, 366 00:16:10,110 --> 00:16:12,010 "YOU CAN'T WEAR MAKEUP AT AN EXODUS SHOW." 367 00:16:12,010 --> 00:16:13,743 IT WAS JUST A WHOLE DIFFERENT UNIVERSE UP THERE. 368 00:16:13,743 --> 00:16:15,176 I MEAN, IT WAS A WHOLE DIFFERENT VIBE. 369 00:16:15,176 --> 00:16:16,743 THERE WAS PASSION. 370 00:16:16,743 --> 00:16:18,610 THE KIDS WERE LIKE US. 371 00:16:18,610 --> 00:16:21,210 THEY WERE JUST KIDS IN LEATHER AND DENIM JACKETS. 372 00:16:21,210 --> 00:16:26,276 WE JUST INSTANTLY FIT IN, AND WE FELT SO...AT HOME. 373 00:16:26,276 --> 00:16:28,776 IT WAS LIKE SMALL PACK OF DOGS WITH ALL OF US BANDS, 374 00:16:28,776 --> 00:16:32,443 LIKE FORBIDDEN, EXODUS, AND DEATH ANGEL, TESTAMENT. 375 00:16:32,443 --> 00:16:36,543 THERE WAS 20 METAL BANDS, SO IT WAS LIKE A PACK OF RABID DOGS. 376 00:16:36,543 --> 00:16:38,810 AND WE WERE ALL AT THE SAME PARTIES AND SAME SHOWS 377 00:16:38,810 --> 00:16:40,443 AND TALKED ABOUT THE SAME THINGS. 378 00:16:40,443 --> 00:16:43,110 Osegueda: RUTHIE'S INN BECAME THIS MECCA FOR PEOPLE TO GO TO, 379 00:16:43,110 --> 00:16:44,210 NO MATTER WHAT WAS PLAYING. 380 00:16:44,210 --> 00:16:45,776 WHETHER IT WAS PUNK, METAL. 381 00:16:45,776 --> 00:16:49,243 ANY NIGHT, IT'D BE CHOCK FULL OF METALHEADS AND KIDS IN PUNK. 382 00:16:49,243 --> 00:16:52,543 AND THIS LITTLE PLACE BECAME THE MARRIAGE OF THE TWO GENRES. 383 00:16:52,543 --> 00:16:55,010 Holt: I THINK THE ONE THING THE BAY AREA DOESN'T GET ENOUGH OF 384 00:16:55,010 --> 00:16:56,510 IS RECOGNITION FOR ACTUALLY 385 00:16:56,510 --> 00:16:59,610 BEING THE FIRST CROSSOVER REGION IN AMERICA, NOT NEW YORK. 386 00:16:59,610 --> 00:17:02,243 IF YOU LOOK BACK AT SOME OF THE OLD RUTHIE'S INN FLYERS, 387 00:17:02,243 --> 00:17:03,510 THERE WAS CONSTANTLY, LIKE, 388 00:17:03,510 --> 00:17:05,410 METAL BANDS PLAYING WITH PUNK-ROCK GUYS. 389 00:17:05,410 --> 00:17:06,910 WE WERE ON ONE AT ONE TIME, 390 00:17:06,910 --> 00:17:09,876 AND HE WAS CALLING IT, "A CROSS-CULTURAL EVENT." [ LAUGHS ] 391 00:17:09,876 --> 00:17:12,776 IT EVEN SAID ON THE FLYER, "A CROSS-CULTURAL EVENT." 392 00:17:12,776 --> 00:17:14,876 AND IT WAS LIKE US, AND THEN THERE WAS PUNK BANDS. 393 00:17:14,876 --> 00:17:17,376 Geist: ONE OF THE HUGEST THINGS I THINK ABOUT THRASH METAL 394 00:17:17,376 --> 00:17:20,276 AND ITS CROSS FERTILIZATION WITH PUNK ROCK AND HARD CORE 395 00:17:20,276 --> 00:17:23,543 IS THE WAY THAT THE VIBE OF A METAL SHOW CHANGED. 396 00:17:23,543 --> 00:17:26,710 THRASH WAS WHEN METAL DISCOVERED MOSHING, BASICALLY, 397 00:17:26,710 --> 00:17:28,110 AND DISCOVERED STAGE DIVING. 398 00:17:28,110 --> 00:17:29,243 YOU KNOW, YOU GO TO A SLAYER SHOW, 399 00:17:29,243 --> 00:17:30,743 AND IT'S LIKE BEING CAUGHT IN A PRISON RIOT. 400 00:17:30,743 --> 00:17:32,176 BEFORE, YOU WOULD GO TO A METAL SHOW, 401 00:17:32,176 --> 00:17:34,410 AND IT'D BE A LOT OF HEAD BANGING, YOU KNOW, 402 00:17:34,410 --> 00:17:36,443 MAYBE RAISE YOUR FIRST, FLASH THE HORNS. 403 00:17:36,443 --> 00:17:37,776 BUT YOU GO TO A THRASH SHOW -- 404 00:17:37,776 --> 00:17:39,343 THE FIRST THING WITH A THRASH SHOW, 405 00:17:39,343 --> 00:17:41,443 IS IF YOU'RE WEARING THESE, YOU LEAVE THESE AT HOME 406 00:17:41,443 --> 00:17:42,910 'CAUSE THESE ARE GETTING BROKEN. 407 00:17:42,910 --> 00:17:45,376 [ METAL MUSIC PLAYING ] 408 00:17:52,510 --> 00:17:56,510 I'VE LISTENED TO THRASH METAL SINCE THE EARLY '80s. 409 00:17:56,510 --> 00:17:58,943 THE FIRST DEMO TAPE I GOT FROM THE BAY AREA 410 00:17:58,943 --> 00:18:01,676 WAS THE FIRST LEGACY DEMO. 411 00:18:01,676 --> 00:18:04,443 AND I HEARD ABOUT IT IN A MAGAZINE CALLED "METAL FORCES," 412 00:18:04,443 --> 00:18:06,743 THROUGH THIS SECTION CALLED "PENBANGERS." 413 00:18:06,743 --> 00:18:10,476 PENBANGERS WAS LIKE PEN PALS FOR HEADBANGERS. 414 00:18:10,476 --> 00:18:12,943 AND I GOT THE DEMO THROUGH TAPE TRADE. 415 00:18:12,943 --> 00:18:14,910 Weinstein: IN THE ERA OF THE INTERNET, 416 00:18:14,910 --> 00:18:18,476 PEOPLE WOULD NOT UNDERSTAND GETTING MAGAZINES 417 00:18:18,476 --> 00:18:21,643 AND 'ZINES THAT HAD ADS IN THE BOTTOM, 418 00:18:21,643 --> 00:18:26,110 TAPE TRADER INTO, AND YOU NAME, LIKE, FOUR OR FIVE BANDS, 419 00:18:26,110 --> 00:18:29,776 AND YOU GIVE YOUR ADDRESS, AND PEOPLE WILL SEND YOU TAPES. 420 00:18:29,776 --> 00:18:31,543 YOU SEND THEM TAPES. 421 00:18:31,543 --> 00:18:33,310 YOU DIDN'T ASK FOR MONEY. 422 00:18:33,310 --> 00:18:35,710 YOU DIDN'T EXPECT ANYTHING. 423 00:18:35,710 --> 00:18:37,476 YOU SAT DOWN AND WROTE A LETTER. 424 00:18:37,476 --> 00:18:39,176 [ LAUGHS ] CAN YOU IMAGINE? 425 00:18:39,176 --> 00:18:42,943 AND YOU PUT A CASSETTE TAPE IN THERE THAT YOU DUBBED 37 TIMES 426 00:18:42,943 --> 00:18:44,776 TO THE POINT WHERE YOU COULD HARDLY HEAR WHAT WAS GOING ON, 427 00:18:44,776 --> 00:18:46,643 BUT THAT'S HOW THE MUSIC GOT AROUND. 428 00:18:46,643 --> 00:18:49,010 IT WAS THE WAY THAT YOU COULD SHARE THE STUFF 429 00:18:49,010 --> 00:18:50,510 AND FIND OUT ABOUT NEW BANDS, 430 00:18:50,510 --> 00:18:52,843 AND THEN THE GOOD STUFF GOT LOTS OF NAME CHECKS 431 00:18:52,843 --> 00:18:54,110 IN THOSE PEN PAL LETTERS 432 00:18:54,110 --> 00:18:56,143 THAT WE ALL SAT AND WROTE TO EACH OTHER. 433 00:18:56,143 --> 00:18:57,876 I MEAN, IT'S A LONG, LOST ART. 434 00:18:57,876 --> 00:19:00,310 WE WERE ALREADY SENDING OUT LIVE TAPES OF US, 435 00:19:00,310 --> 00:19:03,376 AND FROM THAT, WE WENT OUT THERE ON THE "KILL AS ONE" DEMO, 436 00:19:03,376 --> 00:19:04,443 AND WE HIT THE STAGE, 437 00:19:04,443 --> 00:19:06,143 AND PEOPLE WERE YELLING FOR DEATH ANGEL. 438 00:19:06,143 --> 00:19:08,210 THEY SANG "KILL AS ONE." THEY KNEW "THRASHERS." 439 00:19:08,210 --> 00:19:11,143 IT'S CRAZY, AND THIS WAS ALL FROM UNDERGROUND TAPE TRADING, 440 00:19:11,143 --> 00:19:12,276 WHICH MADE THE SCENE. 441 00:19:12,276 --> 00:19:15,710 IT WAS THE ORGANIC ANALOG INTERNET. 442 00:19:15,710 --> 00:19:17,743 [ DEATH ANGEL'S "VORACIOUS SOULS" PLAYS ] 443 00:19:24,543 --> 00:19:27,243 [ SINGING INDISTINCTLY ] 444 00:19:30,343 --> 00:19:32,710 Dunn: THROUGH TAPE TRADING, THRASH METAL'S FANBASE 445 00:19:32,710 --> 00:19:35,810 WAS STARTING TO GROW ACROSS AMERICA AND AROUND THE WORLD. 