The Big 4, Indio, California April 23, 2011

So I’ve been trying to get these words out of my head since I landed back in Chicago after my ‘Big 4’ weekend of April 22-25^th.  I’ve written about the gig for a website called AntiMusic and that can be found HERE.  But until I “None But My Own” the event and what it meant to me, I won’t be able to move on.  So thanks for the barrage of emails asking for my opinion, here we go. 

If you’re of a certain age group I think at one point or another one of the bands that make up the ‘Big 4’ was probably “your band.”  You know the one that you really identified with and the one that made life livable throughout your late adolescent years.  I was one of those kids that, at one time or another, ALL four bands were the only one that mattered.  I wasn’t alone. 

As the years flew by, all of these bands would either continue to stimulate me by way of live shows and/or recordings (Metallica/Slayer) or at the least remind me of a much simpler time in my life (Megadeth/Anthrax).  Still the idea of all four sharing the same stage was something I really thought I’d never see.  So almost 10 months to the day since the first ever "Big 4" concert became a reality, it was time for the US to finally witness the historic bill some 25+ years in the making.

I flew out on black Friday, April 22 landing at LAX and met upon arrival by my friend of over fourteen years Brian Subterfuge.  When the Southern California concert was announced earlier this year there was a list maybe five people in the world that I would have picked to see this show with, he was way up there on that list.  We met via tape trading and a specific addiction to the band Vio-Lence.  This was 1997 people, there weren’t that many of “us” around at that time, he’s been a brother from another mother ever since.  

So think about it, before this “show review” even begins I’m already kicking it with one of my favorite people in the world.  This would not be the only highlight of the weekend…

We made the two hour drive into Indio on Saturday, day of show to check into our hotel and could already sense the anticipation.   Indio seems to survive off the festivals and events in the area so having different divisions and masses descend on the town seems normal to the locals as far as I can tell.  As far as the weather, I left a rainy 45 degree Chicago day some 24 hours earlier so the 11:00am desert sun was incredible.  I was in a great mood and I couldn’t wait to get to the festival site.

I was set to pick up my credentials early so we faced none of the horrific tales of Coachella festivals gone wrong, the throngs of people all entering the site at once ala Woodstock.  So I check in, pick up my ticket and we begin our day.  My day and mood goes from great to unfuckingbelieveable when I meet another Bonded via Metal friend, Brian “ümlaut” Lew.  Please, see some of his work HERE and HERE and watch for THIS coming fall of 2011.  Long story short, Brian looked out for me and basically handed me the keys to the kingdom.  This review, cheesy as it sounds is dedicated to him. Cheers .

As I walked through the security laden entrance of the Empire Polo Club, site of the aforementioned and massive Coachella Festival everything seemed so intense.  I was excited to be there, no doubt, but so was everyone else.  I’ve never experienced European festivals but sometimes you think by watching your US Festivals, California Jams, Wacken videos you’d be “used to it.” The electricity present was very real and I was just in total awe to be at such a place. 

As I walked towards the main stage area it meant passing through the food and merch vendors and multiple bars. As I stepped onto the grass the sounds of Exodus’ “Piranha” was blasting through the PA.  I took it as a sign; it would be one of those days.  It wouldn’t be too long before the music started, but I was ready to hear something loud. It had been far too long since my last show and I wanted it, make that needed it.  

Anthrax kicked things off promptly at 2pm.  It was Scott Ian’s opening chords of “Caught In A Mosh” that kicked off the first ever “Big 4” show in North America and it was kick ass.  Anthrax was into it and the roar of the crowd was all the approval they’d need.  The set would be a series of highs and lows and really, everything that you either love or hate about Anthrax was well on display.  For the highs there was standard ‘Thrax fare such as “A.I.R.,” “I Am The Law,” “Among The Living,” “Metal Thrashing Mad,” and “Madhouse.”  

