All language subtitles for Murder In The Front Row - The San Francisco Bay Area Thrash Metal Story (2019).eng

[people chanting]

[Brian Posehn] The early 1980s.

[male voice 1] 12 million people
are unemployed in our country,

1.3 million of them in California,

more than 150,000 fight here
in the Bay Area,

like this self-styled Reaganville
near the railroad tracks in Berkeley.

[male voice 2] Those are the conditions
for tough times and real struggle.

[Ronald Reagan] I regret to say...

that we're in the worst economic mess
since the Great Depression.

[music playing]

[Brian Posehn]
The San Francisco Bay Area,

located on the Western edge
of the continental United States,

has a long history of supporting
new music and free expression,

from jazz experimentation,

in beat poetry, to rock and roll.

By 1980,
with the American economy in recession,

a new group of teenagers came of age,

and they wanted a new music.

Something faster, something heavier,

something that mirrored their own lives
and not the previous generations.

From far away Europe, heavy metal sounds
were slowly rippling westward,

carried by word of mouth,

a few rare, imported records,

some bootleg cassette tapes,

and music magazines.

But California was too far away
for most of these bands to tour here.

So the young music fans
of the Bay Area did what we do best.

We didn't wait for the music we wanted.

We created our own.

[interviewer] Are we rolling?

Right, I just want to say one thing first:

Posers must die!

[male voice] We were out of our minds.
We were kind of crazy.

We were just kids.

Kids run amok.

[male voice 2]
It was scary, and it was dark.

[Alex Skolnick]
It's this outlet for angst.

I'm Alex Skolnick,

born and raised in Berkeley, California.

Hey, I'm James Hetfield from Metallica.

This is the music you don't want
your parents to hear.

Gary Holt.

David Ellefson, bassist for Megadeth.

I don't need to say my name.
Everybody watching this knows who I am.

[chuckles]

We were doing it for chicks and beer,
and I didn't drink.

My name's Chuck Billy.
I grew up in Dublin, California.

[Mark Osegueda]
And the pits were violent as hell.

Mark Osegueda
from the San Francisco Bay Area.

Phil Demmel from Dublin, California.

The volume, the craziness, was epic.

Wow, we've got to do more of this.

Robb Flynn, Oakland, California.

My name's Rick Hunolt.
I played guitar for Exodus.

People have passion for the metal.

There's no distinction between
the bands and the fans.

We called it The Land Of Misfit Toys.

People in our scene, we felt invincible.

It was about survival. It was like... Aah!

[male voice] Exodus had
the destruction recipe. [laughs]

If Exodus was playing, we were there.

[whispers] That's Paul Baloff.

Kirk came up with a name,
and we were just like-- wow.

What was the question again?

My name is Lars Ulrich,
and I'm from Denmark.

- Tom Araya.
- [Phil Demmel] Fucking Slayer.

[Tom Araya]
Singer and bass player for Slayer.

[male voice] I got goosebumps talking
about it right now, man.

My name is Paul Bostaph.

Larry Lalonde, El Sereno, California.

Charlie Benante,
and I'm from the Bronx, New York.

Dave Lombardo, South East, L.A.

There was an aura
of watching history happen.

East Bay guys. They played before us,
and that was kind of a mistake.

I am Robert Trujillo.
I'm from Santa Monica, California.

There goes that guy
who was in Metallica. What's he up to?

It wasn't as exciting as
you thought it would be, was it?

♪ Murder in the front row ♪

♪ Bang your head against the stage I

♪ And metal takes its price ♪

♪ Bonded by blood ♪

[Kirk Hammett] We were far away
from the city. We were isolated.

There was nothing to do.

All we had was music, you know?

It was a pilgrimage, you know.

We would mow a few lawns,
save a few bucks,

take the Alameda across the county--
bus transit-

to the BART station,
take BART in Berkeley,

and walk up to Telegraph.

It's the-- Uh--
W-we went to all the hard rock stuff,

you know, Aerosmith, Deep Purple,
Black Sabbath,

Led Zeppelin, Thin Lizzy.

Anything and everything that was around
that had an edge,

that was loud and energetic,

I just went to.

Kirk was the first guy
to ever play me, like,

Uli Roth-era Scorpions,

and that was the first day
we ever hung out.

And that was when we metal his house
in go see Ted Nugent and the Scorpions.

But there was other stuff coming out
of England and Germany

that nobody was really was partial to
on a large scale,

other than the kids that I knew.

The kids of my age, uh,
were listening to disco.

They were listening in pop,

and I just wasn't really
interested in that.

We all went to the same record stores.
There was very few.

There was something
that I just wasn't getting enough of

until I heard this one band called UFO.

And they had the heaviness.
They had the intensity.

They had the energy.

They had the musicianship.

They had a guitar player
that was sent from heaven

named Michael Schenker.

Me and John Marshall
became obsessed with UFO.

[guitar solo playing]

I was hanging out up in Berkeley
in April or May of 1980,

and I was walking along
Telegraph Avenue.

[Harald Oimen] You'd see him down
on Telegraph and Berkeley all the time.

[Lars Ulrich] As I was walking,
I heard a Motorhead song.

[Harald Oimen] You could hear him coming
from a block or two away, you know?

A total character.

[Lars Ulrich] There was this
crazy skinny, tall dude.

[Erik Lennon] Denim vest on, long hair,

big Thin Lizzy Chinatown patch
on his back,

and he was playing Motorhead
on his boombox.

You know, up--up on his shoulder.

This is back in the day when you'd carry
a big boombox

that needed, like, D cells,
like, ten of them.

He had this boombox about this big
on his shoulder, and he would just be--

[Lars Ulrich] Blasting Motorhead,

and that was Rich Burch.

This shit was so loud
it was like a Memorex commercial.

Whoa, who's that guy?

That seems like somebody we should know.

[Lars Ulrich] Very quickly I got invited
to hang out with some of his crew

and ended up in a place

in the Golden Gate Park
called Strawberry Hill,

where I met Ron Quintana,

Ian Kellen.

It was the beginning of getting to know
that crew of people that were all

the Iron Maiden/Motorhead/Saxon/
Diamond Head/Merciful Fate fanatics.

By 1980, music sucked.

Being a kid in San Francisco,

radio was going downhill disco.

And so, radio stations were really bad.

And luckily there was KUSF,
which could play harder punk stuff.

So that's where you'd first hear UFO
maybe once in a while.

And at high school I ran into a friend,

and he said, "You've got to go to
this store called the Record Vault.

It's amazing."

I got on the bus.
I headed up, walked in,

and it was like walking into Mecca.

It was dark. It was cool.

There was Motorhead playing,

and all over the walls
was everything that I was into.

We'd find all this great,
imported metal, you know?

Budgie, and Venom, and Diamond Head,
and Sweet Savage demos.

All this stuff that we really loved
that you weren't going to find at,

like, you know, Tower Records.

Back then you'd be hanging out
in the record store [or two, three hours.

You only have $20 bucks in your pocket,

so you were trying to figure out
which two records to buy.

You know, it took a while.

It was the place everybody came
to find out things.

It was the place everybody came
to buy their new release,

to get their copy of
Metal Mania, Ardschok, Kerrang!, whatever.

And it was awesome.

It was an amazing experience
just to go there

and-and see all these like minded people
that were there, too,

shopping for the same stuff,
and they're all wearing vests,

and back patches, and into metal
and into all this underground stuff.

The record stores would have
the albums set up on the wall

and on a little shelf,
so you could see the cover,

and there was the first
Iron Maiden album cover with Eddie on it.

You know, it was, like-
Oh, shit, look at that!

Down in Southern California,

my place was called Middle Earth-
Middle Earth Records.

And, you know, you'd have to go in
and order the record.

There was such an anticipation
around getting it.

All the different bands, you know,

all these different,
unique sounds and styles,

and we were just-

we just dove head first into it.

I gravitated towards these metal bands
because they were an escape.

You listen to an Iron Maiden song,
and they're talking about

a fantasy, that was no different,
in my head, to a Stephen King novel.

Yes, there were murders.
Yes, there were Satanic things.

It was fantasy.

It didn't make me want to go out
and slaughter babies or anything.

It was an escape
from my suburban, teenage life.

This is a-- just a drawing of Eddie.

I was a huge Iron Maiden fan,

and obviously I should've been paying
more attention in geometry.

I got a 27 out of 52.

[Brian Posehn] The compact cassette tape
came of age in the 1970s.

Inexpensive and easy to record,

tape-traders quickly adopted it
as a means of spreading the newest sounds.

In the pages of Kerrang!,
they would have pen pal ads.

Kerrang! would run them [or free.
That's what started everything.

That's how I found out about
Brian Lew and KJ Doughton.

KJ had a ton of Maiden,
and so did Brian.

So that was cool.

That was another big staple
of the movement.

Everyone had their demo and bootleg list,

and they'd ask [or the other person's list
and trade tapes.

Back then it was snail mail, and tapes,
and stamps, and handwritten letters.

All of a sudden I was getting letters
from people in Germany, Holland, France,

England, New York, Chicago.

It just opened up this whole worldview.

I had been now trading
with so many people, getting tapes

and fanzines from England, mainly.

This list kept growing from two,
three, four, five, six pages.

And then I realized--
Well, I want to do a fanzine,

and I started in add pictures in July.

And it became Metal Mania
by August of 1981.

When I first met Ron,
he made me a compilation tape.

I mean, it was the thing to do.

It was part of the conversation back then
in the early '80s.

The thing that maybe has become
the misconception over the years about

the tape-trading network is
we weren't dubbing albums.

We were dubbing live bootlegs.

You know, at that time
part of being a music fan

is you wanted to own the record.

You wanted to own
the seven-inch single,

because it made you feel part
of something bigger.

In high school,
they had a guitar class,

and it was literally 30 people
learning how to play guitar.

And in that class was Mark Biederman,

who was eventually
in Blind Illusion, and Kirk.