446 00:19:35,810 --> 00:19:38,610 AND WHEN METALLICA'S "NO LIFE 'TIL LEATHER" DEMO 447 00:19:38,610 --> 00:19:41,276 LANDED IN A FLEA MARKET IN THE SUBURBS OF NEW YORK, 448 00:19:41,276 --> 00:19:43,743 THRASH METAL GOT ITS FIRST RECORD DEAL 449 00:19:43,743 --> 00:19:46,310 THROUGH UPSTART LABEL MEGAFORCE RECORDS. 450 00:19:46,310 --> 00:19:48,276 THE FIRST TIME WE HEARD METALLICA 451 00:19:48,276 --> 00:19:51,143 WAS WHEN A FELLOW CAME INTO OUR STORE 452 00:19:51,143 --> 00:19:52,876 WHO JUST CAME BACK FROM SAN FRANCISCO. 453 00:19:52,876 --> 00:19:54,943 I THINK HE SAW THEM AT THE MAB, 454 00:19:54,943 --> 00:19:57,010 AND HE HAD THESE TAPES FROM THE SHOW. 455 00:19:57,010 --> 00:19:59,576 THE FIRST SECOND WE HEARD IT, YOU KNOW, 456 00:19:59,576 --> 00:20:02,576 MARSHA AND I WERE BOTH, LIKE, LIKE, STUNNED. 457 00:20:02,576 --> 00:20:05,643 Marsha: IT JUST HAD SUCH BALLS, SUCH GUTS. 458 00:20:05,643 --> 00:20:07,976 I JUST REMEMBERED BEING BLOWN AWAY BY IT, 459 00:20:07,976 --> 00:20:11,010 REALLY JUST, HOLY [BLEEP] 460 00:20:11,010 --> 00:20:14,776 SEE, AMERICA DIDN'T HAVE A WAVE OF HEAVY METAL, REALLY. 461 00:20:14,776 --> 00:20:16,576 METALLICA SURE ANSWERED THAT, 462 00:20:16,576 --> 00:20:19,043 AND IT WAS LIKE THE NEW, IMPROVED AMERICAN SOUND. 463 00:20:19,043 --> 00:20:21,410 Ulrich: IT WAS ONE OF THOSE LEGENDARY, HE HEARS IT, 464 00:20:21,410 --> 00:20:24,343 DROPS WHAT HE'S DOING, RUNS TO THE PAY PHONE, CALLS ME. 465 00:20:24,343 --> 00:20:25,876 AND WITHIN A FEW MINUTES, 466 00:20:25,876 --> 00:20:29,710 THERE'S JUST A LOVEFEST BREWING, AND IT'S, "COME OUT EAST. 467 00:20:29,710 --> 00:20:32,310 LET'S MAKE A RECORD TOGETHER," THE WHOLE NINE YARDS. 468 00:20:32,310 --> 00:20:33,910 Dunn: SO, YOU STARTED MEGAFORCE 469 00:20:33,910 --> 00:20:35,643 'CAUSE NO ONE WOULD SIGN METALLICA? 470 00:20:35,643 --> 00:20:37,643 NOBODY WANTED METALLICA. 471 00:20:37,643 --> 00:20:39,576 NOBODY KNEW WHAT TO DO WITH IT. 472 00:20:39,576 --> 00:20:42,410 WE WENT TO ALL THE MAJORS, AND THEY JUST SQUIRMED. 473 00:20:42,410 --> 00:20:44,210 THEY JUST DIDN'T KNOW WHAT TO MAKE OF IT 474 00:20:44,210 --> 00:20:45,443 AND WHAT TO DO WITH IT. 475 00:20:45,443 --> 00:20:47,710 JON AND I JUST REALLY BELIEVED IN THAT RECORD. 476 00:20:47,710 --> 00:20:50,310 I MEAN, WE'D SPENT EVERY MINUTE IN THE STUDIO. 477 00:20:50,310 --> 00:20:53,376 KNEW IT INSIDE OUT, AND WE REALLY BELIEVED IN IT. 478 00:20:53,376 --> 00:20:57,476 WE HAVE A DEBUT ALBUM OUT ON MEGAFORCE RECORDS. 479 00:20:57,476 --> 00:21:01,610 IT'S CALLED "KILL 'EM ALL." 480 00:21:01,610 --> 00:21:04,676 WE'RE GLAD TO KILL ALL YOU TONIGHT. 481 00:21:04,676 --> 00:21:06,843 WHO WANTS THIS [BLEEP] 482 00:21:11,943 --> 00:21:12,410 [ HORNS HONKING ] 483 00:21:13,010 --> 00:21:14,476 Dunn: BY THE EARLY '80s, 484 00:21:14,476 --> 00:21:17,710 MANY THRASH BANDS HAD RELEASED INDEPENDENT RECORDS, 485 00:21:17,710 --> 00:21:20,376 AND THE SCENE WAS EXPANDING BEYOND THE BAY AREA. 486 00:21:20,376 --> 00:21:22,843 BUT IN AUGUST 1984, 487 00:21:22,843 --> 00:21:24,876 METALLICA, ANTHRAX, AND RAVEN 488 00:21:24,876 --> 00:21:27,210 PLAYED NEW YORK'S ROSELAND BALLROOM, 489 00:21:27,210 --> 00:21:29,343 BRINGING THRASH OUT OF THE UNDERGROUND 490 00:21:29,343 --> 00:21:32,476 AND ONTO THE RADAR OF MAJOR LABELS. 491 00:21:32,476 --> 00:21:34,876 IT WAS INCREDIBLE TO, LIKE, GET ON STAGE 492 00:21:34,876 --> 00:21:37,010 AND OPEN OUR SHOW WITH "DEATHRIDER" 493 00:21:37,010 --> 00:21:38,476 AND SEE 3,000 KIDS ALL -- 494 00:21:38,476 --> 00:21:41,243 ALL HEADBANGING AND SINGING THE WORDS TO OUR SONGS. 495 00:21:41,243 --> 00:21:42,943 WE COULDN'T BELIEVE IT. IT WAS INSANE. 496 00:21:42,943 --> 00:21:45,776 IT WAS A CULMINATION OF THREE YEARS OF HARD WORK TO THAT POINT 497 00:21:45,776 --> 00:21:47,810 AND REHEARSING SEVEN NIGHTS A WEEK 498 00:21:47,810 --> 00:21:49,110 AND JUST BUSTING OUR ASSES 499 00:21:49,110 --> 00:21:50,743 AND JUST TRYING TO MAKE THIS HAPPEN. 500 00:21:50,743 --> 00:21:52,910 WE PROMOTED THAT SHOW. 501 00:21:52,910 --> 00:21:55,710 IT WAS 3,500 PEOPLE, 502 00:21:55,710 --> 00:21:57,976 AND EVERYBODY WAS THERE FROM ALL THE RECORD LABELS, 503 00:21:57,976 --> 00:22:00,310 AND THEY HAD TO SIT THERE AND SEE THESE PEOPLE 504 00:22:00,310 --> 00:22:04,010 WHO THEY NEVER HEARD OF PLAY TO SUCH RADICAL DEVOTEES. 505 00:22:04,010 --> 00:22:05,410 THE CROWD WAS NUTS. 506 00:22:05,410 --> 00:22:08,110 AND WHEN JAMES CLIMBED UP ON THE MONITORS 507 00:22:08,110 --> 00:22:11,143 AND LOOKED AT THE CROWD, SAID, "GUESS WHO'S BACK IN TOWN?" 508 00:22:11,143 --> 00:22:14,776 THE WHOLE [EXHALES SHARPLY] PLACE WENT NUCLEAR. 509 00:22:14,776 --> 00:22:16,676 IT WAS THE BIGGEST SHOW UP TILL THAT POINT. 510 00:22:16,676 --> 00:22:19,476 CERTAINLY THE BIGGEST SHOW THAT ANY OF US HAD BEEN INVOLVED IN 511 00:22:19,476 --> 00:22:23,343 AND THIS SUPER-FRIENDLY GUY JUST SHOWS UP BACKSTAGE 512 00:22:23,343 --> 00:22:25,310 AND GOT A BIG SMILE ON HIS FACE. 513 00:22:25,310 --> 00:22:27,010 I JUST MADE A BEELINE BACKSTAGE, 514 00:22:27,010 --> 00:22:29,343 WENT PAST SECURITY, WENT PAST EVERYTHING. 515 00:22:29,343 --> 00:22:32,110 PRACTICALLY BOLTED THE DOOR TO BACKSTAGE. 516 00:22:32,110 --> 00:22:34,510 THEY KNEW THAT I WAS ECSTATIC ABOUT THE MUSIC, 517 00:22:34,510 --> 00:22:35,943 AND THAT I WORKED FOR A MAJOR LABEL. 518 00:22:35,943 --> 00:22:38,510 AND HE, GOD BLESS HIM, 519 00:22:38,510 --> 00:22:40,610 WANTED TO SIGN METALLICA TO ELEKTRA RECORDS. 520 00:22:40,610 --> 00:22:41,743 IMAGINE THAT. 521 00:22:41,743 --> 00:22:43,876 THAT WAS THE BIGGEST THING IN THE WORLD. 522 00:22:43,876 --> 00:22:45,876 THE IDEA OF SIGNING TO A MAJOR LABEL? 523 00:22:45,876 --> 00:22:48,376 LIKE, YOU KNOW, THAT'S A [BLEEP] DREAM COME TRUE. 524 00:22:48,376 --> 00:22:50,276 AND RAVEN GOT THEIR DEAL WITH ATLANTIC, 525 00:22:50,276 --> 00:22:52,310 AND METALLICA GOT THEIR DEAL WITH ELEKTRA. 526 00:22:52,310 --> 00:22:53,510 WE WERE STILL ON MEGAFORCE. 527 00:22:53,510 --> 00:22:54,643 WE DIDN'T GET A DEAL YET, 528 00:22:54,643 --> 00:22:56,310 ALTHOUGH WE GOT SCOUTED THAT NIGHT. 529 00:22:56,310 --> 00:22:57,910 IT JUST TOOK A COUPLE OF MORE MONTHS, 530 00:22:57,910 --> 00:22:59,376 YOU KNOW, FOR US TO GET SIGNED. 