For the lows there were “Got The Time,” “Anti-Social” and Joey Belladonna.  I know the guy is trying his best and performance wise he’s doing a helluva job but still.  I mean isn’t it strange to have him coming in early (or late) on songs he’s been playing since 1987?  However, his timing aside it’s his stage persona, song intros and general rapport with the crowd that’s unbelievably bad.  I mean I’m writing this piece three weeks after the event and I still can’t believe they (Scott and Charlie) let him say a fucking thing in between songs.

 

Still Anthrax played a solid set I’ll give the band that. They played new song “Fight Em Til You Can’t” and you’ve gotta wonder how much longer they can fight? If the Belladonna sung ‘Worship Music’ fails to find followers will that be the knockout blow?  They’ve been staggering and receiving standing eight counts for an extremely long time now, some would say since the Elektra years.  Even Jake LaMotta eventually hit the canvas, guys. 

It was cool in a geeky way to see Scott Ian break out the “S.O.D.” Jackson, which I’ve never seen him play before.  They did their job of warming up the sun baked warriors but in some way I think they could have done something a bit special for the show.  Especially seeing they have the most to prove of all the bands, but I guess that’s just me. 

At the conclusion of Anthrax’ set we ventured into the general admission bars and we grabbed $9 beers.  Happy to say these would be the first and only $9 beers of the event as not long after someone let us know of the “VIP” bar area with $4 beers and well, life is good.  In the same area as the bar were clean toilets and no lines, loving this day. 

Photo by Umlaut

Time between sets wasn’t that long, enough time to re-group with friends old and new and of course have a drink or two.  Throughout the day I would meet so many people, so many very cool people obviously having just as good a day as myself.  Many moments, many conversations and yeah, I was looking forward to seeing Megadeth. 

Opening with one of the weirdest songs for this or any other Megadeth era since its release in 1997’s “Trust” wasn’t the song to open with, Dave!  I mean whatever, again but fucking “Trust?”  Opening??  Well regardless, Megadeth take the stage and gladly the opening was a distant memory as they tore into “In My Darkest Hour,” one of Mega’s finest. 

Dave Mustaine a man who owns stages for a living didn’t need too long to claim another on the massive Coachella structure.  Looking pretty cool, calm and collected, Mustaine was armed and ready with a custom double neck Dean as his weapon of choice for the first few songs.  “Hangar 18” and “Wake up Dead” deliver the goods as the ever increasing crowd begins to swell.  

I’ve said it before and I’ll say it again, the current line-up of Megadeth - Mustiane, Ellefson, Broderick and Drover is their best, ever.  They hit strides throughout the show that were scarily good.  Anthrax didn’t hit that stride, Megadeth hit it several times.  They were truly “on.”  

Megadeth played many of their fan favorites old and new as a unit they were really commanding and played an excellent set.  Closing with their “big 3” of “Symphony Of Destruction,” “Peace Sells,” and the timeless “Holy Wars…the Punishment Due” Megadeth bid farewell.

The time spent between Megadeth and Slayer was in the bar and in the band compound area of trailers and “personal space.”  Again just a gaggle of people like Eddie Trunk (“Stumble the Trunk” by the end of the night), Brian Slagel, Ross “Gross Halfwit” Halfin, Chris Jehrico, Brian Posehn, Don Jameson from That Metal Show Mike Portnoy, Chuck Billy, John Tempesta, Mike Inez and Jerry Cantrell, etc. etc. walking around.  More on that later. 

It’s funny how no matter the situation, opening or closing, indoors or out, night or daylight when it’s Slayer time, it’s SLAYER time.  Seeing them in the pre-dusk hours did little to subdue the largest crowd of the day, so far.  Opening with the title track from their 2009 release, 'World Painted Blood' it didn't take long for Slayer to turn the festival site into their own private battlefield.  Tearing through new burners like "Hate Wordwide," and "Snuff" to bona fide classics like "Black Magic," "Raining Blood," and "Postmortem" Slayer were killing it.