Before Gary was in the band, you know,
when it was just Kirk and them, uh...

they would-- they sometimes rehearsed
at our rehearsal space, you know?

And Kirk and I
were in Mr. Bee's class together,

the guitar class.

We were kind of just-- mostly just, like,
learning our instruments.

And, you know, Kirk turned me
on to so many different kinds of music.

Like, I had never heard
UFO or the Scorpions.

All we had was music, you know?

And then when we got into the music,
all we had were each other.

And you know, we wanted to take it
to the next level, so we got instruments.

And I think that
the anger of being in a place

that just didn't have enough
in offer, you know,

the frustration of being bored.

I think a lot of that got channeled
into our instruments.

♪ I'm gonna be a rock n roll star ♪

♪ I got a girl from that day ♪

[Brian Posehn] In Los Angeles,
a new heavy metal was beginning to rise.

In December of 1980,
a friend of mine and I--

Who were the only two people, by the way,

at the time who knew anything about
the New Wave of British Heavy Metal,

went to see Michael Schenker Group

play at a place called
the Country Club in Reseda.

After the show, my Mend John
was in the parking lot,

and he saw some kid
wearing a Saxon European T-shirt.

Now, in 1980 nobody knew
who Saxon was in L.A.,

let alone had a European T-shirt.

And that of course
was a kid named Lars Ulrich.

Fast-forward to when
James and I had the band.

One thing led in another,
and we started playing in L.A.

A year-and-a-half or so later,

we got the idea to do a compilation album.

Lars called me up one day and said,
"II I put together a band,

can I be on your album?"
I'm like, of course. Absolutely.

So Lars and me are always talking
about doing a magazine.

"We need a store, man.
Let's just start a club and hang out "

And Lars, in his way,
you know, he was, like,

"Oh, that's cool.
That's a good idea, man."

He showed me a list
of his future band or club names.

So he had, like, generic, hot-rod-y
American car names:

Thunderbolt, [chuckles]

Metal Mania, Metallica.
He had a huge list of names.

That ended up being some band
that sleds with an " ".

I think it was Metallica,

that we misspelled on the very first
[chuckles] version of the record.

Lars always was able
in make things happen.

Somehow he landed them
a gig opening for Saxon.

James didn't play guitar.
He just sang.

And Dave Mustaine played guitar.

Their set consisted of "Hit the Lights,

"Blitzkrieg" by Blitzkrieg,
and about five Diamond Head covers.

And that was pretty much it.

The selection of the cover songs
we did I think

was a little bit more, uh, involved,

because we all kind of had a say
in what bands we liked.

When Metal Mania 5 me out

fight after Metallica
played their very first shows ever.

So, Lars helped write an article
about his show

and this great new band, Metallica.

He wrote this little article,

uh, about L.A. heavy metal

and young metal attack Metallica,

and this is the very first article ever,
uh, oi Metallica,

and of course it was written
by Lars. [chuckles]

But they never really quite fit in
with the L.A. crowd.

We got gigs when we could,
as many as we could.

And, you know,
we got kicked out of a few clubs

because they thought we were
a punk rock band.

With Bf tan Slagel's help,

we were able to go up
in the San Francisco area

with a few other L.A. bands.

Man, it was on.

Man, it was on.

[heavy metal song playing]

[Sven Soderlund] When they came up
in San Francisco,

and they saw the energy
that was involved,

they just wanted to be in that element.

And it helped them tremendously,
and it helped us grow as a scene

in San Francisco
and the Bay Area, as well.

A lot of bands me out of the East Bay.

A lot of musicians came out
of the East Bay.

The East Bay is a fucked up place.

In the '70s and early 80s,
it had high unemployment,

high crime rate,

and it was a boring place.

My mom worked a lot,

so, like, in the daytime I had a lot of--
a lot of free time to myself

in just jam out at home.

We were ghetto kids, you know!
We-we stole shit, you know?

Like, there's the time
the Wagon Wheel liquor store

in Pinole burned down, right?

You know, most people stay away
from, like, burnt out buildings.

Not Exodus.
We crawled through the wreckage,

because there was dozens and dozens
of bottles of alcohol in there.

I actually met Gary shoplifting
when we were going to junior high school.

We had nothing given in us.

We stole some of our first equipment.

Gary was a friend of mine from Richmond,

and he was kind of, like, helping us out
with gear and stuff like that.

And then Kirk gave him
a guitar lesson, and...

[imitates explosion] Wow.

Taught me how to play guitar, you know?
I hold a pick the way I do,

I fret a bar chord the way I do.

We do it exactly the same,
because he showed me.

Here's how you hold a pick.

So, all right,
I'll hold a pick like that, then.

It was Kirk saying,
yeah, I want to jam with people

finding guys that played,
and making it happen.

I remember walking into this party,
not knowing anyone,

seeing this one short guy

with hair that was just
like mushroom-shaped,

super long, and he was talking like this
and, like, you know, was cracking jokes,

and some of it was pretty funny, you know.

And he started talking about music.

He's like, "Oh, yeah, Judas Priest.

So heavy, so heavy.
Oh, Maiden is so heavy, so heavy."

And I said in him,
"Hey, bro, you know UFO?"

He goes, "Rock bottom, Rock bottom

And starts singing "Rock Bottom" to me.

♪ Seventeen and nature's queen I

I looked at him and said,

"You're going to be the singer
of our new band, Exodus."

He's like, "OK”.

Then from that minute on
we were inseparable.

His name was
Pablo Nikolaivich Paulakersokoff.

It means son of Nicholas in Russian.
He was a blue blood Russian.

He was a little tiny guy,
very aggressive.

A strong, thick, 100-percent Russian man.

Paul was Paul, take it or leave it.

I mean, he had so much charisma

and so much energy
that you just wanted to be around him.

He couldn't sing that well,
but he could sing good enough.

♪ Slicing jaws, a way of life
Brought up to waste mankind ♪

♪ Loki's pets his little children
Deadly every time ♪

That's where the line-up
really came together,

you know, it's when
we found the band's voice, you know.

Baloff wasn't a singer when we met him.
He was just a headbanger like us.

When Exodus played,
they just got the crowd completely insane.

[Ron Quintana over radio]

[thrash metal song playing]

Paul's first show was
at the Ducal Palace in Alameda,

which is some little hall pizza joint
kind of place, you know?

And I remember, like,
I knew he was the right guy for the job

because it was one of those places

that's got a stage
that's about a foot high.

And next thing you know,
he's over on top of the tables,

and he's just rocking them
fiercely like that,

trying to break them.
It was just- It was just fucking awesome.

He checked everyone's attitude

and made sure that
if you're hanging out with us,

you're into the music,
you knew the music,

and you weren't an F'in' poser.

[thrash metal song playing]

[Brian Slagel] I was friends
with all the people in San Francisco.

There was a really great
scene going on up there,

so I was able to put together
a Metal Massacre show

at the Stone in San Francisco,
which was one of the big--big clubs there.

So it was going to be
three bands from L.A.

and I called up Lars and said,
"Hey, one of the bands dropped out.

We have this gig up in San Francisco.
You guys want to do it?"

Uh... We weren't one
of the three bigger bands.

We weren't even first
on the agenda there,

but we got invited when somebody canceled.

[James Hetfield] So we hopped in
Ron McGovney's pickup truck with our gear,

and off we went
with a trailer in the back.

[Dave Mustaine] Some of you might
even heard our Demo Tape.

[crowd cheering]

[Sven Soderlund] There were only
a handful of people there.

I know a lot of people
claimed to have been there.

I was actually given this shirt by their
original bass player, Ron McGovney.

[Brian Slagel] And that was
the most amazing evening I ever saw,

because in L.A. they were outcast.
Nobody knew.

And we went up to San Francisco,
and that place went crazy.

[Brian Posehn] In September 1982,

Metallica played their first show
in San Francisco.

The reaction was immediate and explosive.

My mom didn't let me go.

[Ron Quintana] Dave had this charisma
that just took over the band,

and when Metallica played,

I thought he was going
in be, like, the next superstar,

I mean, 'cause he was
so crazy on stage, and funny.

Who the fuck's the frontman,
you or him?

And I liked it 'cause,
you know, I've got a big mouth.

[chuckles] I like to talk.

Some of those people that I had befriended
for the previous year or two came,

and you felt there was, like, a scene,

a sort of a collection of people
that were really fans of the music,

which was a really different thing than
what was happening in L.A. at the time.

So it was a very, uh, surreal,
transformative experience for us.

[Brian Lew] We were all teenagers.
They were in a band onstage.

We were teenagers in the crowd.

And at the time,
Metallica were doing Diamond Head covers,

you know, one of those bands
we didn't think anybody else knew about.

And when they launched into "The Prince,"

that's where the bond with that band
and the Bay Area happened.

If you know that band, you're a brother.

That was the switch.

Yeah, I remember that first show,

seeing fans that didn't care
what they looked like.

I mean, they had cutoff denim and stuff.

They-- They didn’t care.

And they were at the front of the siege,

headbanging,
because the music did that for them.

They weren't gathered around
the bar scene or anything.

They were there for the music.

I think we had a much different
relationship with our fans,

because, you know,
we were salt of the earth.

Metallica came up to the Bay Area
to play the Old Waldorf,

and I remember watching them thinking--
Fucking pretty cool.

Then Laaz Rockit came on and played
for, like, literally, like, 25 people,

and that said a lot to me.

It said a lot to Baloff.
It said to everyone in Exodus.

We were like, OK.

All right, we know what's-- what's
working here, and we know what's not.

Yeah, so Metallica,
I first got hip to them through the demo.

So shortly after that,
the band I was playing with at the time,

Laaz Rockit,
we were playing a show together.

They were playing before us.
Mistake.

Something about Metallica.
They had that special--

That--that still-- that kick,

and- you know!

They got that extra boost of adrenaline

that I think made everyone
step up their game.

Everyone.

And then we played a show the next day,
and-and it was a benefit [or Metal Mania.