531 00:22:59,376 --> 00:23:02,243 BUT, YEAH, YOU COULD BASICALLY SAY ALL THREE BANDS, YOU KNOW, 532 00:23:02,243 --> 00:23:05,343 SIGNED THEIR MAJOR DEALS FROM PLAYING THAT ROSELAND SHOW. 533 00:23:05,343 --> 00:23:07,310 ALL OF A SUDDEN, THE MAJOR LABELS BECAME, 534 00:23:07,310 --> 00:23:09,976 "HEY, WHAT'S GOING ON HERE? PEOPLE SELLING LOTS OF RECORDS. 535 00:23:09,976 --> 00:23:11,576 WE SHOULD GET INVOLVED IN THIS." 536 00:23:11,576 --> 00:23:14,110 SLAYER STARTED TO GET PRETTY BIG, AND MAJOR LABELS, 537 00:23:14,110 --> 00:23:17,110 THEY'RE ALL COMING, DESCENDING UPON THEM LIKE CRAZY, 538 00:23:17,110 --> 00:23:19,610 AND YOU KNOW, THEY EVENTUALLY SIGNED WITH RICK RUBIN'S LABEL. 539 00:23:19,610 --> 00:23:21,343 BUT WHEN SLAYER LEFT AND SIGNED WITH THE MAJORS, 540 00:23:21,343 --> 00:23:23,110 LIKE, HEY, THIS IS A GREAT THING FOR THESE GUYS 541 00:23:23,110 --> 00:23:24,710 TO TAKE THAT NEXT STEP. 542 00:23:24,710 --> 00:23:26,876 [ METAL MUSIC PLAYING ] 543 00:23:34,110 --> 00:23:35,943 Dunn: HOW DID THINGS CHANGE FOR YOU 544 00:23:35,943 --> 00:23:39,210 IN TRANSITIONING FROM METAL BLADE TO DEF JAM? 545 00:23:39,210 --> 00:23:41,576 WE GOT A TOUR BUS. 546 00:23:41,576 --> 00:23:43,276 YOU KNOW, WE WERE TRAVELING AROUND IN A VAN, 547 00:23:43,276 --> 00:23:45,610 AND GETTING INTO A TOUR BUS WAS LUXURY. 548 00:23:45,610 --> 00:23:47,176 THE HOTELS WERE MUCH NICER. 549 00:23:47,176 --> 00:23:50,210 WE WEREN'T STAYING AT HOTELS THAT WERE RENT HOURLY. 550 00:23:50,210 --> 00:23:51,743 Ulrich: IT WAS KIND OF A CRAZY TIME. 551 00:23:51,743 --> 00:23:54,110 I DON'T THINK WE SLOWED DOWN LONG ENOUGH TO EVEN TAKE IT IN. 552 00:23:54,110 --> 00:23:56,110 ALL OF A SUDDEN, WE WERE EATING AND DRINKING BETTER, 553 00:23:56,110 --> 00:23:57,343 AND WE LIKED IT. [ LAUGHS ] 554 00:23:57,343 --> 00:24:00,310 Mustaine: ONE OF THE EXECUTIVES OPENS UP HIS DRAWER, 555 00:24:00,310 --> 00:24:02,110 AND THERE'S A MIRROR FULL OF COKE, 556 00:24:02,110 --> 00:24:04,110 AND I'M, LIKE, "WE'VE ARRIVED, DAVID." 557 00:24:04,110 --> 00:24:05,810 AND HE LOOKS AT ME AND, LIKE, "YEAH, HIGH FIVE." 558 00:24:05,810 --> 00:24:09,676 THEM GIVING US CHAMPAGNE AND A BOX FULL OF NIKE HI-TOPS. 559 00:24:09,676 --> 00:24:12,110 AND THAT'S WHY YOU LOOK AT ANY OF THOSE PICTURES, 560 00:24:12,110 --> 00:24:13,810 WE WERE IN THESE ROTTEN BLUE JEANS 561 00:24:13,810 --> 00:24:15,843 AND DISGUSTING, FILTHY, STAINED T-SHIRTS, 562 00:24:15,843 --> 00:24:17,943 BUT GOD DAMN IT, WE HAD BRAND NEW SHOES. 563 00:24:17,943 --> 00:24:21,176 WE GOT THEM FROM CAPITOL. THEY GAVE US BRAND-NEW NIKES. 564 00:24:21,176 --> 00:24:23,110 [ "PEACE SELLS BY MEGADETH" PLAYING ] 565 00:24:23,110 --> 00:24:25,810 * IF THERE'S A NEW WAY * 566 00:24:25,810 --> 00:24:29,776 * I'LL BE THE FIRST IN LINE * 567 00:24:29,776 --> 00:24:31,810 * BUT IT BETTER WORK THIS TIME * 568 00:24:32,976 --> 00:24:35,943 Dunn: BY THE MID-'80s, THRASH WAS FLOURISHING. 569 00:24:35,943 --> 00:24:37,976 BACKED BY MAJOR LABEL SUPPORT, 570 00:24:37,976 --> 00:24:39,876 THRASH BANDS WERE TOURING THE WORLD 571 00:24:39,876 --> 00:24:41,876 AND CREATING THEIR BIGGEST, BOLDEST, 572 00:24:41,876 --> 00:24:43,710 AND MOST INFLUENTIAL RECORDS, 573 00:24:43,710 --> 00:24:45,843 CULMINATING IN WHAT MANY CONSIDER 574 00:24:45,843 --> 00:24:48,210 THE GREATEST THRASH RECORD OF ALL TIME, 575 00:24:48,210 --> 00:24:50,010 SLAYER'S "REIGN IN BLOOD," 576 00:24:50,010 --> 00:24:53,176 AN ALBUM THAT REVOLUTIONIZED THE SOUND OF THRASH METAL. 577 00:24:53,176 --> 00:24:55,310 * RIPPING APART, SEVERING FLESH * 578 00:24:55,310 --> 00:24:58,310 * GOUGING EYES, TEARING LIMB FROM LIMB * 579 00:25:01,276 --> 00:25:02,976 * EXPERIMENTATION, SLOW INFECTION, INTERNAL DECAY * 580 00:25:02,976 --> 00:25:05,176 Lombardo: WE WERE TRYING TO FIND OURSELVES AT THAT TIME, 581 00:25:05,176 --> 00:25:07,843 AND FINDING OUR SOUND WAS KEY TO THAT RECORD. 582 00:25:07,843 --> 00:25:09,976 I MEAN, I DON'T WANT TO MAKE ANY COMPARISONS, 583 00:25:09,976 --> 00:25:11,710 BUT THAT RECORD HAS MAGIC, 584 00:25:11,710 --> 00:25:14,543 LIKE, LET'S SAY AC/DC'S "HIGHWAY TO HELL." 585 00:25:14,543 --> 00:25:16,810 WHERE THAT ALBUM, THERE'S SOMETHING ABOUT IT. 586 00:25:16,810 --> 00:25:19,376 IT HAS SOME KIND OF LIFE TO IT. 587 00:25:19,376 --> 00:25:21,976 King: WE WERE SUCH FANS OF MERCIFUL FATE AND VENOM. 588 00:25:21,976 --> 00:25:24,243 WE DIDN'T KNOW YOU COULD DO A RECORD WITHOUT REVERB, 589 00:25:24,243 --> 00:25:26,510 AND ANDY AND RICK RUBIN 590 00:25:26,510 --> 00:25:28,910 PUT EVERY SONG, EVERY INSTRUMENT, RIGHT HERE 591 00:25:28,910 --> 00:25:30,510 FROM BEGINNING TO END. 592 00:25:30,510 --> 00:25:32,376 NO FRILLS, NO BELLS AND WHISTLES. 593 00:25:32,376 --> 00:25:33,876 YOU KNOW, IT'S, "HERE IT IS." 594 00:25:33,876 --> 00:25:36,610 YOU'RE EITHER GONNA LIKE IT, OR YOU'RE GONNA HATE IT. 595 00:25:36,610 --> 00:25:38,776 AND LUCKILY, WE WROTE GOOD ENOUGH SONGS 596 00:25:38,776 --> 00:25:40,110 WHERE EVERYBODY LIKED IT. 597 00:25:40,110 --> 00:25:41,543 THAT'S WHAT WE DID ON THAT RECORD. 598 00:25:41,543 --> 00:25:42,910 YOU KNOW, IT'S NOT A VERY AMBIENT RECORD. 599 00:25:42,910 --> 00:25:43,910 IT'S ALL JUST RIGHT IN YOUR FACE 600 00:25:43,910 --> 00:25:45,343 'CAUSE A LOT OF THE METAL RECORDS 601 00:25:45,343 --> 00:25:46,610 THAT I'D HEARD UP TO THAT POINT, 602 00:25:46,610 --> 00:25:48,610 THEY TENDED TO BE A LITTLE THINNER ON THE LOW END. 603 00:25:48,610 --> 00:25:50,110 A LOT OF THE DOUBLE KICK STUFF WAS LIKE A TYPEWRITER, 604 00:25:50,110 --> 00:25:51,243 LIKE [IMITATES TYPEWRITER KEYS CLACKING] 605 00:25:51,243 --> 00:25:53,010 BUT I ALWAYS FELT THE WHOLE THING COULD 606 00:25:53,010 --> 00:25:54,276 JUST BE BALLSIER AND HEAVIER. 607 00:25:54,276 --> 00:25:56,543 THE IDEA WAS TO HAVE THE LISTENER 608 00:25:56,543 --> 00:25:58,376 KIND OF BE A PUNCHING BAG, YOU KNOW? 609 00:25:58,376 --> 00:26:00,310 AND TO HAVE THIS MUSIC GO, "POW, POW, POW, POW, POW." 610 00:26:00,310 --> 00:26:04,610 * SKIN CONTORTION, BONE EROSION, YOUR LIFE BECOMES YOUR FINE * 611 00:26:04,610 --> 00:26:08,176 * NECROPHOBIC, CAN'T CONTROL THE PARANOIA * 612 00:26:08,176 --> 00:26:09,543 * SCARED TO DIE * 613 00:26:09,543 --> 00:26:12,110 THERE WAS MUSIC THAT WAS FINALLY BEGINNING TO MAKE MONEY. 