 

Guest Guitarist, Exodus’ Gary Holt was flawless in his attack on simply everything.  I arranged myself on his side of the stage so I could get a clear sound of what he adds to the band live, it was fucking heavy.  He blended in with Kerry King almost seamlessly and the results were pure Slayer.  While I was surprised at the amount of new songs played it wasn’t long before the classic material took over. 

Bassist/Vocalist Tom Araya, the ever cool frontman of the band continues to be vocally intense and spot on with his timing and delivery.  I think the surgery and his being unable to headbang has resulted in excellent vocal performances still so essential to the Slayer experience.  “Silent Scream,” and “Anti-Christ” were perfect examples of this.  

Behind the kit, back with the band for over eleven years now was the often imitated, never duplicated Dave Lombardo.  Lombardo  paced the band through levels of intensity bands 20 years their junior will never produce.  I must say seeing Slayer perform “Seasons In The Abyss” in the desert was and will always be pretty memorable.  

Encore time was something of a surprise.  As the pre-recorded “South Of Heaven” tape rolled, stage right was filed with a familiar sight.  Jeff Hanneman out of commission since late 2010 had taken his rightful position.  Jamming on both “South” and set closer “Angel Of Death” he looked re-energized and far more animated than I’ve seen from his side of the stage in many years.  No matter what, it was great and totally Slayer-like to have him out there and say not a fucking thing about it.

Between the bars and the fun I was about as ready as I could get for Metallica.  I was in the photo pit and was talking to the people who had been on the barrier since maybe 11:30 AM, some seven or so hours.  There was a group of people from Romania and they were there for one reason and that reason was Metallica.  One of them told me “I hate every other band on the bill, I am here for Metallica!”  I thought that was great.  Fanaticism makes the world go around, it’s taken me to many places myself and for these people, I was happy as hell for them. 

When the intro “Ecstasy of Gold” concluded and Metallica took the stage with “Creeping Death” the roar from the now estimated at 55,000+ crowd was simply deafening.  I remember turning my back to the band to face the crowd during the “Die-Die-Die” chants of the song and it was fucking intense.  So much passion for this band, so many still boiling,  this was going to be a memorable set.  

“For Whom the Bell Tolls,” “Ride The Lightning,” and “Fade To Black” were next and it felt like Metallica had a switch to control the masses of people in the palm of their hand.  They sounded heavy as all hell, really it was almost bludgeoning.  Being up in the photo pit, the bass sound was unreal.  New ‘Death Magnetic’ material “Cyanide” and “All Nightmare Long” blended in nicely, being only two of three songs from the years 1992-1997 to be played tonight; it definitely was a greatest hits sort of night.  Not that anyone minded.

A brutal and heavy "Sad But True" from their gargantuan 1991 self titled album was aired alongside Metalli-classics “Welcome Home (Sanitarium),” “Master Of Puppets” and “One.”  All great songs, timeless Metal classics but it was around this time Metallica did what the other bands wouldn’t or couldn’t do.  

Pulling out an ace of spades, they go into “Orion.” For the first time ever in America, they throw down with fucking “Orion!”  The 1986 instrumental was delivered with class with Bassist Robert Trujillo honoring the life, music and spirit of long departed Cliff Burton while guitarists James Hetfield and Kirk Hammett harmonized in perfection.  This was something as a Metallica fan as well as a fan of music I will never forget.

If you’re here you know what all that means to me and it was probably THE song of the entire festival for me.  I remember when Trujillo went into the first bass break everything sort of hit me.  Where I was, whom I was with, what I am, who I am.  Things like - just how fucking fast time flies and it was just a general intense moment for me “alone” in the desert night.  I actually found a star in the sky and was grateful for everything and [almost] everyone that had brought me to this point. 

“Blackened” began the descent of the set for Metallica.  Still brilliant after 23 years, the post apocalyptic ditty reaches new levels of vitality in the festival setting.  The night was highlighted in what is now known as 'The Big 4 Jam' which, if you've seen either the DVD or broadcast from last summer's Sofia, Bulgaria concert you know what that is. The joining of all four bands performing the Diamond Head classic 'Am I Evil?" and I will admit how much cooler this was in person. 