It was kind of a hodgepodge thing
that was put together in 24 hours.

They needed to find bands.

They had got Metallica.

They asked us to open.
We said, sure, we'll open the show.

This is at the Mabuhay Gardens.

We played our show.

Then Metallica came on,
and they played.

And they were just fantastic.

And that's when I first met James,
and that's when I first met Lars.

You know, it's funny because it was
a window into things to come in my future,

because as I was talking to Lars,

he got undressed
and changed right in front of me.

And I was like,
"Wow, why is this guy doing that "

And then I realized-- Oh, this is what,
I guess, what European people do.

[chuckles] Because...

You know, I lived in the East Bay.

All I had to contend with was
rednecks everywhere, you know?

[Brian Posehn]
Metallica's legendary demo cassette,

No Life Til Leather,
was recorded in the summer of 1982.

It immediately became a staple
of the tape-trading underground

and established the band
as a force to be reckoned with.

[Lars Ulrich] First we did
a four-song demo called "Power Metal,"

and then the infamous
No Life Til Leather tape

came a couple months after.

I just started sending it
in all the same people

that I'd been trading some of this other
underground metal stuff with,

like the KJ Doughtons of the world.

Oh my, God, this is tape is amazing.

It just crushes. It's unbelievable,
they've come so far.

And I sent Brian the first Metallica demo,

and I think that's
the first taste he got of it.

And I think that's
the first taste he got of it.

[Toni Isabella] While working at the club,

one of my coworkers had started
to do a Monday night event

called Metal Monday,

and these bands that later
became thrash were presented.

And it was clear this was a new direction.

[Craig Behrhorst]
Attendance on a Tuesday morning

in any of the high schools
across the Bay Area

was pretty poor.

I can attest to that,

because a lot of us
were still in high school.

[Harald Oimen] The Bay Area people
were so loyal to the band

that if they didn't like the band,

they would actually
tum their backs on the--

On the band while they were playing.

[male voice] There was a band
called Hans Naughty.

And they were based in San Francisco

but with very much a Los Angeles
Sunset Strip aesthetic,

and they were on the bill with Metallica.

[James Hetfield] There were fans that had,
you know, patches of

obviously their favorite bands on
and what not,

and they would show how much they liked
the band or didn't like the band.

We might've flipped them off
a couple times, and that got boring. So...

[James Hatfield]
They just quietly turned,

and that was
[laughs] I guess silent protest.

They got across that--

Hey, you're not a favorite band,
and we're waiting for this one,

the one that's on my back patch.

[Ray Burton] Cliff came to us and said,
"I'd like to learn to play bass guitar."

Jan and I said, yeah, so we got him
a cheap guitar and a cheap amplifier,

and started giving him lessons.

And, uh, from then on.

You know, it was all Cliff.

[Kirk Hammett] I knew about Cliff Burton
from his previous band, Trauma,

because Baloff knew about Trauma.
Baloff had seen Trauma and said,

"Oh, you got to see this band.

They've got a killer bass player
and a killer guitar player."

He said to me one day,
He goes, "Hey, let's--

You want in go to San Francisco
in see a show at the- at the Stone

'What's going on?" He goes,
"Well, let's see this band Metallica."

Maybe a couple months letter,
I was talking to Lars.

He said, "Do you know any good
bass players out there?"

I said, "Well, there's this band
from San Francisco

with this amazing bass player
named Cliff Burton.

I saw him at the Troubadour a while ago,
coming down and playing again.

You guys should come

So Lars was like, "OK, cool."
The show happens.

Lars and James were there.

And I didn't know how far into the set,
but it was pretty early-

maybe the second or third song--
Lars goes to me,

"That-that's going to
be our bass player."

[James Hetfield]
Cliff represented the Bay Area.

He represented a freedom.

He (represented a-a-a Weakness

that I didn't know
so much growing up in L.A.

I went and saw Cliff play
with Trauma at the Keystone Berkeley,

and it was no secret that the band knew

that Cliff was about
in be poached from them.

That's where Cliff belonged,
was in Metallica.

[Ray Burton] Cliff would be talking
to somebody on the phone.

And just talk, talk, talk, talk, talk.

And this went on for,

oh, golly, I'd swear a month.

And so finally I said in Jan,

"Who's Cliff talking to
on the phone so much "

And she said, "Well, there's a band
from Los Angeles

that wants him to-lo join them

And, uh, and Clifford said,

"No, I--I'm not going to go down to L.A.,"
I said-- He said, "I told them,"

"If you guys want me to join your band,
you can come up to the Bay Area."

And by golly, here they did. [chuckles]

-Then one day...
-[phone ringing]

Baloff called me up and said,

"That guy Cliff Burton, bass player
for Trauma, is in Metallica now!"

And I said, "No fucking way."

[thrash metal song playing]

And then I saw them at the Stone,

you know, Cliff's first gig at the Stone.
And I—I was just like--

["Seek and Destroy" playing]

[guitar solo playing]

It was kind of like looking in a minor.
Here's another band playing, like,

kind of what we are, you know,
their own stamp on it.

But, you know,

I remember I-- just hanging out
and getting hammered that night,

and we just all kind of
said the same thing. It's like--

We kind of found our kindred
spirit, you know?

[James Hetfield]
There was a lot of integrity

in the metal scene in San Francisco.

And, you know,
besides going up on the hill by the park

and just blasting
whatever music we were loving,

booze and music, you know!

That was our collective.
That's where we got to know each other

and really feel like we had a family.

[Lars Ulrich] Cliff is the one
that brought us to the Bay Area.

If you want me in the band,
you got to come up here.

[Brian Posehn] On December 28th, 1982,

Cliff Burton was invited to play
in a small house in El Cerrito

that would later come to be known
as the Metallica Mansion.

Part audition, part rehearsal,
only a lucky few were there.

No audio exists,
but fortunately for history

Brian Lew brought his camera
and photographed the new band lineup.

[Brian Lew] At some point Lars
probably called me and said,

"You know, we're going
in be playing with our new bassist."

Ron Quintana was there.
Rich Burch was there.

Ian Callin,
who did Metal Mania with Ron, was there.

There was a group
of maybe five or six of us.

There's this little room in El Cerrito,
and that was the living room

where Metallica played
with Cliff for the first time.

[male voice] And that was it.

Jamming with Cliff for the first time
in the-- in the living room there,

hearing "Seek and Destroy",
and all of a sudden he's doing some stuff.

It's like-- Oh, my, God,
this is going to be awesome.

It sort of catapulted
Metallica to another level.

[Brian Posehn] In early 1983,

Metallica moved from Los Angeles
to the Bay Area.

A very shod window of time
with Mustaine in the band

and Cliff in the band,

and rehearsing and a few really
great shows in the Bay Area.

[Dave Mustaine]
That was one of the things

that you could tell
when we played together.

When the lights are off
and the guitars are roaring,

there's a respect

Just the whole area, being up there,

getting Cliff on board,
it felt like home.

And then it came time for us
in play the show at the Stone.

We went on, and we had a great show.
The place was packed.

And then Metallica came on,

and it was the first time
that I'd actually been able

in watch the whole show.

As I'm watching them, I thought,

"These guys are fucking great.
They'd be so much better with me."

[Brian Posehn] In the New York area,

Anthrax was proudly flying
the flag of the new heavy metal.

[Charlie Benante] I think we felt
kind of out of it

because we were the only band
on the East Coast

that wanted to do something like this.

And we thought it was so cool
that in the Bay Area,

there was this kind of club
of these type of bands

that were gigging around
and just making music.

And I remember Exodus being
one of the first bands,

beside Metallica,
that I thought were fucking great.

I just started getting the tape out there,

and then, um, we started getting
you know, some good response.

And, you now, eventually this tape
ended up in the hands of Johnny Z.

Around that time we were
meeting with Johnny Z in New Jersey,

giving him demos.

He was bringing the band
from San Francisco in come over.

[male voice] Johnny Z, he came down
to the house with a demo tape,

which was No Life 'Fl Leather.

We were blown away.

Metallica was always ahead of us
and the other bands, you know!

They were always six months
in a year ahead of us.

They came out with Kill 'Em All before
any other band had their records out.

I think Kill 'Em All really set the lone
for what was gonna come.

[Brian Posehn] In April 1983,

Dave Mustaine was let go from Metallica
and replaced by Kirk Hammett.

We had obviously started
hanging out with Exodus,

and Kirk was definitely
very musically gifted.

And he was also very
up for whatever was going on.

Yeah, Kirk and I were at this party.

He's like, "Hey, man, come here.
Mark Whitaker just called me.

They want me to audition [or Metallica."

You know, it's like
a passing of the torch, you know?

Like, Kirk giving me the keys
in the family car, you know, and saying,

"Here, it's yours now. Don't blow it up

[chuckles]

As far as the music was concerned,

Exodus' music was similar as to what
Metallica was doing already.

I had the chops to be able in play
all that stuff on Kill 'Em All,

no problem.
That was the least of my worries,

because even then I knew
that when you go into a band,

there's a certain dynamic.

And if your personality doesn't work
within that-that band dynamic,

it just won't work.

You won't go anywhere.

[Brian Posehn]
A group of die-hard New Jersey metal fans

known as the Old Bridge Militia
took Metallica into their home,

the Funhouse.

It's pretty amazing that
the house got a nickname,

which was the Funhouse because
of all the things that we did down there.

The place was all about fun,
because what did you do there?

-You had dirt bikes happening.
-Oh, yeah, there was-

You had canoe rides [overlapping]
hooked to a chain.

We were welcomed to quite a few places
that maybe shouldn't have. [laughs]

-The Funhouse--
-Not much to pick from.

-They didn't have much. Yeah. Yeah.
-A house with no heat, sometimes.

[James Hetfield] You know, they
supplied us with the things we needed.

[chuckles]

You know, everybody knew that
we would have these crazy parties

with the music going crazy.