614 00:26:12,110 --> 00:26:13,443 FOR THE BANDS, FOR THE RECORD COMPANIES, 615 00:26:13,443 --> 00:26:14,943 FOR THE CONCERT PROMOTERS. 616 00:26:14,943 --> 00:26:17,110 METALLICA AND SLAYER MADE A LOT OF MONEY RIGHT FROM THE START. 617 00:26:17,110 --> 00:26:18,610 SO, IT JUST BECAME NATURAL 618 00:26:18,610 --> 00:26:21,110 THAT THE OTHER RECORD COMPANIES WANTED THEIR OWN THRASH BAND. 619 00:26:21,110 --> 00:26:22,976 YOU KNOW, I MEAN, EVEN DEATH ANGEL 620 00:26:22,976 --> 00:26:24,410 GOT SIGNED TO A MAJOR LABEL. 621 00:26:24,410 --> 00:26:27,910 HOW DID THINGS CHANGE ONCE YOU GUYS WERE ON A MAJOR LABEL? 622 00:26:27,910 --> 00:26:31,243 WE JUST HAD A MUCH BIGGER BUDGET, 623 00:26:31,243 --> 00:26:34,110 AND WE WERE ABLE TO CREATE A REALLY WELL-PRODUCED ALBUM. 624 00:26:34,110 --> 00:26:35,576 WE HAD A LOT MORE DIRECTION. 625 00:26:35,576 --> 00:26:36,976 WE RECORDED IT DOWN IN L.A. 626 00:26:36,976 --> 00:26:39,543 WE HAD A FURNISHED APARTMENT THAT WE LIVED IN, YOU KNOW, 627 00:26:39,543 --> 00:26:41,243 THE WHOLE TIME ALL TOGETHER, AND JUST CONCENTRATED ON THE -- 628 00:26:41,243 --> 00:26:44,476 IMMERSING THE PROJECTS. IN A HUGE WAY, AND IT WAS JUST AMAZING. 629 00:26:44,476 --> 00:26:46,976 MAJOR LABELS WOULD SPEND A LOT OF MONEY TO RECORD RECORDS 630 00:26:46,976 --> 00:26:50,743 AND DO VIDEOS AND TOUR SUPPORT, YOU KNOW, PROMOTION. 631 00:26:50,743 --> 00:26:52,376 IT'S ALWAYS THIS GROWING PROCESS. 632 00:26:52,376 --> 00:26:54,310 YOU'RE GONNA SELL MORE AND MORE AND MORE. 633 00:26:54,310 --> 00:26:56,543 TOUR MORE, TOURS GET BIGGER, BIGGER PRODUCTION. 634 00:26:56,543 --> 00:26:58,743 YOU KNOW, IT'S JUST THIS BIG, GROWING MACHINE. 635 00:26:58,743 --> 00:27:02,110 SO, METAL REALLY WAS GOING PRETTY STRONG. 636 00:27:02,110 --> 00:27:04,343 SUDDENLY, THIS HUGE SCENE OF BANDS MAKING THIS REALLY GREAT MUSIC, 637 00:27:04,343 --> 00:27:05,443 AND THEY'RE ALL DOING IT 638 00:27:05,443 --> 00:27:07,610 AT A VERY HIGH LEVEL, DOING IT VERY WELL. 639 00:27:07,610 --> 00:27:09,643 ALL OF A SUDDEN, I GOT A DEMO FROM VOIVOD. 640 00:27:09,643 --> 00:27:10,943 OH, MY GOD, THIS IS AMAZING. 641 00:27:10,943 --> 00:27:12,376 I GOT A DEMO FROM SACRIFICE. 642 00:27:12,376 --> 00:27:15,110 I HEARD SODOM AND HELLHAMMER AND CELTIC FROST 643 00:27:15,110 --> 00:27:17,376 AND THOUGHT, "OH, MY GOD, THESE ARE AMAZING." 644 00:27:17,376 --> 00:27:19,010 WHEN YOU SEE THAT HAPPENING ON A GLOBAL LABEL, 645 00:27:19,010 --> 00:27:20,976 YOU SEE REALLY GOOD-QUALITY BANDS COMING FROM EVERYWHERE. 646 00:27:20,976 --> 00:27:22,643 IT'S, LIKE, "OH, OKAY, THIS IS NOT JUST 647 00:27:22,643 --> 00:27:25,643 OUR LITTLE THING IN OUR BACKYARD. IT'S EVERYWHERE." 648 00:27:25,643 --> 00:27:29,443 [ CHEERING ] Dunn: THRASH WAS NOW METAL'S FASTEST-GROWING SUBGENRE. 649 00:27:29,443 --> 00:27:32,143 THRASH ALBUMS WERE GOING GOLD AND PLATINUM. 650 00:27:32,143 --> 00:27:34,776 VIDEOS WERE IN REGULAR ROTATION ON MTV, 651 00:27:34,776 --> 00:27:37,843 AND ITS FANS WERE NOW AN INTERNATIONAL SUBCULTURE. 652 00:27:37,843 --> 00:27:41,543 IT WAS EVEN GIVING THE OLD GUARD OF METAL A RUN FOR ITS MONEY. 653 00:27:41,543 --> 00:27:44,410 Man: ALL RIGHT, WHO ARE YOU GUYS HERE TO SEE -- OZZY OR METALLICA? 654 00:27:44,410 --> 00:27:45,810 METALLICA.METALLICA. HOW COME? 655 00:27:45,810 --> 00:27:47,976 THEY'RE BETTER THAN OZZY. THEY'RE BETTER THAN OZZY, YEAH. 656 00:27:47,976 --> 00:27:49,976 THEY'RE GONNA BLOW OZZY OFF THE STAGE. 657 00:27:49,976 --> 00:27:51,943 METALLICA! All: METALLICA! 658 00:27:51,943 --> 00:27:53,843 Young man: THEY'RE NEW. THEY'RE HEAVY. DO HEAVY METAL. 659 00:27:53,843 --> 00:27:55,810 THEY THRASH! YEAH, THEY DEFINITELY THRASH. 660 00:27:55,810 --> 00:27:57,643 THEY DEFINITELY THRASH. 661 00:27:57,643 --> 00:27:59,943 [ CHEERING ] 662 00:27:59,943 --> 00:28:03,743 [ METAL MUSIC PLAYS ] 663 00:28:07,276 --> 00:28:09,310 [ METAL MUSIC PLAYING ] 664 00:28:09,310 --> 00:28:12,476 * I GOT TO HEAR YA! * 665 00:28:12,476 --> 00:28:14,776 Dunn: WHEN I WAS A TEENAGER, THE ULTIMATE DREAM TOUR 666 00:28:14,776 --> 00:28:16,176 WAS THE CLASH OF THE TITANS 667 00:28:16,176 --> 00:28:20,110 FEATURING ANTHRAX, MEGADETH, AND SLAYER ON THE SAME BILL. 668 00:28:20,110 --> 00:28:22,110 BUT THIS TOUR ALSO FORESHADOWED 669 00:28:22,110 --> 00:28:24,876 A MAJOR TRANSITION IN HEAVY MUSIC IN AMERICA 670 00:28:24,876 --> 00:28:28,110 BECAUSE THE OPENING BAND WAS FUTURE GRUNGE SUPERSTARS 671 00:28:28,110 --> 00:28:29,410 ALICE IN CHAINS. 672 00:28:29,410 --> 00:28:32,676 * NAME YOUR GOD AND BLEED THE FREAK * 673 00:28:32,676 --> 00:28:37,010 * I'D LIKE TO SEE * 674 00:28:37,010 --> 00:28:42,810 * HOW YOU ALL WOULD BLEED FOR ME * 675 00:28:42,810 --> 00:28:45,576 King: PROBABLY THE MOST IRONIC THING ABOUT THAT TOUR IS, 676 00:28:45,576 --> 00:28:46,876 ALICE IN CHAINS OPENED IT, 677 00:28:46,876 --> 00:28:48,510 AND THEY BECAME THE NEXT THING, 678 00:28:48,510 --> 00:28:50,576 BIGGER THAN THRASH WILL EVER BECOME. 679 00:28:50,576 --> 00:28:54,676 I DIDN'T SEE THE GRUNGE THING OVERTURNING LIFE AS WE KNEW IT. 680 00:28:54,676 --> 00:28:56,910 IT'S STRANGE BECAUSE THE CLASH OF THE TITANS TOUR 681 00:28:56,910 --> 00:28:59,710 WAS THE PEAK AND ALSO THE GUILLOTINE 682 00:28:59,710 --> 00:29:01,210 FOR THRASH METAL 683 00:29:01,210 --> 00:29:04,210 BECAUSE IT'S AS BIG AS IT WAS GONNA GET AT THAT POINT, REALLY. 684 00:29:04,210 --> 00:29:05,743 I MEAN, YOU PUT THE THREE OF US TOGETHER -- 685 00:29:05,743 --> 00:29:07,810 ANTHRAX, SLAYER, MEGADETH -- YOU PUT US ON TOUR. 686 00:29:07,810 --> 00:29:09,410 WE'RE SELLING OUT SHEDS AND ARENAS. 687 00:29:09,410 --> 00:29:12,810 AND THEN AT THE SAME TIME, WHERE DO YOU GO FROM THERE? 688 00:29:12,810 --> 00:29:14,576 WHERE DID YOU GO WHEN YOU'VE CREATED 689 00:29:14,576 --> 00:29:16,443 THIS INCREDIBLY FAST, INTRICATE MUSIC? 690 00:29:16,443 --> 00:29:18,276 BUT IT'S ALSO VERY DENSE. 691 00:29:18,276 --> 00:29:20,743 IT DOESN'T SAY, OBVIOUSLY, WHERE YOU GO NEXT. 692 00:29:20,743 --> 00:29:22,743 AND I THINK THE CLASH OF THE TITANS 693 00:29:22,743 --> 00:29:27,476 REFLECTED THE POINT WHERE IT WAS AS MOST COMMERCIALLY POPULAR, 694 00:29:27,476 --> 00:29:30,610 BUT ALSO WHERE IT WAS JUST STARTING TO RUN OUT OF IDEAS. 