Trust me; don't judge this until you're in the same "room" with this "jam." It was again, something you never thought you’d see in person.  But like I said, seeing it is feeling it. 

One complaint, Joey Belladonna.  Dude STILL doesn’t know the words to “Am I Evil?” What the fuck is wrong with him? 

Metallica then ended the night with the one-two punch of “Hit The Lights” and “Seek And Destroy.”  That was it, 20 some songs later and the first North American “Big 4” show comes to a pyro-tastic finish.  After the show it was off to the bar to see where the night took us.  Meeting up with SF-by-way-of-Chicago friend Marc Paschke is always a good time. 

After a few drinks and general chatter about the day was when I had the strangest “how weird is this” moment.  At one point in the evening it felt as if I had walked into a Metallica book. Throughout the day I had come into contact with several important characters that participated in the bands world domination. 

Umlaut, Vader, Subterfuge and Gibson (Exodus).

From Brian Slagel, to Brian Lew to Mike Alago to Steffan Chirazi to to one of the bands first tech’s, Dave Marrs to former fan club president and Metalli-author K.J. Doughton.  The original Metalli-video guy, THE main source for the ‘Cliff Em All’ footage, Otto from Detroit was there too. Fuck, right?  Earlier in the day I had spoken with Kirk Hammett and Robert Trujillo, just hellos and whatnot, but again, fuck. 

I know I’m forgetting people, but that’s the downside of getting this off my chest so long after. But in closing it was one of the greatest concert experiences I’ve ever had.  That’s say’s a lot and means a lot.  I always wanted to do one of those massive festivals, but was never crazy about being one of the 55,000 all clamoring for the same space.  This was a flawless day, in every regard.

So that’s about it.  It was epic to the truest sense of the word and that’s all I have to say about that.  They say a picture say’s a thousand words?  Well here’s a thousand more. 

Fuck yeah.  

Book Review: Mustaine, A Heavy Metal Memoir

No matter what you may or may not think of Dave Mustaine, one thing’s for sure he’s one highly unique and viciously talented individual with a (tortured) mind all his own. You don’t have to get very far into the recently released and highly anticipated ‘Mustaine: A Heavy Metal Memoir’ to realize he’s always marched to the beat of a different drum. Sure that drum has done little to drown out the multiple voices and personalities, but it’s made for some incredible music and experiences over the last thirty years.

From day one, nothing was ever going to be easy for David Scott Mustaine. We’re talking from day-fucking-one. Is he alone? No, not at all. There are hundreds of thousands of adolescents with less than stellar upbringings that don’t even come close to achieving what Mustaine has in his lifetime and you have to wonder, is that always such a bad thing?

‘Mustaine: A Heavy Metal Memoir’ begins in La Mesa, California in 1961 and takes you on a journey of what it was like for Dave as a child and how his initial upbringing as well as those who played roles both in, as well as out of his life shaped his future. Most of it is (nowadays) somewhat typical, single parent and relatives assisting and bonds formed and subsequently broken as time goes on. This is worth noting as one of the reoccurring themes throughout the book is “so and so once was important to me at this juncture, however we’ve since drifted apart.” But the birth to early teen years for Mustaine were exercises in physical, mental as well spiritual stability that didn’t always work out to his advantage. But as we all know and didn’t need a book to tell us, he’s a survivor, he obviously made it through. 

Mid to late teens Dave Mustaine is all about the “big four,” smoking weed, listening to music, getting laid, and playing guitar. Woven in between these passions was trying to get a band together and more importantly, his idea of what a band should be. A key thing for him in every band or even jam session was the chemistry between members. He makes mention of it countless times and it’s a glimpse of his later headspace. These are some very interesting times chronicled as his developing attitude and ideals starting to flower at this time will later be responsible for his biggest dream as well as his worst nightmare combining into one huge reality. 