The sound system was... I believe
it was like a four-channel Onkyo.

Yeah, I had the SAE,
but we bought a regular--

-Rack system.
-Yeah, a whole rack system.

Yeah, we just didn't
have the regular speakers.

We had--
I guess they were monitors, right?

Two 12s, two 14s-- whatever.
It went up to the ceiling of the house.

Run a demo,
and then you're in your bedroom.

You know, It was like,
wow, this is pretty wild.

You know, It was like,
wow, this is pretty wild.

[Bf tan Posehn]
Meanwhile back in the East Bay,

Exodus quickly took hold
as the Bay Area's go-to heavy metal band.

Ruthie's Inn became home
to the burgeoning scene.

[crowd chanting "Exodus

[Gary Holt] Looks like someone's
trying in make

a respectable location out of this place.

-Let's open it back up, Ruthie's Inn.
-[Gary Holt chuckles]

Last time I was down here,
it still had the marquee,

and you could still see
Ruthie's Inn on it.

This place was as much the epicenter
of the Bay Area thrash scene

as CBGBs was to the New York punk scene.

I mean, there were so many clubs
prior to Ruthie's,

but this is where the Vio-lence took off.

This is where "Murder in the Front Row'
really did lake place.

[Durell Robinson-Ali]
My father was Wes Robinson,

born in Port Arthur, Texas.

Came out to the East Bay about 1933.

He grew up in a household
that was full of music,

and they were hardcore jazz aficionados.

They would sneak out late at night
to go see Ella Fitzgerald or the classics.

A lot of the greats.
That started his love of music.

It wasn't so much that he had a club,

but rather that
he would foster relationships

that allowed him to use--
use different venues for performances.

He was a promoter,
and that was the beginning.

And Wes Robinson, you know,
the late, great Wes Robinson, you know,

booked Exodus at the first ever show
at Ruthie's, a blues club.

[Durell Robinson-Ali]
His joy for something

always led his actions
into getting involved with ii.

He never got involved with something

just because he might be able
to make some money at it.

He saw something in it.
I'm--I'm not sure what-what he saw.

Maybe he recognized from when--when
he was a musician, being younger.

Obviously much different music,

but I think he saw some
of that same energy.

So he really helped nurture the scene.

There were battles along the way.
There were battles from the neighborhood.

Um, you know, there was a-

um, there was a parking lot
across from Ruthie's that is- Still--

The business is still there.
Big 0 Tires.

People would throw up in there,
in that parking lot,

and, like, break bottles.

After a while I was, like--
These people never complain.

They never call the cops.
They never do anything.

After thinking about it, I'm like--
Well, they do sell tires there, so.

We would party right across
the street at the Big 0 parking lot.

Someone would roll up in their Chevy Nova,

crack the trunk,
and there'd be coolers of beer

and bottles of Jack and what not.
And we all hung out.

Half the bands would wait with us
and drink with us, and then--

Oh, got to go into the show.

Well, Exodus shows at Ruthie's
were really crazy.

I mean, I don't think I ever paid once
to get into the show.

Wes would be sitting at the door.

I would walk by,
and he'd just kind of go like that

Connie, Pam, Rebecca, Leah,

those girls were something else,

because there weren't
very many of us at all.

[Connie] We would go to the bar.
We would sit down. We would drink.

We didn't have IDs. We weren't old enough.
But it just sort of happened.

You know, people were dancing,
and the bands were playing so hard.

It became very human,
very fast. [chuckles]

[Gary Holt] That's when we found our home,
because it was kind of where we were from.

You know, Rick and Paul
were both from Berkeley.

You know, Robbie was from Berkeley.
Torn and I were from San Pablo.

[Brian Lew] Exodus at Ruthie's Inn--

A random person would just record it
and send it off to our pen pal friends.

So you know, pre Bonded by Blood,
this is how Exodus' music got out.

[thrash metal song playing]

[Alex Skolnick]
livery quickly became a scene.

It was the place to go.
They have great kamikazes.

You knew never knew what
was going to happen.

You know, some crazy shit
was going to jump off.

Of course, I was young,
and we were all just raging,

and... it was a party.

[Harald Oimen] The place was really dark,

and you kind of, like, getaway
with almost anything there.

I'll never forget onetime
going through the crowd,

like, headbanging
and going crazy and stuff.

I actually tripped on some people.
There were some people, like, having sex.

The shows were classic, dude.
I mean, it was like Ruthie's Inn,

so hot and humid in there.
The walls would be sweating.

People are hanging off
of plumbing pipes and sprinklers,

and toilets were getting broke.

The place would just
get fucking destroyed,

and they'd still have us back,
like, two weeks later.

Toby Rage, Andy Anderson,
Lonnie Hunolt...

You know, we'd all take turns.

We called it bowling ball.

And it's where people jump on stage,

and you're crouched
in a ducking position by the drums.

You get a running start and just
linebacker them as hard as you could

down into the crowd, you know?

That was fun.

We were hanging out
at the Big O across the street.

This cat Toby Rage comes up,

and he sees Leroy
with his Mike Tereo hair

and his while Capezios.

And he walks up, and he just goes...

[clears throat, spits]

Nice shoes.

Toby Rage was, again,
I never saw him break character.

I don't know how he lived at that level.

I just remember just feeling,
you know, claustrophobic in there,

but if the music was good,
that was all that mattered.

[Mark Osegueda] Exodus just owned it,
and the pits were violent as hell.

Ii was just-

It was-- it was-- It was glorious.

[Brian Lew] You know,
Exodus's group of close friends,

you know, they were called the Slay Team,

and literally if someone
showed up at Ruthie's Inn

wearing a Motley Crue
or Ratt or a hair metal band shirt,

they would literally tear
the shirt off the kid's back.

They would cut strips off of the shirt

and tie them around their wrists,
like scalps,

and those aren't
fucking friendship ships.

Those are like war trophies.

[Harald Oimen] Lizzie Green,
Baloff's girlfriend,

actually did a comic book
that was based on the Slay Team.

It was just them going out
and killing posers, literally.

Paul and I had this idea
that we were going in make money.

And so I draw up this whole comic.

She would sit there
and draw these little comics,

which have now become
the Slay Team comics, which are famous.

"I can't believe this.
That car just ran him down.

Someone wants to kill us all.

|I's the Slay Team, and they will
kill us all unless we strike back."

So we start a poser war.

So, this is actually a real person.
We called him Poser Bob.

I don't remember what Bob's real name is.

He did dress like this.
He had no problem being a poser.

[Brian Posehn] By the way, folks,
she's now a nuclear scientist.

I research explosives for the government,
is the-- is the party line,

but I blow shit up for the government
is my line.

[Baloff on microphone]

[Mark Devito] Toby Rage,
I mean, it's like--

Nobody was going to try posing
if all of a sudden you were going to get,

you know, a Converse footprint
on the side of your head.

I got off the plane the one day,
went to Ruthie's the next day.

People were jumping on the PA slack.
They were jumping off into the crowd.

People were standing with their backs
against the stage,

holding their hands like this,
throwing people on.

We had never seen
anything like that in Europe.

[Baloff on microphone]

[crowd cheering]

[crowd chanting "Kill! Kill

[Pam] No stage diving for me.

Most of the time
I stood just on the outside

and let some other guys push
the guys in the middle.

Just close enough so you could
still see the band but not gel,

YOU know, [UH over.

Ruthie's was insane.

And we were never real crazy about

keeping people offstage
at that point, you know?

That's what they did,
and they had a damn good time doing it.

If you were a poser or a dippy girl
or something like that,

they could be terrifying,

but if you were a friend of theirs

and you understood them
or you accepted them,

their hearts were so big.

[Brian Lew] One of those defining moments
in any scene,

where that was the show that inspired
the lyrics in "Bonded by Blood."

I remember it was us
and some rock band playing, right?

And the rock band,
they were up there rocking out

for their sisters band or whatever

with their drink glasses
and left them on the front of the stage.

And when we come on,
everybody starts smashing all the glass.

So people's hands got cut,
so there was literally--

-Blood upon the stage.
-Blood upon the stage.

There's literally blood all over.

And I remember this one girl
who was there to see the rock band

must've saw something
she liked about the band,

and she was up front and was rocking out,
you know-- This is kind of cool.

And Paul reached down
and got a big smear, a handful of blood,

and just wiped it down her face.

And she just ran out-- Ah!-- screaming.

[Brial L] Bonded by Blood is written
by a band who were in the thick of it.

That song and that album resonate so much
because it's a product of the scene.

♪ Murder in the front row ♪

♪ Crowd begins to bang
And there's blood upon the stage ♪

♪ Bang your head against the stage
And metal lakes its price ♪

♪ Bonded by blood ♪

[Brian Lew] You know, if you listen to it,

it's almost like a documentary
in some ways

about those brief years when this whole
Bay Area scene was just getting going,

like, you know, '83 to '85.

[thrash metal song playing]

[Brian Posehn] Nobody, and I mean nobody,
had ever seen anything like Slayer.

I remember thinking
this is really interesting, OK?

They're from Southern California,

but they're faster than... [chuckles]

Any band I've heard.

The imagery, and the speed,

and just the heaviness oi ii all
just kind of took me into this.

Fucking Slayer.

["The Antichrist" playing]

♪ I am the Antichrist
It's what I was meant to be ♪

♪ Your God left me behind
And set my soul to be free ♪

[Dave Lombardo]
When we went to the Bay Area,

that's where we felt at home,

because L.A. was saturated

and Hollywood was saturated
with glam rock.

We all know what that is,

compared to, you know, thrashers
and metal heads. We were opposite.

When we played, all I remember

is the enthusiasm of the crowd,
their intensity.

Kids jumping on the stage,

and then they'd just start walking on
people's heads and shoulders, you know,

'cause everybody was just stuck together.

[Tom Araya] We went up north
and we did a show with Exodus,

which blew me away.

[Gary Holt] There's nothing wrong
with imports.