695 00:29:30,610 --> 00:29:34,110 I THINK THE '90s WERE HARD ON THRASH METAL BECAUSE, 696 00:29:34,110 --> 00:29:37,110 YOU KNOW, BASICALLY, IT HAD BEEN PLAYED OUT. 697 00:29:37,110 --> 00:29:38,976 THERE'S ONLY SO MANY TIMES YOU CAN REWRITE 698 00:29:38,976 --> 00:29:40,976 THE SAME RECORD OVER AND OVER AND OVER AGAIN. 699 00:29:40,976 --> 00:29:43,543 Dunn: HAVE YOU EVER FELT CONFINED OR CONSTRAINED 700 00:29:43,543 --> 00:29:44,943 BY THAT LABEL, "THRASH"? 701 00:29:44,943 --> 00:29:47,943 YES, I BELIEVE THAT THAT LABEL, WHILE IT FITS US VERY WELL, 702 00:29:47,943 --> 00:29:50,176 I THINK IT'S LIKE A PAIR OF TIGHT-FITTING SHOES. 703 00:29:50,176 --> 00:29:53,376 I THINK THAT IT WOULD BE MUCH COOLER FOR US TO BE 704 00:29:53,376 --> 00:29:56,110 MONIKERED "MEGADETH," AND LEFT AT THAT. 705 00:29:56,110 --> 00:29:59,510 IT'S DEFINITELY THRASH, BUT IT'S SO MUCH MORE. 706 00:29:59,510 --> 00:30:02,710 Ulrich: WE JUST FELT THAT THERE WAS NOTHING MORE WE COULD DO. 707 00:30:02,710 --> 00:30:04,210 WE HAD A FEAR OF REPETITION, 708 00:30:04,210 --> 00:30:06,576 AND WE HAD A FEAR OF GETTING STUCK. 709 00:30:06,576 --> 00:30:08,943 AND WE SAW WITH SOME OF THE OTHER METAL BANDS 710 00:30:08,943 --> 00:30:10,110 THAT WERE OUR PEERS, 711 00:30:10,110 --> 00:30:12,743 THAT THERE WAS A KIND OF A STATUS QUO ELEMENT, 712 00:30:12,743 --> 00:30:17,476 A SAMENESS TO IT THAT WE JUST FELT WAS NOT FOR US. 713 00:30:17,476 --> 00:30:21,810 [ "ENTER SANDMAN" BY METALLICA PLAYING ] 714 00:30:21,810 --> 00:30:23,176 Dunn: IN THE EARLY '90s, 715 00:30:23,176 --> 00:30:25,843 THRASH BANDS STARTED TO CHANGE THEIR SOUND, 716 00:30:25,843 --> 00:30:27,110 AND METALLICA'S "BLACK" ALBUM 717 00:30:27,110 --> 00:30:29,443 WAS THE BAND'S MOST ACCESSIBLE RECORD TO DATE 718 00:30:29,443 --> 00:30:31,743 AND WAS A HUGE COMMERCIAL SUCCESS, 719 00:30:31,743 --> 00:30:34,076 SELLING OVER 22 MILLION COPIES. 720 00:30:34,076 --> 00:30:37,443 [ "ENTER SANDMAN" PLAYING ] 721 00:30:42,143 --> 00:30:44,076 * SAY YOUR PRAYERS, LITTLE ONE * 722 00:30:44,076 --> 00:30:45,843 * DON'T FORGET, MY SON * 723 00:30:45,843 --> 00:30:48,010 * TO INCLUDE EVERYONE * 724 00:30:49,243 --> 00:30:51,143 * I'LL TUCK YOU IN, WARM WITHIN * 725 00:30:51,143 --> 00:30:53,043 * KEEP YOU FREE FROM SIN * 726 00:30:53,043 --> 00:30:55,710 * TILL THE SANDMAN, HE COMES * 727 00:30:56,976 --> 00:31:00,310 THE FIRST NOTES OF "ENTER SANDMAN," MY JAW DROPPED, 728 00:31:00,310 --> 00:31:03,776 AND I SAID, "THRASH HAS NOW TO ITS CREDIT 729 00:31:03,776 --> 00:31:07,843 "A CLASSIC, ALL-TIME RECORD. ALL-TIME, YOU KNOW? 730 00:31:07,843 --> 00:31:10,210 THAT COULD COMPETE WITH ANYTHING ELSE THAT WAS CLASSIC." 731 00:31:10,210 --> 00:31:11,843 ANYBODY THAT SAYS THE "BLACK" ALBUM 732 00:31:11,843 --> 00:31:13,376 IS NOT A GOOD RECORD IS HIGH, YOU KNOW? 733 00:31:13,376 --> 00:31:14,643 I MEAN, IT WAS AWESOME. 734 00:31:14,643 --> 00:31:19,443 THEY MADE A RECORD THAT SOUNDED AS BIG AS ANY POP ALBUM. 735 00:31:19,443 --> 00:31:22,710 Billy: I CAN REMEMBER THE DAY WHEN I FIRST HEARD "ENTER SANDMAN." 736 00:31:22,710 --> 00:31:25,576 WOW, YOU KNOW? IT JUST, LIKE, BLEW ME AWAY. 737 00:31:25,576 --> 00:31:26,810 IT WAS ALL THERE. 738 00:31:26,810 --> 00:31:33,010 SO, WHY DID I FEEL BETRAYED? 739 00:31:33,010 --> 00:31:34,143 BECAUSE YOU WERE BETRAYED. [ LAUGHS ] 740 00:31:34,143 --> 00:31:35,110 YOU COULD FEEL WHAT THEY DID. 741 00:31:35,110 --> 00:31:36,810 I MEAN, THEY WENT FOR THE GOLD. 742 00:31:36,810 --> 00:31:38,143 THEY GOT THE GOLD, 743 00:31:38,143 --> 00:31:43,243 BUT YOUR SENSE OF WHAT METAL WAS WASN'T EXACTLY IN THE SOUND. 744 00:31:43,243 --> 00:31:45,476 THEY BROUGHT IN AN AUDIENCE 745 00:31:45,476 --> 00:31:48,176 WHO DIDN'T HAVE A CLUE ABOUT METAL. 746 00:31:48,176 --> 00:31:52,343 WHY YOU USE THE WORD "BETRAYAL," THAT'S A VERY STRONG WORD. 747 00:31:52,343 --> 00:31:56,943 I CAN CERTAINLY UNDERSTAND THAT PEOPLE WOULD FEEL, YOU KNOW, 748 00:31:56,943 --> 00:31:59,576 "OH, MY GOD, 'ENTER SANDMAN,' NOTHING ELSE MATTERS. 749 00:31:59,576 --> 00:32:00,943 WHAT HAPPENED?" 750 00:32:00,943 --> 00:32:03,510 BUT IT WAS WHAT WE NEEDED TO DO FOR OUR OWN SANITY 751 00:32:03,510 --> 00:32:04,676 BECAUSE IF WE HAD MADE 752 00:32:04,676 --> 00:32:06,243 "AND JUSTICE FOR ALL PART TWO," 753 00:32:06,243 --> 00:32:09,110 THEN THAT WOULD HAVE BEEN THE SELLOUT, I'M TELLING YOU. 754 00:32:09,110 --> 00:32:12,976 HONESTLY, I WAS -- I DON'T -- I SHOULD SAY IT, WHAT THE HECK? 755 00:32:12,976 --> 00:32:15,110 YEAH, I THREW IT -- I THREW IT DOWN THE STAIRS. 756 00:32:15,110 --> 00:32:17,576 SAID, "WHAT THE HELL'S THIS?" I COULDN'T BELIEVE IT. 757 00:32:17,576 --> 00:32:21,510 I FELT THAT THE "THRASH" IN THRASH METAL WAS GONE. 758 00:32:21,510 --> 00:32:24,243 WHEN I SAW THAT, I FELT IT NOW CONFORM 759 00:32:24,243 --> 00:32:28,176 TO THE MTV STYLE OF MUSIC PROMOTION. 760 00:32:28,176 --> 00:32:32,876 * I NEVER OPENED MYSELF THIS WAY * 761 00:32:32,876 --> 00:32:37,643 * LIFE IS OURS, WE LIVE IT OUR WAY * 762 00:32:37,643 --> 00:32:40,176 Dunn: WHAT RULES OF THRASH DID THEY BREAK ON THE "BLACK" ALBUM? 763 00:32:40,176 --> 00:32:41,243 Weinstein: BALLADS. 764 00:32:41,243 --> 00:32:43,443 WELL, FOR THRASH, BALLAD'S NO GOOD. 765 00:32:43,443 --> 00:32:44,843 THAT'S AGAINST THE LAW. 766 00:32:44,843 --> 00:32:48,110 THEY MIGHT AS WELL USE KEYBOARDS AND HAVE A VIOLIN, TOO. 767 00:32:48,110 --> 00:32:50,010 YOU DON'T DO BALLADS. 768 00:32:50,010 --> 00:32:53,310 I REMEMBER GOING WITH MY BUDDY TO SOME DANCE CLUB. 769 00:32:53,310 --> 00:32:54,743 DON'T ASK ME WHY. 770 00:32:54,743 --> 00:32:57,376 AND I'M, LIKE, FREAKING OUT. I'M GOING, "THIS IS METALLICA. 771 00:32:57,376 --> 00:32:59,643 "THEY'RE PLAYING METALLICA AT A DANCE CLUB. 772 00:32:59,643 --> 00:33:02,843 WHAT THE HELL'S GOING ON HERE? THIS ISN'T RIGHT." 773 00:33:02,843 --> 00:33:07,743 * FOREVER TRUSTING YOU AND I * 774 00:33:07,743 --> 00:33:12,510 * NO, NOTHING ELSE MATTERS * 775 00:33:12,510 --> 00:33:17,143 WHEN THE "BLACK" ALBUM CAME OUT AND SOLD 5 BAJILLION COPIES, 776 00:33:17,143 --> 00:33:19,510 THAT BECAME -- FOR ALL THESE OTHER MAJOR LABELS, 777 00:33:19,510 --> 00:33:21,110 THAT BECAME THE BENCHMARK FOR, 778 00:33:21,110 --> 00:33:22,343 "OKAY, WE HAVE A HEAVY-METAL BAND. 779 00:33:22,343 --> 00:33:24,310 HOW DO WE MAKE THEM METALLICA?" 