Obviously Dave hooking up with Lars Ulrich via an ad in the Recycler is the beginning of a few (of several) really epic chapters. Mustaine takes us through his initial phone call as well as meet up with Lars in the latter’s parent’s Newport Beach, CA. condo. Things move quickly from there but things also start to (very slowly) disintegrate as well. Once in Metallica there are the infamous James Hetfield/Dave Mustaine brawls, the Ron McGovney-ism’s, and just the basic human differences between the guys told from Mustaine’s POV. The pursuit and landing of Cliff Burton and the bond him and Dave shared, really revealing stuff and things I don’t think I’ve ever really read before. Where I mentioned Dave’s ideals, well Lars Ulrich also had his opinions of things like what a band should look like, what a band should sound like etc. So early clashes were bound to happen and they did but one thing’s for sure, and history has proven it, it definitely wasn’t musical differences that landed Dave Mustaine in the Greyhound Station in 1983.

So to back it up a bit, the chapters dealing with the embryonic stages of Metallica up until the fateful New York/New Jersey trip are extremely insightful and very cool to read a different viewpoint. Dave comes across as both extremely honest as well as extremely bitter when it comes to this era in his life, but like I said hearing another side of the oft-told story is definitely an eye opener. Dave fully admits he no idea of what was happening with Metallica when it came to the business of the band. In fact he said one day he woke up to the sound of a U-Haul being backed up to the Metallica Mansion, the same U-Haul that was going to get the band to NY to record ‘Kill Em All,’ yet he had no idea. He also comes clean in saying that is why he became such a control freak when it came to his own band just a few short years later. When he does end up at the bus terminal the images he paints with his words are just grim.

The chapters focusing on the formation of Megadeth are just brilliant! Dave had specific mental blue prints to what a Heavy Metal, no make that, HIS Heavy Metal band should sound like, look like and act like and it was his way or the highway. Reading about the union of Mustaine and David Ellefson at such a critical time in his life reaffirms Mustaine’s quest for the proper band chemistry and what he was looking for since his pre-Metallica days in Panic. He talks a bit about the Kerry King period of Megadeth and how members Chris Poland and Gar Samuelson complete this early vision but in “Junior” he found his partner-in-crime, his co-conspirator, his musical foundation and it was all up from there. 

Well, sort of. The trials and tribulations of Dave Mustaine and his main vehicle of inspiration, Megadeth saw more highs and lows (emphasis on the highs) than just about any other band in history. The lifestyle the band led in its early days definitely made some for some good reading, but the constant struggles, fights, turnover’s, mis-communication and eventual fall-outs seemed to be never ending. What’s amazing is the music created during these tumultuous times still sounds fresh and as current as anything being released today. 

Unbelievably as the years and albums progress, so does the band’s abuse of alcohol and drugs. Mustaine admits to some seventeen stints in rehab and not for a minute does it seem like he’s bullshitting. In fact, as mentioned earlier, he comes across as pretty honest. Some of the honesty actually shocked me as it seems to come from a very sincere place. His handling of the many changes in Mega-personnel as well as the many managers and managerial candidates is definitely enlightening to read here. Gaining access to Dave’s descriptions of the many people who have walked the Megadeth path? These are hilarious, honest, and at times absurd. The fine line he walks between bitterness and fact can sometimes blur quite a bit. He can be harsh as all hell and then turn on a dime to be complimentary. 

As the book evolves throughout the years, it’s interesting to read the way Dave revisits these times and the music created in them. The Howard Stern appearance is just a bizarre moment as are a lot of outside pressures taking some of the blame for lackluster albums and the story behind some of the individual tracks can be give and take affairs. As more time progresses the changes in Dave the person also come through loud and clear. For all the writing he does as Dave the CEO/CFO of Megadeth, Inc. I find the best writing here is from Dave Mustaine the Father. Now Mustaine has probably made 100,000 mistakes in his lifetime, but his words concerning his children and the struggles that face every parent are pretty potent. It’s during these pages you do almost feel for the guy but he’s made it very hard to be sympathetic towards him. 