The Bay Area was the epicenter
of the thrash scene,

and if your own region
was not welcoming of you, we would be.

Being from L.A.,
nobody--nobody did what we did.

So to be there, and in hear them,

and think--
Oh my, God, these-these guys--

They're-they're doing
the same thing we are.

Really heavy music, awesome.

The sounds are awesome.
The band is fucking awesome.

The guys were really cool,
and we got along great.

L.A. was more where
the hair metal was going down.

So we're kind of in 0.0.,

and the O.C. crowd was very similar
to the Bay Area crowd,

but the Bay Area crowd
was far more advanced.

I first became aware of Slayer,
um, when Brian Slagel,

who runs Metal Bay Records, he sent me
an advanced tape of Show No Mercy,

their first album.

It was almost like a demo.

And, again, it was at the time when

all we cared about
were bands that played fast.

And Slayer came up here
and played their first three shows

in January '84,

and the first one
was at the Keystone Berkeley.

If you look at the back cover
of Show No Mercy,

they were wearing eyeliner.

Why do you wear makeup? [chuckles]

You can't || it glam,

and it wasn't really makeup,
but it was eyeliner.

[Tom Araya] Somebody made the remark,
"Why are you guys wearing that makeup?"

And my thought is-- I'm not--
I'm not really wearing makeup.

But, you know, you don't need to be
wearing that stuff, man.

They're all in makeup,

and they have, you know,
the spandex and all the trip going on.

And I think Kerry might've
had spikes at that point.

Whether you don't know me,
whether you don't know the guitar,

whether you don't know much about Slayer,
you know those nails.

[man] They had some shit going on
that I was- 'What the fuck is this?"

People like Andy Anderson and Toby Rage,
like, the original Slay Team.

They noticed it and started a chant
of "lake off the makeup."

And-- you know- Andy even went

as far as going to the men's room
and getting paper towels.

And we waved the paper towels at them.

Slayer did two shows.

They played the Keystone Berkeley
the night before

and then played Ruthie's
the following night with Exodus.

The Keystone Berkeley show
was the last show they wore the makeup,

'cause we told them
that shit won't wash at Ruthie's Inn.

That was it [or me.

Took all that shit off. Was like,
"Fuck it, I don't need that shit."

So I just stuck with, uh,
black shirts and leather penis.

[laughs]

[Gary Hall] And after
the Keystone Berkeley show,

we destroyed their hotel.
It was a swath of destruction.

It had in be admired and appreciated.
It was awesome.

[Fred Cotton] They had a hotel room
at the Berkeley Plaza Hotel,

and we just destroyed that place.

Showed up with, I think, Torn Hunting,

and these guys were nailing pizza
to the ceiling, man,

and, you know, jamming everything
they could in the toilet

And, you know, we--we actually tunneled

a-a hole through the wall
into the manager's hotel room.

They trashed this motel room that I--
that I had under my name,

'cause I was the oldest guy in the band.

So we had two rooms,
and they trashed them.

Not too many years ago now
Kerry and I were having a conversation,

and somehow that came up. He was like,

"Yeah, I got in a lot
of trouble [or that "

That was kind of our first introduction
into traveling away from home.

[Brian Posehn] In 1984,

Wes Robinson organized a mini-festival
bringing together venous types of bands.

Although called Eastern Front,
the festival was affectionately known as

Day on the Dirt,

a sly nod towards Bill Graham's
much larger Day on the Green shows.

[Mark Devito] It was how we would envision
what a day on the green should be,

because these were our heroes.
These were our bands.

[Brian Lew] And Wes Robinson,
who ran Ruthie's Inn, organized it.

It was kind of like the Woodstock moment
of the Bay Area scene.

He wanted people to be able
10 do what they wanted to do

and, you know,
hopefully make some money at it,

and if you didn't make any money,
at least there was the show.

[Mark Devito]
This was all at an aquatic park,

which is at the bottom of Berkeley,

right across this estuary
that flanks the 80 Interstate.

The lineup was... Slayer, Exodus,

Possessed, Suicidal Tendencies.

It's kind of a defining
moment historically,

because that's a crossover moment.

Like, Suicidal was a hardcore band,

and they were playing with Exodus
and Slayer, who are metal bands.

I know for a fact
that the band could not play L.A.

when I first joined the band.

And, uh, basically Suicidal Tendencies
was banned from Los Angeles.

Everyone sort of went like,
"Hey, we're not that different."

We love extreme music.
We fucking hale glam rock.

We hated all the bullshit
about, like, you know, poser-type shit.

It was, like, kind of a defining moment,
because everyone who was there were like,

"Wow, like, this is pretty cool."

[male voice]
And you can see all the photos.

I mean, all those guys
were fast friends already,

and if not, that solidified it.

[male voice] That was
one of the first shows where

I started seeing, like, you know,
the camaraderie of the bands and stuff,

and I think that's one of the things
that shows in the pictures, too.

[Robert Trujillo] It was just amazing,
you know, the spirit up north,

experiencing that positive energy.

And [or me it was all brand new,

because, again, I didn't even
get a chance to play L.A. yet

you know, with the--
with this band that was from L.A.

[male voice]
It was a fast and furious pit,

and we had plenty of room.

The dirt was flying,
and, uh, it was a great show.

[Mustaine on microphone]

[Bf tan Posehn] Dave Mustaine
began his new band, Megadeth,

with a vengeance

and immediately played the Bay Area,
where he was welcomed with open arms.

This is Megadeth's first demo

that Dave recorded, uh, after getting
the original Megadeth together.

He sent them out in
maybe a half dozen fans and people.

He handwrote the track listing on it.

Dave had this friend Brian Lew
who offered to run our fan club,

which was basically consisted
of a post office box.

One day this letter shows up
that says,

"Hey, Dave, I hope your new shit's
faster than Metallica."

And that night, I kid you not,

we went to rehearsal
and sped every song up

by 10 to 20 beats per minute.

I mean, every song.

So things like "Skull Beneath the Skin,"
which were like...

[vocalizing bass]

Kind of this Sabbath groove...

[vocalizing drums]

[fast-paced metal song playing]

[Kerry King] We'd been to
the Bay Area enough times.

I couldn't tell you how many,

but we'd been there enough to where
me showing up in Megadeth

is going to make people
think oi Slayer, too.

I saw Mustaine playing Metallica.

Me and Jeff would both
sit in the crowd and go,

"How's he do that?

How's he playing that fucking shit
and not looking at his fingers."

You know, we would just be amazed
that he's just up there ripping,

looking over there.

So I was flattered
when Mustaine came calling.

[Mustaine] There's a lot of crazy folklore

about those first couple of days, weeks,
and months after I left New York.

When I got on the bus,
I rode all the way to California.

Did a lot of soul-searching.

I had already started writing lyrics.

The first lyric I wrote was
in the song "Set the World Afire,"

which was called Megadeth.

And I saw a piece of paper
on the floor of the bus

that was from Senator Alan Cranston.

And it was a handbill that
he had put out that said,

"The arsenal of Megadeath can't be ready."
He was talking about nuclear armament.

Arsenal of Megadeath,
that's a great line,

so I wrote it down and put it in the song.

Didn't think that, you know,
that would one day end up being the title.

My first show was with Megadeth,

and I remember the first time watching
Mustaine play. I just couldn't believe it.

As a band, that was the first place
that we went up there was Ruthie's.

And that was interesting,
because, uh, Ruthie's was so small,

we'd built this crazy stage
over at Kerry's house.

You know, I'd ask Kerry
if he would help us

until we'd find a permanent player,

and we built the stage 'cause
I wanted this war scene kind of thing.

When we got up there,
the roof was about this tall,

and we're trying to figure out how we're
gonna gel all our stuff in there.

H's like-- Well, shit.

[David Ellefson] And borrowing
every marshal in the community

and everything we could
buy out of the recycler.

You know, you got to
kind of keep your head down.

If you jump up in the air, you're going
to stick your head in a light socket.

He's like, "I'm going to put
together this super group

that is just going to
take fucking no prisoners, man."

[heavy metal song playing]

[vocalizing]

What I noticed around town is that there
were a lot of people posing and primping,

and wearing their studded wristbands
from the shops on Hollywood Boulevard.

And everybody looked like
Vince Neil or David Lee Roth,

but Dave was the real deal.

[guitar solo playing]

Everybody was really surprised
that Mustaine got booted out of the band,

'Cause, I mean, back then
he was almost like the frontman.

He really had something to prove
after he left Metallica.

Ii was incredible how quick
he got it together.

Megadeth was a band that was
conceptualized before it was ever a band.

It was an architectural blueprint
of what the band was going to be,

and I think because that was drafted
in Dave apartment's and my apartment,

we've had this vision
of what we've been aiming for.

[playing fast-paced guitar solo]

It's really creative. It's a great blend,
and it's got that punk energy.

When we debuted the band in the Bay Area,
in see that frenzy happening...

A kid reached up and actually grabs
he string and breaks it off my bass,

[chuckles]
fight in the middle of the song.

I'd never seen anything like this,

and people were literally, like,
bleeding on the stage from headbanging

and thrashing down front.

You could feel almost a tension, you know?
He's up there trying 10 prove himself.

Thank you very much!

[Bria| Lew] They moved here maybe
January '83. They were gone in April.

They came back for, I think,
a month in June, after recording finished.

And then they were on tour.

So, like, that first year that they
quote-unquote moved to the Bay Area,

they were probably
only here a couple months.

We really had just come
from out of the underground.

We recorded Kill 'Em All.

We ran back to San Francisco to give it
in all the people who were our core group.

It was our opportunity to
put the scene on the fucking map.

Kill 'Em All came out
in December of '83, you know?

And in our second issue I made the review.
You know, we had record reviews.

You know, and I said Metallica--
they are gonna gel a whole page.

Nobody knew at the time
how big they're going to get,

but I said this band is a killer.

So I made the headline,
"Metal Album of the Year:

"Kill 'Em All."