780 00:33:24,310 --> 00:33:28,110 I THINK MANY OF US TRIED TO FOLLOW THAT FORK IN THE ROAD, 781 00:33:28,110 --> 00:33:29,443 THE METALLICA FORK. 782 00:33:29,443 --> 00:33:33,010 EVERYBODY, YOU KNOW, THOUGHT IF WE'D GO A LITTLE MORE LIKE THAT, 783 00:33:33,010 --> 00:33:35,343 WE'LL GARNER THAT AUDIENCE, 784 00:33:35,343 --> 00:33:37,176 AND WE MIGHT, YOU KNOW, BE ABLE TO FOLLOW 785 00:33:37,176 --> 00:33:38,410 THAT SAME CAREER TRAJECTORY. 786 00:33:38,410 --> 00:33:40,576 SLAYER STAYED TRUE TO WHAT THEY DID. 787 00:33:40,576 --> 00:33:42,543 IT ABSOLUTELY SHOWS THAT IT WORKED. 788 00:33:42,543 --> 00:33:44,576 Lombardo: THE RECORD COMPANY DID COME UP TO US 789 00:33:44,576 --> 00:33:46,510 AND DISCUSS THINGS IN WHAT THEY WANTED TO DO. 790 00:33:46,510 --> 00:33:48,710 BUT IF IT DIDN'T SIT WELL WITH THE GUYS IN THE BAND, 791 00:33:48,710 --> 00:33:50,343 WITH ALL OF US, WE WOULDN'T GO WITH IT. 792 00:33:50,343 --> 00:33:51,643 WE DON'T WANT TO CHANGE. 793 00:33:51,643 --> 00:33:54,343 WE ARE WHO WE ARE. THIS IS THE WAY WE PLAY. 794 00:33:54,343 --> 00:33:56,943 THIS IS THE STYLE OF SONGS THAT WE LIKE TO WRITE. 795 00:33:56,943 --> 00:33:59,776 IF YOU'RE GONNA TELL US TO DO OTHER, YOU KNOW, 796 00:33:59,776 --> 00:34:01,210 WE'RE GONNA TELL YOU TO [BLEEP] OFF. 797 00:34:01,210 --> 00:34:04,410 THIS WHOLE THING ABOUT THE SELLOUT AND THE, YOU KNOW, 798 00:34:04,410 --> 00:34:07,310 BEING TRUE AND ALL THIS STUFF, 799 00:34:07,310 --> 00:34:09,710 I FELT THAT THERE WERE A LOT OF CONTRADICTIONS IN THAT 800 00:34:09,710 --> 00:34:13,343 BECAUSE I FELT THAT THERE WERE PEOPLE THAT WERE SELLING OUT 801 00:34:13,343 --> 00:34:14,976 BY BEING THE SAME, 802 00:34:14,976 --> 00:34:16,443 AND THAT WERE SELLING OUT 803 00:34:16,443 --> 00:34:19,476 BY JUST GIVING THE FANS WHAT THEY WANTED. 804 00:34:19,476 --> 00:34:21,443 I KNOW LARS MENTIONED YEARS AGO -- 805 00:34:21,443 --> 00:34:23,743 AND I THINK HE REFERENCED US -- 806 00:34:23,743 --> 00:34:26,443 ABOUT PAINTING YOURSELF INTO A CORNER AND HAVING NOWHERE TO GO. 807 00:34:26,443 --> 00:34:29,176 AND THAT'S WHY METALLICA KIND OF BECAME A ROCK BAND FOR A WHILE. 808 00:34:29,176 --> 00:34:31,376 BUT IF I'M IN A CORNER, I LIKE MY CORNER. 809 00:34:31,376 --> 00:34:33,143 IT'S THE COOLEST CORNER I'VE EVER BEEN IN. 810 00:34:33,143 --> 00:34:34,876 [ "WAR ENSEMBLE" BY SLAYER PLAYING ] 811 00:34:34,876 --> 00:34:38,610 * PROPAGANDA DEATH ENSEMBLE, BURIAL TO BE * 812 00:34:38,610 --> 00:34:40,543 * CORPSES ROTTING THROUGH THE NIGHT * 813 00:34:40,543 --> 00:34:43,410 * IN BLOOD LACED MISERY * 814 00:34:43,410 --> 00:34:45,310 * SCORCHED EARTH THE POLICY * 815 00:34:45,310 --> 00:34:47,476 * THE REASON FOR THE SIEGE * 816 00:34:47,476 --> 00:34:49,810 * THE PENDULUM, IT SHAVES THE BLADE * 817 00:34:49,810 --> 00:34:52,576 * THE STRAFING AIR BLOOD RAID * 818 00:34:52,576 --> 00:34:55,643 Dunn: WHILE SLAYER STAYED THE COURSE THROUGH THE '90s 819 00:34:55,643 --> 00:34:57,310 MAINTAINING THEIR THRASH STYLE, 820 00:34:57,310 --> 00:34:59,610 MANY THRASH BANDS CHANGED THEIR SOUND, 821 00:34:59,610 --> 00:35:02,610 BOWING TO THE PRESSURE OF MAJOR LABELS. 822 00:35:02,610 --> 00:35:04,810 USUALLY THE FIRST LABEL FOR THE MAJOR WOULD BE PRETTY GOOD 823 00:35:04,810 --> 00:35:07,110 BECAUSE THEY'RE KIND OF LEFT TO THEIR OWN TO MAKE. 824 00:35:07,110 --> 00:35:08,276 AND THEN AFTER THEY DID THAT, 825 00:35:08,276 --> 00:35:09,776 ALL OF A SUDDEN, THOSE INFLUENCES, 826 00:35:09,776 --> 00:35:11,643 "WELL, YOU KNOW, YOU NEED TO HAVE A HIT SONG. 827 00:35:11,643 --> 00:35:13,110 "YOU NEED TO LOOK THIS WAY. 828 00:35:13,110 --> 00:35:14,976 YOUR VIDEO NEEDS TO LOOK THIS WAY." 829 00:35:14,976 --> 00:35:17,210 Holt: MY LEAST FAVORITE ALBUM, "FORCE OF HABIT," 830 00:35:17,210 --> 00:35:19,510 WE ACTUALLY DID, FOR THE FIRST TIME IN MY CAREER, 831 00:35:19,510 --> 00:35:22,876 TRIED TO WRITE MORE FOR WHAT I THOUGHT THE LABEL WANTED. 832 00:35:22,876 --> 00:35:25,376 IT'S THE FIRST TIME I DIDN'T WRITE FOR MYSELF. 833 00:35:25,376 --> 00:35:27,876 THE SONGS WE THINK ARE COOL AND HIP, THEY'RE, LIKE, "NO, NO, NO, 834 00:35:27,876 --> 00:35:29,910 IT'S THE BALLAD WE'RE GONNA PUSH AND DO THE VIDEO." 835 00:35:29,910 --> 00:35:32,110 WE'RE, LIKE, "WHAT?" 836 00:35:32,110 --> 00:35:33,743 THAT WAS THE BIG CHANGE 837 00:35:33,743 --> 00:35:35,476 BECAUSE THERE'S SOMEONE WHO HAS THE MONEY WHO'S TELLING US 838 00:35:35,476 --> 00:35:38,410 WHAT PRODUCT THEY WANT US TO DO, AND HOW THEY WANT US TO WRITE, 839 00:35:38,410 --> 00:35:41,310 HOW THEY WANT US TO BE PRESENTED. 840 00:35:41,310 --> 00:35:43,710 [ "THE BALLAD" BY TESTAMENT PLAYING ] 841 00:35:43,710 --> 00:35:47,976 * I'M NOT ONE TO SAY * 842 00:35:47,976 --> 00:35:53,210 * WHERE MY FEELINGS ARE GOING WHEN THEY WITHER AWAY * 843 00:35:53,210 --> 00:35:55,243 * I PRAY TO SEE ANOTHER DAY * 844 00:35:55,243 --> 00:35:57,810 Skolnick: SOME WRONG DECISIONS WERE MADE ALONG THE WAY. 845 00:35:57,810 --> 00:35:59,376 IT ALWAYS FELT LIKE 846 00:35:59,376 --> 00:36:02,343 WE WEREN'T QUITE WHERE WE WERE SUPPOSED TO BE. 847 00:36:02,343 --> 00:36:06,343 IT'S NOT GOOD MUSICIANSHIP THAT MAKES A SUCCESSFUL BAND. 848 00:36:06,343 --> 00:36:08,110 IT'S GOOD DECISION MAKING. 849 00:36:08,110 --> 00:36:09,810 BANDS WERE GETTING DROPPED OFF MAJOR LABELS, 850 00:36:09,810 --> 00:36:11,710 AND WE'RE BREAKING UP. 851 00:36:11,710 --> 00:36:13,210 AND WE'RE, LIKE, "OH, GREAT," YOU KNOW? 852 00:36:13,210 --> 00:36:15,110 WE'RE GONNA PROBABLY BE OFF ATLANTIC SOON, ANYHOW. 853 00:36:15,110 --> 00:36:17,876 SO AT THAT TIME, IT WAS A BAD, DARK TIME FOR US AS A BAND 854 00:36:17,876 --> 00:36:20,776 BECAUSE SOMETHING WE HAD STARTED WAS ENDING. 855 00:36:20,776 --> 00:36:23,243 I ALWAYS SAID IF THIS BECAME, LIKE, A JOB I DIDN'T LIKE, 856 00:36:23,243 --> 00:36:24,476 I WOULDN'T DO IT, YOU KNOW? 857 00:36:24,476 --> 00:36:25,776 AND I DIDN'T LIKE IT ANYMORE. 858 00:36:25,776 --> 00:36:28,343 SO I STAYED HOME, JOINED THE PTA. 859 00:36:28,343 --> 00:36:29,443 [ CHUCKLES ] 860 00:36:29,443 --> 00:36:31,743 SCARED THE [BLEEP] OUT OF THE OTHER PARENTS 861 00:36:31,743 --> 00:36:33,843 AT THE PTA MEETINGS. 