The story of Dave and Megadeth is definitely one of interest. Exactly how much of it is 100% true? That’s hard to say. The bitterness of the Metallica situation has haunted the guy for so long it’s almost impossible to think it will ever subside. Dave’s spiritual awakening seems to have done wonders for certain things in his life yet does not appear to be strong enough to cure them all. The chip on his shoulder, the one he’s been hauling around for some twenty-seven + years never appears to get lighter, either. It’s a shame the book didn’t get a chance to cover both the return of “Junior” as well as the biggest event of his life. No, the book covered the birth of his children and his marriage, what I’m talking about the moment he’d been waiting for since April of 1983. That was hopefully the closure of the past that will guide him chip free into the future? Or will it? 

In closing, I enjoyed this book. I think it’s a historic piece of Metal history that needed and deserved to be told. There’s some great, and I mean GREAT photography in here that perfectly compliments the story being told. I also think the book should come packaged with more than a grain of salt as some of the stuff is just too out there to be true. I’m not talking about the drug abuse or certain numbers here and there. I’m talking about the way Dave takes multiple pot shots at people who either cannot defend themselves because they’re no longer with us or those who need not bother with it. Some times it’s just eye rolling material, others it’s pointless drivel. That withstanding Dave has accomplished quite a bit here, go forth and read!

Book Review: James Hetfield : The Wolf at Metallica’s Door by Mark Eglinton

“Author Mark Eglinton has complied an exhaustive array of exclusive and first-hand interviews from key players in Hetfield’s story, and in doing so has constructed the definitive biography on Metallica’s frontman.”

When I first heard of this book I couldn’t control myself. I was more than excited to finally share head space in the psyche of one James Alan Hetfield the man who changed my life some 25 years ago when I first heard the ‘Ride the Lightning’ record. Since that time, I myself have become quite the rock-n-roll reader, devouring the printed word in magazine and book form in ridiculous amounts. When I added my own personal opinion I received the ability to hold a conversation about music with some of the best in the business. So with that being said, there’s quite a bit I already know about the man and maybe that’s the problem?

At first glance one might think ‘The Wolf at Metallica’s Door’ is yet another telling of the “you couldn’t dream this stuff up” story of Metallica. Well, it’s not supposed to be, it’s intent as the title describes is a book focusing on James Hetfield. Singer/songwriter/lyricist and co-founder of the 100,000,000 selling act and the impact his life has had on the World and those who occupy it. It’s a brilliant idea and a more worthy subject may or may not exist, but the point being, I couldn’t wait to dig in. 

There have been numerous unauthorized books on Metallica over the years. There’s been some good, some bad and then some that aren’t even worth mentioning. Their existence is the result of the die-hard fan wanting and needing to know more about the subject(s) at hand but due to several factors, wide spread appeal is nearly impossible. Impossible because there are many who, unless the book is written with the artist/band’s consent will always seem unbelievable, fabricated and thus unimportant. 

I know it’s not fair to compare the two, but last year the Metallica world was treated to one of the finest books related to the band in Joel McIver’s ‘To Live Is to Die: The Life and Death of Metallica's Cliff Burton’ which by all accounts is also unauthorized. However to all who have read it, there’s no shadow of doubt the quality exceeds and over powers any such classification. I was hoping for a similar feeling once I ordered Eglinton’s book.

Things get off to a rocky start with the inclusion of a foreword by Testament’s Chuck Billy. Chuck Billy? Of all the people in James’ world to pen a foreword to the “definitive” book on his life it’s Chuck Billy? You’d think the author would get someone who has some actual experience or experiences  (sorry but  seeing Spastik Children or being at a stadium for an impromptu gig doesn't cut it) with Hetfield to kick things off. Chuck’s references are not the kind that set the tone for something as important as this and it comes across rather baffling. 

The book’s best moments are the first few pre-Metallica chapters. There’s some good stuff in there on James’ formative years that aren’t that too widely known and the cast of interviewees from that time are about as helpful as can be. Early Hetfield friends like Dave Marrs and fellow musician Hugh Tanner’s contribution is probably the best in the early part of the book as they take the reader back to the initial rough and raw early days of Hetfield’s future dreams. 