[Brian Posehn] Exodus recorded
their definitive thrash metal masterpiece,

Bonded by Blood, in 1984.

Bonded by Blood?
How do you not like Bonded by Blood?

I love Exodus, um,
especially from that time.

That's my favorite Exodus record.

Bonded by Blood
was kind of more anticipated than

Kill 'Em All in a lot of ways,

just because, you know, we spent more time
with Exodus than we did with Metallica.

Basically I ended up replacing Kink.

We were never in the studio before,
so we're learning the process, you know,

the whole mike thing
and how to keep the guitars in tune,

like, because the mike hears everything--

And just learning from the very ground up
how to record an album.

[Gary Hall] When we recorded
Bonded by Blood at Prairie Sun studios,

our friends would come up
from the Bay Area,

and we'd party at night, you know.

And they'd get loo drunk, and there's
fistfights and windows getting broken.

The whole thing with Bonded by Blood
was it's like,

it's a chemistry that five kids had.

Not knowing nothing about recording.

We got nine songs together,

and we just want to put our everything
we have into these songs, man,

and-and just capture this vibe.

It's the craziest thing.
The very first note, man, is just like

[imitates explosion]

["Bonded by Blood" plays]

♪ Bonded by blood ♪

Bonded by Blood, it's an amazing album.

The riffs, the speed.

That's my Exodus record.
Thar-That's the Exodus record.

It captured that kind of--
that youthful angst and anger.

That was thrash metal.

That was a Bay Area
thrash metal record, you know?

So, you know,
Kill 'Em All and Bonded by Blood

they're-they're kind of like--
they're twins, in a way.

To this day, people are just like--
Man, Bonded by Blood, forget about it.

There are quite a few covers
from that period of time

where you kind of look at them
and you're like-- Wow, really!

But none the less,

I mean, what was inside that sleeve
was nothing but pure Bay Area thrash.

What do you guys do with posers?

-Poser.
-What?

That guy's a poser.

What do you teach them?

[crowd] A lesson in violence!

Here's a poser right here.

Some places don't know
that you kill posers.

Break a posers leg. It makes me smile.

Posers must die!

There's only one Paul, man.

[thrash metal song playing]

[Sven Soderlund] He's the epitome
of what a singer should be,

because if you weren't into it,

he's all, "Pummel that poser." [laughs]

He'd go on one of those rants
about killing posers onstage,

and if there were posers
in the crowd, they worried.

My grandmother makes more noise than that!

[both] My grandmother can make more noise
than that, and she's dead.

He would go to people's houses
and completely trash their house.

The Exodus guys would be there,
and Paul would kick people out.

One oi the prerequisites
to getting into the party

was you had in bring a two-by-four
so you could destroy the place.

I remember grabbing a beer bottle

and just firing it
straight at the fireplace

[chuckles] right when we walked in,
and we just- it just erupted.

[Harald Oimen] He kind of got away
with a bunch of stuff,

stuff that was kind of messed up actually,
to be honest.

He handcuffed someone to a tree like this.

He let a live sewer rat loose
in my house one time.

We'd cut people's hair.

If you had a Ratt pin.

And a Bon Jovi shirt.

A Motley Crue shirt
or something like that

[chuckles] He'd ship you
right where you stood.

I'm gonna slice that shirt up.
We'll slice you with it.

If that's all he did,
they were lucky. [chuckles]

I remember his place.

He lived in just a-- like a--
He lived on a concrete slab.

His we“ “wed vim him, Enter.

Bidor and Paul
were pretty much inseparable.

He had a house-wrecking party.

Some pretty crazy shit happened
at these parties.

A lot of beer, a lot of liquor.

Pictures getting smashed.

Walls being kicked in with holes.

Just slamming our arms down the hallways,
just punching in all the plaster.

Houses dismantled,
you know, piece by piece.

[Brian Posehn] Paul Baloff passed away
following a stroke in 2002.

He's beloved by his friends
and metal fans everywhere.

[Gary Holt] Paul, for what he lacked
in pure musical talent,

he had all the drive and passion
that you'd ever want,

could we have done more
to keep him around?

Probably yeah,
might've been a failure in attempting it.

I'm happy. I've got a million memories

and five billion photographs worth
of fucking awesome times in look back on.

He's like the greatest
thrash metal frontman of all time,

and he made one album, twice.

We were all by his bedside
in the hospital,

and Rick and I lowered
him into the ground, you know.

Fuck, you know, I miss him.

The legend.

-I miss him every day.
-See you, buddy.

[Brian Posehn] In the mid 1980s,
Lars and James lived

at the infamous Metallica mansion
in El Cerrito.

Yes, the Metalla-mansion,

and that is certainly not
one of our cars right there. [chuckles]

That Porsche was not parked there
because of us.

You know, at least
with the Metallica mansion,

it was literally almost a straight shot
back from Ruthie's Inn.

So, like, if there was a show
or whatever at Ruthie's Inn,

it was a straight shot almost down
San Pablo Avenue back to their house.

Definitely a bachelor pad.

You don't dare go into
the bedrooms at all.

The front room's covered with posters
and beer bottles.

I remember pulling all the furniture out
the front door right here

and hosting this party.

We left the turntable and maybe
a couple chairs, maybe a couch,

and, uh, obviously the booze. [laughs]

So music, booze,
and we would just go insane.

Wrestling and have these
crazy mosh pits in the house.

Usually we're out partying
in the streets or whatnot,

so to actually have a place to go
and hang out was pretty cool.

Even the Metallica house--

I think Exodus were there
more than Metallica,

you know, 'cause they were already
on tour constantly.

[Brian Posehn] While touring,
lonely Metallica members wrote postcards

in keep in touch with the scene back home.

Aww.

[James Hetfield]
Yeah, postcards, letters,

that was the only way
you could keep in contact

We'd get in town and, you know,

write down what's happening
and--and just send it off.

All those early Ruthie's Inn shows

that were kind of laying the inundation
for the Bay Area scene were happening.

Hey, John, how you doing? We're-
You know-- We're jamming and playing.

And... OK, we're going in go out
and go party, go drinking.

And then you'd flip it over.

Hey, John, it's 2:00 AM.

We're here. We're raging.
We're getting drunk.

We're drinking beers
and hanging out with Venom.

Metal up your ass, right-slack Marshall,
Lars Ulrich, drummer in parentheses.

In hindsight, it was probably them
dealing with all the shit

that was happening with them. You know,
they were going to the next level,

thousand of miles away from home.

Being away from home,
being away from your friends,

being a-away from your girlfriend.
It was a big deal.

And they liked to write letters.
You know, back then we all wrote letters.

Flying the flag for the Bay Area
in San Francisco in the scene.

So it was important [or us
in, uh, stay in touch with everybody

that was back at home, holding the fort.

[James Hetfield] See if you know this one.

I want you all in scream it back at me!

This is tilled,

"Seek and Destroy!"

[playing "Seek and destroy

Cliff would write me really
long letters from Copenhagen

in his horrible writing

and just talk about
how good things were going.

This tour is great.

First Aardschok festival I called Lars.

If he wanted to open up for my festival
because I thought it was a great band.

You know, I'd send them money
for plane tickets and stuff.

[Andre Verhuysen] Ii definitely
made a big impression.

You could already tell that
these guys were going to go somewhere.

Everybody knew. I mean, we all knew.

Some old black and white pictures
of Metallica at that show.

They were so nervous there
around that time to do the show.

Even though, you know, they were away,
they were still part of the scene.

You heard that the band
was blowing people away,

just like they did when they started here.

♪ Our brains are on fire
With the feeling to kill I

♪ And it won't go away
Until our dreams are fulfilled ♪

♪ There is only one thing on our minds ♪

♪ Don'! try running away
'Cause you're the one we will find ♪

♪ Running
On our way ♪

♪ Hiding
You will pay I

♪ Dying
One thousand deaths I

Lars said no. We didn't have the cover.

It was just Kirk on there.

Tapes were being copied the next day,

and they were sent to Germany, Belgium,
France, all over the world.

♪ Running
On our way ♪

♪ Hiding
You will pay I

♪ Dying ♪

[Lars Ulrich] It wasn't really
until James started getting

some European shows under his belt
in the spring of 1984,

where he started being able to
sort of command the big, European crowds.

That's when he became
James Hetfield, the frontman.

Are we fucking nuts tonight!

[crowd cheering]

[James Hetfield] This was certainly not

the shy kid that was in high school,
hating life.

This was the kid that
finally found his voice

and got to be in a band
that was able to help express it [or him.

[Steffan Chirazi] We were very aware

there was something brewing in
San Francisco

that was a little heavier,
a little angrier.

Uh, Exodus, you know,
were definitely part of that.

[Brian Posehn] Blown away
by what he saw in the Bay Area,

Andre Verhuysen booked Exodus
into the Dynamo Club.

The show has passed into legend
spread by numerous bootlegs.

I want to dedicate
this one to Andre over here.

Who's here because of Andre?

[Andre Verhuysen]
That was Exodus's first tour of Europe.

The only club show
they did was at the Dynamo,

and they did 300 or 350 people
by themselves.

More people in there than
I think officially were allowed,

maybe three times as much,

because everybody wanted
to see those bands,

and Dynamo Club was
the only place you could see them.

[thrash metal song playing]

From my pen pals, Brian Lew
and Andy Airborne Anderson,

From my pen pals, Brian Lew
and Andy Airborne Anderson,

who was very close with Exodus,
I got some live tapes, you know.

And we were fascinated.
They were even faster than Metallica.

They were even a little bit more intense.

Word got out, and word by mouth is
the strongest promotion that you can get.

[Brian Posehn]
While Metallica were away touring,

Pam and Connie were
house-sitting the mansion.

[Connie] We had son of screwed up
their finances along the way.

We weren't very good
at balancing checkbooks.

Mark had just left
the checkbook and, uh...