862 00:36:33,843 --> 00:36:36,210 IF I HAD IT ALL TO DO OVER AGAIN, YOU KNOW, 863 00:36:36,210 --> 00:36:38,110 I WOULD HAVE JUST CONTINUED 864 00:36:38,110 --> 00:36:39,676 WRITING SONGS ABOUT KILLING PEOPLE. 865 00:36:43,110 --> 00:36:44,643 Dunn: BY THE MID-'90s, MANY THRASH BANDS 866 00:36:45,976 --> 00:36:49,776 HAD ABANDONED THE MOVEMENT, AND THE GENRE HAD STAGNATED. 867 00:36:49,776 --> 00:36:52,310 THIS GAVE RISE TO SEVERAL NEW SUBGENRES 868 00:36:52,310 --> 00:36:54,876 THAT WERE EVEN MORE EXTREME THAN THRASH, 869 00:36:54,876 --> 00:36:58,310 LIKE DEATH METAL, GRINDCORE, AND BLACK METAL. 870 00:36:58,310 --> 00:37:01,110 STYLES THAT WERE COMPLETELY VOID OF MELODY 871 00:37:01,110 --> 00:37:04,943 AND FEATURED BLAST BEAT DRUMMING AND ULTRA LOW, GUTTURAL VOCALS. 872 00:37:04,943 --> 00:37:07,876 BUT JUST WHEN YOU THOUGHT THRASH METAL WAS DEAD, 873 00:37:07,876 --> 00:37:10,610 IT RE-EMERGED IN A PLACE YOU'D LEAST EXPECT. 874 00:37:10,610 --> 00:37:13,243 [ HEAVY METAL MUSIC PLAYING ] 875 00:37:26,176 --> 00:37:28,010 [ MUSIC CONTINUES ] 876 00:37:33,110 --> 00:37:35,710 WHEN WE STARTED TO START OUT PUTTING OUT RECORDS 877 00:37:35,710 --> 00:37:37,310 AND GETTING THE CHANCE TO RECORD STUFF, 878 00:37:37,310 --> 00:37:40,143 THE THRASH STUFF WAS STAYING OUT, IN ONE WAY. 879 00:37:40,143 --> 00:37:42,943 THERE WAS A BIT OF STAGNATION IN THAT SCENE. 880 00:37:42,943 --> 00:37:44,910 THERE WAS SOMETHING THERE THAT WAS LOST 881 00:37:44,910 --> 00:37:47,910 THAT WE DIDN'T FIND ANYMORE, YOU KNOW, 882 00:37:47,910 --> 00:37:50,476 AND THAT WAS THE EAGERNESS OF THE EARLY THRASH STUFF. 883 00:37:50,476 --> 00:37:51,776 IT WAS MISSING FOR US, IN A WAY. 884 00:37:51,776 --> 00:37:53,376 AND WE WERE TRYING TO INCORPORATE 885 00:37:53,376 --> 00:37:55,110 EVERYTHING WE LIKED INTO WHAT WE DID. 886 00:37:55,110 --> 00:37:57,010 "DARKNESS DESCENDS," "REIGN IN BLOOD," "MASTER OF PUPPETS," 887 00:37:57,010 --> 00:37:58,876 WE WOULD LISTEN TO ALL THOSE CLASSIC RECORDS 888 00:37:58,876 --> 00:38:01,876 AND TRYING TO FIGURE OUT WHAT MADE THEM BIG IN OUR HEARTS, 889 00:38:01,876 --> 00:38:03,710 TRYING TO MAKE IT OUR OWN PRODUCT, 890 00:38:03,710 --> 00:38:05,610 BUT STILL, YOU KNOW, WITH THIS GOAL 891 00:38:05,610 --> 00:38:07,910 TO BE IMPORTANT IN ONE WAY, TO MAKE THEM ART. 892 00:38:07,910 --> 00:38:10,143 Dunn: WHAT ARE THE ELEMENTS OF THE GOTHENBERG SOUND 893 00:38:10,143 --> 00:38:12,776 BORROWED FROM WHAT THRASH ESTABLISHED? 894 00:38:12,776 --> 00:38:16,143 WELL, IT BORROWS THE SPEED OF THRASH, 895 00:38:16,143 --> 00:38:18,676 AND IT PEDALS BACK A BIT FROM DEATH METAL'S 896 00:38:18,676 --> 00:38:21,843 COMPLETE ELIMINATION OF MELODY AND HARMONY 897 00:38:21,843 --> 00:38:23,443 AND THINGS LIKE THAT. 898 00:38:23,443 --> 00:38:24,743 TO A CERTAIN EXTENT, 899 00:38:24,743 --> 00:38:27,010 THE GOTHENBERG THRASH, MELODIC DEATH-METAL SOUND 900 00:38:27,010 --> 00:38:29,010 IS A REINTERPRETATION, IF YOU LIKE, 901 00:38:29,010 --> 00:38:30,776 OF AN EARLIER PERIOD IN METAL HISTORY 902 00:38:30,776 --> 00:38:32,543 WHEN THRASH STILL HAD 903 00:38:32,543 --> 00:38:35,110 ITS CONNECTION WITH MAINSTREAM HEAVY METAL. 904 00:38:35,110 --> 00:38:36,810 [ IN FLAMES' "ONLY FOR THE WEAK" PLAYS ] 905 00:38:36,810 --> 00:38:40,143 * IT IS ONLY FOR THE WEAK * 906 00:38:40,143 --> 00:38:42,676 * ON BLEEDING KNEES * 907 00:38:45,110 --> 00:38:48,543 * I ACCEPT MY FATE * 908 00:38:48,543 --> 00:38:51,110 [ MUSIC CONTINUES ] 909 00:38:56,210 --> 00:38:59,543 Dunn: WHY IS THAT SO IMPORTANT TO YOU, TO HAVE METAL MUSIC 910 00:38:59,543 --> 00:39:01,976 THAT CAN BE PRETTY HEAVY AND PRETTY EXTREME AT TIMES, 911 00:39:01,976 --> 00:39:04,210 BUT ALSO HAVE THAT MELODIC ASPECT? 912 00:39:04,210 --> 00:39:07,376 I GUESS IT'S ALWAYS BEEN SOMETHING THAT -- 913 00:39:07,376 --> 00:39:08,743 THAT SWEDES LIKE. 914 00:39:08,743 --> 00:39:10,010 FOLK MUSIC IS VERY MELODIC. 915 00:39:10,010 --> 00:39:11,876 IT'S ALWAYS BEEN A VERY IMPORTANT PART 916 00:39:11,876 --> 00:39:13,443 OF THE MUSIC THAT WE HAVE HERE. 917 00:39:13,443 --> 00:39:16,110 AND IF YOU CAN INCORPORATE THAT WITH THE FEELING YOU GET 918 00:39:16,110 --> 00:39:17,410 WHEN YOU LISTEN TO AN AWESOME SLAYER SONG 919 00:39:17,410 --> 00:39:18,643 OR A GREAT METALLICA SONG, 920 00:39:18,643 --> 00:39:20,543 I REALLY, REALLY LOVE THE AGGRESSION. 921 00:39:20,543 --> 00:39:21,943 IT GETS ME PUMPED UP. 922 00:39:21,943 --> 00:39:24,376 THAT FEELING, IF YOU CAN MIX THAT WITH THE MELODIES IN THERE, 923 00:39:24,376 --> 00:39:26,376 AND PUT SOME HOOKS IN THERE. 924 00:39:26,376 --> 00:39:27,510 IT'S IN EVERYTHING THAT WE WRITE, 925 00:39:27,510 --> 00:39:28,943 WE ALWAYS THINK ABOUT THAT. 926 00:39:28,943 --> 00:39:30,543 YOU CAN'T ONLY BE RHYTHM-BASED. 927 00:39:30,543 --> 00:39:32,243 IT NEEDS TO BE MELODIES IN THERE. 928 00:39:32,243 --> 00:39:34,743 WHILE ALL THE SWEDISH OR GOTHENBERG THRASH SCENE 929 00:39:34,743 --> 00:39:37,810 WAS INCORPORATING A LOT OF THE INFLUENCE OF DEATH METAL, 930 00:39:37,810 --> 00:39:40,443 IT IS SORT OF TAKING METAL BACK 931 00:39:40,443 --> 00:39:42,976 TO THAT UNDERLYING THEME IN THRASH THAT, 932 00:39:42,976 --> 00:39:45,376 WE'RE NOT JUST THE HEAVIEST, UGLIEST, MEANEST BAND, 933 00:39:45,376 --> 00:39:47,443 BUT WE CAN ACTUALLY PLAY, AND WE GOT CHOPS. 934 00:39:47,443 --> 00:39:50,276 [ ARCH ENEMY'S "REVOLUTION BEGINS" PLAYS ] 935 00:40:05,910 --> 00:40:08,376 [ MUSIC CONTINUES ] 936 00:40:08,376 --> 00:40:11,010 Dunn: SWEDISH BANDS WEREN'T THE ONLY ONES 937 00:40:11,010 --> 00:40:13,243 TO PUT THRASH BACK ON THE METAL MAP. 938 00:40:13,243 --> 00:40:17,843 BY THE EARLY 2000s, LAMB OF GOD, A BAND FROM RICHMOND, VIRGINIA, 939 00:40:17,843 --> 00:40:20,310 BECAME THE NEXT FORCE IN EXTREME MUSIC 940 00:40:20,310 --> 00:40:23,810 AND HELPED REINVIGORATE THRASH IN AMERICA. 941 00:40:23,810 --> 00:40:26,443 LET'S GET THE DANCE FLOOR STARTED! 942 00:40:26,443 --> 00:40:28,076 [ METAL MUSIC PLAYING ] 943 00:40:40,743 --> 00:40:42,876 Adler: WE WERE ALL HUGE FANS OF THE THRASH MOVEMENT. 944 00:40:42,876 --> 00:40:44,610 THAT'S WHAT WE GREW UP ON. 945 00:40:44,610 --> 00:40:47,210 WE WERE ALL KIND OF THESE SUBURBAN WHITE KIDS 946 00:40:47,210 --> 00:40:48,843 THAT, YOU KNOW, SOMEHOW FOUND THIS MUSIC 947 00:40:48,843 --> 00:40:50,510 AND FELT LIKE WE WERE A PART OF SOMETHING. 