Former bassist Ron McGovney also connects the dots in a few places more clearly than in the published interviews he’s done over the last decade. Often overlooked McGovney’s participation in the foundation of Metallica should never be downplayed. His photos are also a really important inclusion to this book. 

What derails everything is once Metallica starts. Even though the book was supposed to avoid the trap of being a Met biography I’m sorry to say this is pretty much what it is. Instead of telling the story primarily from the Hetfield point of view, which it tries, you get the same old stories and identical time lines you can find in ANY Metallica related book. Sure there might be more of a Hetfield heavy twist to a lot of the material, as well there should be, but at the end of the day it feels as if we’re left with yet another band biography. 

Even worse, the author jumps on his high horse (as we all like to do) to pick apart what HE likes and dislikes about the Metallica catalog. What songs worked, what songs didn’t, what they looked like and the horrors of the rivet-headed fan listening to ‘Load’ for the first time. This was the same thing that, IMO dragged down McIver’s other Metallica book ‘And Justice For All: The Truth about Metallica’ so to say the least, I was really put off by having to go through it again here. 

Part of the problem with unauthorized books is the sources available to speak to you. Anyone really, really in Hetfield’s circle, the ones that truly know him would ever open up, let alone speak to the author. Those people with incredible insight to the man and the way he operates through life cannot chime in to help the story along. This is where the intent of the book and the realities of the project collide. You’ll get a Rex (Down) Brown to offer up anecdotes but without divulging what people really want to know and I understand there’s a reason for that. 

Arizona Metal historian Eric Braverman goes above and beyond, especially with his specialty being the Jason Newsted years but even so, you get the feeling there’s some reservation there and rightly so. People that haven’t spoken to or seen James Hetfield in 20 years? There are a few of them here and their inclusion is important, but their views are purely speculation and if we’re talking “definitive” it’s got to be deeper than that. 

I think what’s really missing from this book is the human element of James Hetfield. While there’s an awful lot of the book that simply reiterates the same things we’re told and shown in the ‘Some Kind of Monster’ film it all just skims the surface of Hetfield. A huge part of the Hetfield story, as we all know is his transformation which was brought on by his rehab stint in 2001. I think it would’ve been beneficial to the reader if the author explored the “hidden” Hetfield. Not just the drinking/non drinking James, but the total turnaround he experienced through his recovery. Anthrax drummer/rock star Charlie Benante comes pretty close to revealing this side but again, he knows better than to say too much.

While it’s touched upon in some of the Newsted/Hetfield conflicts, they’re addressed as control issues with James. Again, something clearly discussed in the ‘S.K.O.M.’ film. The control issues are a major part of the story, but his attitude and demeanor throughout the years isn’t even approached. Let’s face it, for a good number of years James Hetfield was a drunk dick. There are plenty of stories of physical and emotional abuse at the hands of Hetfield yet at over 200 pages he comes across as almost saintly. 

I just think had some of this been covered the real core of James Hetfield would surface and ‘The Wolf at Metallica’s Door’ would’ve been a better book because of it. I know controlling people and situations totally make someone a dick, but the strength at which he operated raised the stakes a whole hell of a lot. The modern day Hetfield seems to walk the Earth as a balanced force. A dedicated family man, a dedicated band mate and a dedicated student of life and those in his inner circle regardless of their assets, are far richer because of it. 

Bottom line, while not a complete loss ‘The Wolf at Metallica’s Door’ is far from definitive but can be a wealth of information to some or just another book on the world’s biggest Heavy Metal band for others. That choice, as always is up to you.

Paul Baloff, Rage In Peace Feb 2, 2002

9 years gone...
Just a remembrance of original Exodus vokillist Paul Baloff who passed away on this day back in 2002.

Here's an interview with Paul from 1997. This was on the Midwest Metal site for a while, so it has the 2001 notes as well.