He left a checkbook
that was signed with checks,

and we were just supposed to deposit money
and then give them the checks.

[Connie] I had to go in my
very conservative, Republican mom and dad

and ask for them to bail out Metallica.

So I like to say that my mom,
Mike and Carole Bryant

sort of saved
the Metallica band. [chuckling]

-Sorry, guys.
-So there you go.

-It all worked out.
-It all worked out, yeah.

[Brian Posehn] New bands were
rising everywhere in the Bay Area,

inspired by the scene they were living in.

Bands like Testament, Death Angel,
Vio-lence, Forbidden,

and Possessed all made
their mark on the metal scene.

Each year there'd be a band
that would kind of step up

into the role of being able to headline
a show at, say, Ruthie's or the Stone.

Metallica came out with Kill 'Em All,

and they were doing
the Kill 'Em All For One tour.

We stood right on the edge of the pit,

and we head-banged for the entire
fucking show when it was Cliff Burton,

and he's doing "Anesthesia Pulling Teeth.'

We're like--
These guys are fucking amazing.

And the whole way home it was like,

we're going to start a band,
we're going to start playing shows,

and we're going in play thrash.

All those people would be going
to the shows at Ruthie's

in the Bay Area clubs and stuff,

and, uh, basically they kind of looked up
on siege and said- I can do that.

You always hear the old cats
talk about the Beatles on Ed Sullivan,

and, you know, how they picked up
a guitar after they saw that.

That was my Beatles/Ed Sullivan moment,

but if we wanted to be something,
if we wanted to matter,

we had to get into Ruthie's.

And if we could survive Ruthie's,
and not get killed,

and not get booed off the stage,

and not get the mike ripped down
in front of it

like people were prone to do,
and survive the Slay Team,

then that would be the ultimate.

You can't tell the story
of the San Francisco metal scene

without talking about Debbie Abono.

She managed one of the most hardcore bands
to come out of the Bay Area,

which was Possessed, you know,
super Satanic speed metal.

This is metal mom right here.

I know there's a few
metal moms across the globe,

but this was ours.

I broke my leg at a DRI show.

She basically nursed me
back to health at her house.

She was the mom of the scene, you know!
Every show she'd be there for every band.

She lived at a house in Penal,
and after parties we'd be at her house.

[Alex Skolnick] She really saw
everybody in that scene as human,

whereas there was a lot of demonization.

Of the-- you know, the youth.

She knew that we needed a safe place,

and Debbie Abono's house
was always a safe place.

You know, a party would--

-Last a couple of days. [laughs]
-Last a couple days.

I know sometimes I'd be going
in school the next day,

walking through the people
who were still hanging out at my house.

[Nancy] They all knew that
Debbie would take care of them

-if they didn't have anywhere to go.
-[Julie] Mm-hmm.

[Rick Hunolt] The word-of-mouth
kind of got-- 'Cause you go--

Hey, I need this
or I need that for my band.

And my mom would go out
and gel it for you.

For me personally, she helped me a ton.

I started taking guitar lessons
from Joe Satriani. I couldn't afford it.

She paid for it, and, you know,
I couldn't thank her enough.

There's no way I'd be anywhere
I was right now without Debbie,

so, you know, I'm eternally grateful
for everything she did.

For young, 16-year-old Larry Lalonde,
he's in tenth grade in high school,

and they have a record out.

You know, imagine being a tenth-grader,
and you have an actual album.

And you're playing in clubs.

I remember kind of showing up
at high school and going like--

"Hey, I've got a record,"
and them being like-- "Yeah, big deal."

Like, people kind of being like--
What, you think you're hot shit now?

Then-then she'd get tapes
constantly in the mail.

She'd gel hundreds of them
from other bands,

wanting her to manage them.

Really looked out for everybody, you know?

And when she managed Forbidden,
she-she would go on tour.

I think she was 57 years old
when she was doing this.

I mean, just going out on tour in a van
for two months across America

at 57 years old.

You know, like, that's fucking crazy.

And it's everything that--
the honors probably that you've heard of.

She put up with a lot of shenanigans
from us, you know?

Uh, one time I guess they had, like,
a porno magazine in the back of the-

in the back of the van,

and they, uh, taped a bunch of pictures
to the inside windows of the van.

And we come pulling into a gas station,

and here's this grandma, you know,
this-this older lady, pulling in.

And then here's the most
obscene pictures on the windows.

And she couldn't believe
we'd do that stuff.

[rapid double-bass drums playing]

[guttural growling vocals]

I always considered us
the third wave of thrash.

So it's like Metallica, Slayer,
and Exodus was the first wave.

And then Testament, Death Angel,
and Vio-lence, Forbidden.

I started auditioning and just went
from band to band to band, you know?

And finally it clicked
with Forbidden Evil.

A band that young could get
a show at Ruthie's Inn,

and no one would bat an eye.

[Larry Lalonde] We're hanging out at,
like, Ruthie's Inn and the Stone.

We're not supposed to be there,
because we're 14.

My first show ever was November 24, 1984,
Megadeth and Death Angel.

When they were loading in, you know,
we were making fun of them.

Like, you know,
your mom's driving you in the show.

Then we'd get all pissed off.

Why do they always refer
to us as just so young and stuff

and just focusing on
the fad that we're young?

It was hard to put a band together,
especially if you're 15.

I also knew that if I could
just gel through one show,

it'll be a positive experience.
I need to do this.

Alex history-- I'm sure he told you.

You know, he's 15
and didn't have teenage years.

He toured the whole time, you know,
from the first record in the fifth record.

We did a record every year
and toured ever year:

five records, five years.

[Brian Posehn] Possessed is credited
with starting the death metal genre.

[Larry Lalonde] You know,
the whole Satanic theme was kind of funny.

I don't think anyone
was actually into Satan.

It just freaked people out, so. [laughs]

[guitar riff playing]

[Brian Posehn] In August 1985,

Metallica played Bill Graham's
legendary Day on the Green festival.

On a bill that featured
Scorpions and Yngwie Malmsteen,

Metallica stole the show.

I was there. It was insane.

Did we all come here
in kick some fucking ass or what?

The fact that Metallica got
a chance to play at Donington

and then two weeks later
at Day on the Green

was just a total mind fuck.

Me, what I remember
is going in there kind of cold,

not really knowing what's going on

but blown away
at the consumer satisfaction.

The audience had so fervently embraced
this from the minute that band set stage

that it wasn't even a matter
of whether I understood it or not.

I could tell that these
people understood it,

and I witnessed the extraordinary
fervor and enthusiasm.

It was hard not to be swept up in it.

[Alex Skolnick] With most other bands,
bass is sort of a background role,

but with that version of Metallica,

it was featured.

Cliff had a very serious
attack to his strings.

His technique was very abrasive,
and there was a lot of power in it.

It was almost like this punk attitude
coming out of his fingertips,

and yet he was very graceful
with his connection to classical music.

[playing heavily distorted bass]

It can't be overstated
what a huge moment that was

for not just Metallica
but for the whole Bay Area scene.

The fact that Metallica
were playing at Day on the Green,

it was like all of us
were playing Day on the Green.

[James Hetfield] Day on the Green
has been around since the '70s.

For us to be asked to be part of it.
Didn't care where we were on the bill.

Rat! was placed above Metallica,
which was sacrilegious, to say the least.

So I painted this banner
with, you know, Metallica logo

crushing down on this rat
that was flipped upside down

with a little spiked wristband,

and it was sitting next to
a thing that said rat poison.

And I got berated by a couple
overweight ladies in spandex.

You know, fucking Metallica came out,
and they just took over.

As soon as they got on stage,
it was the stone in the pond.

Concentric circles of violence
spread throughout.

I remember standing there stage left
and going there's Metallica,

and there's 60,000 people.

H's 1985.
It's like, yeah, this is really cool.

♪ Make his fight on the hill
In the early day ♪

♪ Constant chill deep inside ♪

I don't think anyone had seen a mosh pit,

and it didn't occur to me to go,
"And there's going to be a mosh pit "

♪ For whom the bell tolls ♪

So for the both of us,
in be there onstage on Day on the Green,

it was a huge accomplishment.

[James Hetfield] The whole metal community
was excited and supporting us,

especially for Cliff,
being from the Bay Area,

it was like heaven for him.

[woman] Everyone knows
about that worldwide, so, he was excited.

After the Day on the Green show,
we did our normal stuff, you know?

James and I went out
in the crowd in throw fruit.

Fred Rotten Cotton
and a few of the others,

you know, had some beverages
and just went crazy.

Took avocados and crammed through,
uh, vents. Air-conditioning vents.

Just wrecked the backstage dressing room.

You know, you're supposed in
trash shit, you know.

So we did. We destroyed it.

[phone ringing]

I called the Metallica house,
and James answered the phone.

I was like, "We--[chuckles]
We're in trouble."

Had no clue that, you know, there's a-
there's another day after ours.

You know, another band
has to use your trailer.

You're going to have
in go over there and talk to Bill.

I was like-- Oh, shit.
Like I'm being called in.

He sat me down and said, "Hey, I know
you're a rock and roll band at head,

He sat me down and said, "Hey, I know
you're a rock and roll band at head,

and, you know, breaking shit
and destroying things, you know,

it might be fun for a little bit

What would you do if..

People came in your home
and behaved this way?

And James goes,
"Well, pretty much they do every weekend "

[James Hetfield] I didn't quite get what
he was trying to say.

And he said, "You guys are talented,
and you're on a path to destruction "

He knew.

He said, "I've had this same talk
with Sid Vicious and with Keith Moon,

and they didn't listen.

Maybe you'll listen, maybe not."

What really happened
was James totally manned up,

and Bill completely respected it.

And Bill completely respected it.

[James Hetfield] So I said,
"You know, I'm young. I'm stupid.

And thanks [or that.

I appreciate the talk,
and I'll do my best."

Years later he would go in me,
"How's James?"

I'm like- Well, I haven't really
talked to him lately,

but I'm sure he's fine.