948 00:40:50,510 --> 00:40:52,676 INSTEAD OF PLAYING SOCCER OR BEING ON THE CHESS TEAM, 949 00:40:52,676 --> 00:40:56,210 THIS WAS OUR GROUP OF PEOPLE THAT WE FIT IN WITH. 950 00:40:56,210 --> 00:40:58,010 VERY MUCH, THAT WAS WHAT WE WERE EMULATING, 951 00:40:58,010 --> 00:40:59,776 BANDS LIKE MEGADETH AND TESTAMENT AND SLAYER. 952 00:40:59,776 --> 00:41:03,376 THE ORIGINAL THRASH MOVEMENT, WE CAME LONG AFTER THAT 953 00:41:03,376 --> 00:41:05,343 AND LONG AFTER THE SUPPORT FOR THAT HAD DIED DOWN. 954 00:41:05,343 --> 00:41:07,110 BUT I THINK WE'VE BEEN A BIG PART OF THE REVIVAL 955 00:41:07,110 --> 00:41:09,576 OF THAT MOVEMENT IN BRINGING SOME OF THOSE ELEMENTS BACK INTO METAL 956 00:41:09,576 --> 00:41:12,310 THAT HAVEN'T REALLY BEEN HEARD IN THE SAME WAY IN 20 YEARS. 957 00:41:12,310 --> 00:41:15,210 Dunn: WAS IT EXCITING TO HEAR YOUNGER BANDS LIKE LAMB OF GOD 958 00:41:15,210 --> 00:41:17,143 CREATE MUSIC THAT HAD THAT INTENSITY? 959 00:41:17,143 --> 00:41:19,710 I HAVEN'T HEARD ANYTHING AWESOME IN A LONG TIME, 960 00:41:19,710 --> 00:41:21,976 AND IT MIGHT HAVE JUST LIT MY FIRE AGAIN. 961 00:41:21,976 --> 00:41:24,710 HAVING A SECOND AWAKENING OR A REAWAKENING GOING, 962 00:41:24,710 --> 00:41:26,643 I JUST BEEN ASLEEP FOR 12 YEARS. 963 00:41:26,643 --> 00:41:27,876 AND I GOT TO, LIKE, GET BACK 964 00:41:27,876 --> 00:41:29,776 TO WHAT THE [BLEEP] I WAS DOING TO START WITH. 965 00:41:29,776 --> 00:41:31,710 LAMB OF GOD TRACKED ME DOWN 966 00:41:31,710 --> 00:41:35,143 AND ASKED ME TO PLAY ON THEIR ALBUM, "ASHES OF THE WAKE." 967 00:41:35,143 --> 00:41:37,843 AND I THOUGHT, "OKAY, THIS COULD BE INTERESTING." 968 00:41:37,843 --> 00:41:40,543 AND HE COMES DOWN TO THE STUDIO, AND HE'S LOOKING AROUND. 969 00:41:40,543 --> 00:41:42,710 HE'S LIKE, "YEAH, I JUST EXPECTED, LIKE, 970 00:41:42,710 --> 00:41:45,476 "A BUNCH OF DUDES IN JUMPSUITS AND MAKEUP AND A MESS." 971 00:41:45,476 --> 00:41:47,610 HE'S LIKE, "YOU GUYS LOOK LIKE WE DID." 972 00:41:47,610 --> 00:41:50,310 [ LAUGHS ] "LIKE YOU'RE DOING IT AGAIN." 973 00:41:50,310 --> 00:41:52,010 HE'S LIKE, "I CAN'T WAIT TO GET IN THERE AND DO THIS." 974 00:41:52,010 --> 00:41:54,343 IT'S EXCITING TO FEEL LIKE YOU'VE ACTUALLY HAD AN INFLUENCE, 975 00:41:54,343 --> 00:41:57,110 THAT SOMEBODY WAS LISTENING THAT WHOLE TIME. 976 00:41:57,110 --> 00:41:58,910 IT DOES MAKE YOU FEEL GOOD, THOUGH, YOU KNOW, 977 00:41:58,910 --> 00:42:01,843 TO HAVE PEOPLE YOU RESPECT AS MUSICIANS 978 00:42:01,843 --> 00:42:04,376 TELL YOU THAT YOUR MUSIC ACTUALLY HAD 979 00:42:04,376 --> 00:42:06,943 SOMETHING TO DO WITH SHAPING THEM MUSICALLY. 980 00:42:06,943 --> 00:42:08,876 IT MAKES IT FEEL LIKE YOU WERE DOING IT FOR A REASON. 981 00:42:08,876 --> 00:42:10,776 Dunn: WHERE IS EXODUS AT TODAY? 982 00:42:10,776 --> 00:42:11,910 IN A GOOD PLACE. 983 00:42:11,910 --> 00:42:13,176 THE BAND'S HUNGRY. 984 00:42:13,176 --> 00:42:14,776 THE BAND'S HEALTHY AND DRUG FREE. 985 00:42:14,776 --> 00:42:17,776 WE'RE DRIVEN, MOTIVATED, AND OUT TO PROVE A POINT 986 00:42:17,776 --> 00:42:20,710 THAT WE'RE ONE OF THE VERY FIRST TWO THAT DID THIS, 987 00:42:20,710 --> 00:42:24,110 AND WE'RE THE BEST AT DOING IT TODAY. 988 00:42:24,110 --> 00:42:27,176 [ METAL MUSIC PLAYING ] 989 00:42:42,976 --> 00:42:44,710 WHY DO YOU THINK THRASH CONTINUES TO BE 990 00:42:44,710 --> 00:42:47,576 Dunn: A VIABLE FORM OF MUSIC TODAY? 991 00:42:47,576 --> 00:42:49,776 Osegueda: IT'S JUST SUCH AN AMAZING RELEASE 992 00:42:49,776 --> 00:42:52,876 TO PLAY, TO LISTEN TO, AND IT'S UNDENIABLE. 993 00:42:52,876 --> 00:42:55,010 AS LONG AS THERE'S GENERATIONS COMING UP 994 00:42:55,010 --> 00:42:56,710 THAT ARE INTO REBELLION, 995 00:42:56,710 --> 00:42:59,310 THIS GENRE WILL ALWAYS HAVE SOME VALIDITY TO IT. 996 00:42:59,310 --> 00:43:01,310 I THINK THE MUSIC IS FIRST AND FOREMOST. 997 00:43:01,310 --> 00:43:03,276 I THINK THE LYRICS ARE SOCIALLY RELEVANT. 998 00:43:03,276 --> 00:43:06,210 IF YOU PAY ATTENTION, YOU GET SOMETHING OUT OF IT. 999 00:43:06,210 --> 00:43:07,510 YOU KNOW, AND IF YOU DON'T CARE, 1000 00:43:07,510 --> 00:43:09,310 YOU GET SOMETHING OUT OF IT BECAUSE IT'S GREAT MUSIC. 1001 00:43:09,310 --> 00:43:11,510 WE'RE GONNA GO COMPLETELY FULL CIRCLE HERE. 1002 00:43:11,510 --> 00:43:13,243 REBELLION. 1003 00:43:13,243 --> 00:43:17,276 AS LONG AS YOUNG PEOPLE ARE ANGRY AND CONFUSED 1004 00:43:17,276 --> 00:43:18,643 AND DON'T KNOW WHO THEY ARE -- 1005 00:43:18,643 --> 00:43:20,776 AND THAT WILL PROBABLY BE FOREVER -- 1006 00:43:20,776 --> 00:43:23,010 THEN SOME OF THEM ARE GONNA BE ATTRACTED TO MUSIC 1007 00:43:23,010 --> 00:43:24,176 THAT MAKES YOU BANG YOUR HEAD 1008 00:43:24,176 --> 00:43:25,910 AND MAKES YOU FEEL THAT YOUR ANGER'S OKAY, 1009 00:43:25,910 --> 00:43:28,110 AND THAT YOU CAN DEAL WITH YOUR ANGER 1010 00:43:28,110 --> 00:43:29,476 WHILE STILL EXPRESSING IT AT THE SAME TIME. 1011 00:43:29,476 --> 00:43:32,143 IN THAT RESPECT, THRASH METAL IS AGELESS. 1012 00:43:32,143 --> 00:43:34,576 THE THRASH STUFF AND THE HARDER METAL STUFF SURVIVED 1013 00:43:34,576 --> 00:43:36,643 BECAUSE WHEN YOU'RE FORTUNATE ENOUGH 1014 00:43:36,643 --> 00:43:39,610 TO NOT BE PART OF ANYTHING THAT'S TOO FASHIONABLE, 1015 00:43:39,610 --> 00:43:42,143 YOU HAVE THE OPPORTUNITY TO STICK AROUND 1016 00:43:42,143 --> 00:43:45,443 AS ALL THE OTHER FASHIONS AND THINGS WITHER AWAY, YOU KNOW? 1017 00:43:45,443 --> 00:43:48,443 LAST MAN STANDING. 1018 00:43:48,443 --> 00:43:50,410 [ METALLICA'S "CYANIDE" PLAYS ] 1019 00:43:50,410 --> 00:43:52,810 * SUICIDE, I'VE ALREADY DIED * 1020 00:43:52,810 --> 00:43:56,110 * YOU'RE JUST THE FUNERAL I'VE BEEN WAITING FOR * 1021 00:43:56,110 --> 00:43:59,310 * CYANIDE, LIVING DEAD INSIDE * 1022 00:43:59,310 --> 00:44:03,176 * BREAK THIS EMPTY SHELL FOREVERMORE * 1023 00:44:03,176 --> 00:44:07,476 * FOREVERMORE * 1024 00:44:07,476 --> 00:44:10,543 * FOREVERMORE * 1025 00:44:10,543 --> 00:44:14,210 * JUST THE FUNERAL I'VE BEEN WAITING FOR * 1026 00:44:14,210 --> 00:44:16,510 * CYANIDE * 1027 00:44:16,510 --> 00:44:17,843 [ CHEERS AND APPLAUSE ] 1028 00:44:17,843 --> 00:44:21,110 [ "THE TROOPER" BY IRON MAIDEN PLAYING ] 1029 00:44:33,843 --> 00:44:36,110 [ MUSIC CONTINUES