2001 Notes: I remember setting this interview up, I'm not too sure if I was supposed to speak to Baloff originally, but when the phone rang it was Rick Hunolt. God, what a disaster dude was a total mess and the interview just sucked. So I called Marco who I believe was still doing publicity stuff, told him that Rick was a shitty interview and what else can we do.

A few minutes later the phone rang again, this time it was the man himself, Paul Baloff. This interview is short and to the point and was cool to do and an honor to have Baloff in Midwest Metal. While their reunion didn't last long at all, it was worth it to have gotten the 'Another Lesson In Violence' album.


When the original line up of Exodus split with Vocalist Paul Baloff many felt it was the end of an era, the end of a special time for Metal. Now some twelve years later he has returned with the terror twin axe team of Holt/Hunolt, Drummer Tom Hunting a new bassist and a new live album.

Midwest Metal: What have you been up to for the past few years?

Paul Baloff: Well for a few years I had my band Piranha, we had a demo tape produced by James Hetfield and I pretty much beat that dead horse into the ground. I then played in Heathen and then after that I wanted to take a break from music altogether. I went to Carmel, CA. and I turned into a surf bum, and that lasted a while, but at one point I figured I had about seven years of wildness left in me so I decided to give Gary (Holt-G) a call to see what was up.

So I called him and he said he was doing an Exodus project and that I should move up right away, so I was like "Seven more years of wildness? Might as well be with Exodus!"

So you move to the Bay Area and how was it at first?

At first it was kind of weird but now it's even more insane than it was before. These guys may be a little bit older but they're just as insane as ever. Especially when they're away from their steadies.

You had a reputation like few others, both on stage and off, what I want to know was it all true? I mean anyone who say's they want to see a dead poser, that's classic!

It all depends on how much you've heard! But I suppose a good 90% of it was true, we've played in pools of blood on stage, we've cut ourselves open during "Bonded By Blood" in clubs before. The "dead poser" stuff was true, dead people in the streets but like I said, it all depends on how much you've heard (laughs)!

What was the first tune you guys jammed on when you regrouped?

Ummm, I don't know (laughs), I guess "Exodus" or "Bonded By Blood" maybe it was "Deliver Us To Evil" something heavy like that.

Let's talk about the new live album, 'Another Lesson In Violence'. The record is so clear yet brutal, how long did you have to soundcheck?

Oh a million years or so (laughs)! There were people in vans, mobile units and everyone communicated by walkie-talkies and if there was a sound problem it was hell. But the performance part was killer we were and are so into it it's not even funny, the tour is gonna crush!

You just returned from Europe where you played the Dynamo Festival, how'd that go?

Killer. It was the most people I've ever played before in my life, I usually never look at the crowd before we go on, there I peeked out like, two minutes before we went on and I freaked. For the first time in my life I freaked before a show but it was cool.

How's Jack fitting in? Was he all nervous in Europe, this being his first tour and all?

Jack rules. He rages, he's a chick magnet and he simply rules. He's the only guy on stage that doesn't move one million miles an hour, he just sort of stomps around in his little circle, Jack rules.

I know there's been talk of a new album for Exodus, what's the new stuff sound like?

Sort of like a 1990's 'Bonded By Blood' with, what I call, "Jungle Thrash" kind of stuff. I call it that because I don't know how to describe it, we've got some killer rhythms and stuff, all I know is it's heavy.

What are you looking to accomplish on the US tour? Is it a re-introduction, of sorts?

Just playing the best we can every night. I just saw a schedule of our dates and it say's we play twenty-six shows in a row, I hope someone told my voice that! And even though that's a lot of shows in a row, we'd like to get a grip on the scene you know, be at the point where we get to call our own shots I mean I don't even know if we'll be on the same record label next year. Who knows? We just want to be the heaviest we can be.

After you left Exodus, when the band continued on with Zetro what did you think of them?

I was really busy with my Piranha thing, and one of our goals was to try and catch Exodus, at one point I even had a song called "Crush Exo-Metal" (laughs). It's all kind of silly now, but it was heavier than they were!