To this day I still never
said thank you to him,

To this day I still never
said thank you to him,

because it did enlighten me a little bit.

He made it right
in the best of his ability.

The next time we came to play
in the backstage area,

he put Visqueen, Clear plastic,
over everything.

The ceiling, the walls,
the floor, the table.

The ceiling, the walls,
the floor, the table.

He even wrapped
bottles of beer in it, so...

[laughs] it would be protected.

[Brian Posehn] 1986 was
an ear-shattering year for thrash metal.

Metallica, Megadeth, and Slayer,

followed by Anthrax,
all released landmark albums.

I was asking Lars where this was taken,

and he says,
"I'm pretty sure it was in Copenhagen."

He would wake up
and put on his little boxer shorts.

And he had a little amp
and his white guitar.

And he had a little amp
and his white guitar.

And it looked like a Gibson,
but it wasn't.

And he would play.

He could not wait to get on the road.

And Cliff was excited.
As much as he didn't want to go to Europe,

It was a short tour.

He wanted me to look at houses.

At this point we had really developed
and we were going to live together.

So he wanted me to look at houses
just around, in the East Bay.

[Brian Posehn] On September 26th, 1986,

Metallica played a show
in Stockholm, Sweden

supported by their friends, Anthrax.

Anthrax went on ahead to the next show.

Metallica never made it.

In the early hours of September 27th,

In the early hours of September 27th,

their tour bus crashed,
and Cliff Burton was killed.

He was 24 years old.

I went home and started calling Cliff
in Sweden at the hotel.

I had the itinerary.

Oh, no, they haven't checked in yet.

OK, that's weird.

Try again an hour later.

That's when she told me.

And I--

It just» It was" It wasn't even real.
It wasn't possible.

So I immediately called Cliff's parents.

I didn't want to be
with anyone else, you know,

I didn't want to be
with anyone else, you know,

wanted to be with his parents
and smell his things.

[Cliff] We don't sit back and--and say,

Oh, I hope we're big next year
or I hope this or hope that.

We just go and do it
and don't put a lot of thought into...

what might happen or what could happen.

What might happen or what could happen.

We try not to think
too much about the future.

[James Hetfield]
Cliff was such a character,

and he was with us
for that short amount of time.

Thank God there were some people filming

and there were friends around
that had cameras.

And there were friends around
that had cameras.

To respect that time greatly.

I am so glad that he was in my life

and I got in share--
share sometimes with him.

Someone so close and someone who...

I saw my future with.

And it was-- it was awful.

And it was-- it was awful.

It was just awful.

Most of us were so young
b-back then that we, uh...

we really hadn't dealt with death before.

[Tim Healy] The first thing I did,
I got up, and I headed out In the Vault,

because I was working
the next day at the store.

From the minute that we opened the door,

it was a constant flood
of people coming in.

It was the place where
people came in grieve.

It was the place where people came
to reflect and tell stories.

And it was almost
the perfect place to find out,

because it was home for all of the scene,

also [or him and those guys.

What made us survive it was
that community of those--those thrashers.

What made us survive it was
that community of those--those thrashers.

[Erik Lennon] No one ever thought about
the perils of rock and roll

or the fact that tour buses crash
and, you know, people die out there

doing what we were all aspired to do,
and doing what he ultimately loved.

Doing what we were all aspired to do,
and doing what he ultimately loved.

I know we felt bad,

but I could only imagine
what each one of them personally felt.

Yeah, it was a terrible time.
A terrible thing.

[Mustaine] What I know about Cliff
was that he was a very gentle soul,

and we laughed.

And we laughed.

Man, we would laugh.

You can't ask more from your kids,

particularly when you--
you don't have to say much to them.

They, uh-- Cliff would just decide--

He knew on his own
what was right and what was wrong,

and he...

practiced it
just like he'd practice his music.

[chuckles]

People forget what you do this.

It's because think back in those days when
you guys were in a shitty rehearsal room.

It's because think back in those days when
you guys were in a shitty rehearsal room.

Nothing else mattered
but just making something.

That's all you lived for.

So Metal Allegiance,
we're just the guys from the neighborhood.

We're the friends that all shared
the same record collection.

It was just a great spirit.

And, uh, we-we said, you know,
maybe we should make a record.

[chuckles] Just to see what it sounds like

if all of us can actually
write and record some music together.

If all of us can actually
write and record some music together.

The marching orders
for that record, though,

is we're writing a thrash metal record.

Obviously Alex is involved in that scene.

We're getting Mark Osegueda,

Gary Holt, and Chuck Billy.

We're getting the Bay Area's best.

You would hope this happens everywhere,

You would hope this happens everywhere,

but we're like,
you know, do you think it does?

Like, no, it's the Bay Area.
It's a special place,

and we've got some special people
that are backing each other.

♪ Staring me in my eyes
You can't kill the devil ♪

IND ♪

♪ Cause evil always lies I

♪ Strength, determination ♪

♪ Strength, determination ♪

♪ Finding freedom in my children's soul I

♪ My time has come, my time is now ♪

♪ Justice sewed on fictitious vows ♪

♪ Kill ♪

♪ Kill ♪

♪ Kill ♪

♪ Kill ♪

Why don't we ever get to do
any jams with people, you know?

And I got approached,
I'm like- Absolutely, please.

♪ Pledging your allegiance
Look me in the face ♪

♪ Walking through flooded gates
Show your true disgrace ♪

I Flash a tearless smile
Going to great lengths I'

♪ Covering that broken fear
I keep gaining strength I

♪ Covering that broken fear
I keep gaining strength I

♪ I keep gaining strength ♪

♪ Drowning in your fear I

♪ Say your pledge ♪

♪ Nothing you can do I

♪ Pledge your allegiance ♪

♪ Pledge your allegiance ♪

♪ Hiding is all you ♪

♪ Pledge of Allegiance, yeah ♪

[Brian Posehn] Since the 1980s,

thrash metal music
that was nurtured in the Bay Area

extended its reach around the globe,

inspiring metal fans
everywhere to crank it up.

[fast-paced guitar riff playing]

[Brian Posehn] In 2013,

Gary Holt replaced the late, great
Jeff Hanneman in Slayer.

It's kind of weird, you know?

I got the call from Kerry
to help them out, you know.

People who don't know the background
between the two bands will ask me--

Wow, how's it feel to be playing with
such metal legends? They're my buddies.

Wow, how's it feel to be playing with
such metal legends? They're my buddies.

I think metal fans are
the most devoted of any lens there are.

They're not fickle.
They like what they like,

and I think a Slayer fan
is that fan times ten.

[Tom Araya] To me it's about humility,

and I'm more humbled
by the fact that people

have such an admiration [or the band.

You hear stories
about some of these people

that, uh-- your music made me strong
and held me together

in gel past a certain point in my life.

I'm very grateful [or that.

You're getting me all teary-eyed.

[laughs]

[Brian Posehn] In 2017,
Megadeth won the Grammy

for best metal performance
for their album, Dystopia.

[Mustaine] One thing is for sure,

This community has a way
of taking care of its own.

I'm honored that the fans
still like what we're doing.

It's great to hear. It feels good.

[speaking Spanish]

[speaking Spanish]

Oh, my God!

[whooping]

-Like wrestlers.
-We're wrestlers.

[James Hetfield] When we put on our
instruments, we're like teenagers again.

We have a good time.
We joke around. We laugh.

Everything we do revolves around the jam.

Everything we do revolves around the jam.

There seems in be a certain energy

and magic that's
very pure about this music.

[Brian Posehn] In 2016,

Metallica released
Hardwired... to Self-Destruct

to massive critical
and commercial acclaim.

We are super grateful to
still be where we are, you know?

We are super grateful to
still be where we are, you know?

We're in Mexico City right here playing
in front of 60,000 in 70,000 people

in one show.

It blows my mind.

[crowd cheering, chanting]

[James Hetfield] It's pretty remarkable
for bands like Megadeth, and Anthrax,

and Slayer, and Exodus--
still around and still playing gigs.

I tell you, whatever you think
is going in happen to you,

I tell you, whatever you think
is going in happen to you,

you have no flicking idea. You just don't

If it wasn't for Cliff and wasn't for,
you know, those early Metallica records,

you know,
I would not be there, that's for sure,

and there would be no Metal Allegiance.

Cliff was a fun bass player,
and you can feel that onstage.

For me, I'm honored and blessed
to be able to play his bass lines

For me, I'm honored and blessed
to be able to play his bass lines

and celebrate him
and his bass playing to the world.

All over the world.

To take it there and share it.

[playing distorted bass riff]

If you and I were sifting in 1982,

If you and I were sifting in 1982,

having a conversation
about the East Bay days,

obviously nobody at that time
would ever slow down long enough

in believe that the music could have

and the scene could have that kind
of impact and that kind oi longevity.

[Sven Soderlund]
There's a shirt that says, I think,

"Four Albums And Still No Ballad!"

"Four Albums And Still No Ballad!"

And they meant that,
because they weren't about that, you know?

They weren't going to do it.

I love those guys.
They're still my ff lends.

They're like my brothers.

We didn't invent music.
We didn't invent metal.

We just look what we loved,

and, you know,
we stood on the backs of giants

and put our own two cents in.

And put our own two cents in.

That's all we did,
and out me thrash metal.

It was a real happening that had
real far-reaching, uh, impacts

over music culture over time.

[Gary Holt] See, this wasn't here.

I'm wondering if the stage
was kind of where the bathroom was.

I think it was,
and this wall was-was exposed.

You know, we're talking, like, you know,
35 years ago and shit or more.

I'm surprised how nice the park looks.
It's pretty awesome.

[Torn Hunting] We did a lot of cover tunes.
We did "Gets Your Rocks Off"

[Torn Hunting] We did a lot of cover tunes.
We did "Gets Your Rocks Off"

by Def Leppard and "Wasted"
by Def Leppard.

Half of the first Maiden album.

Our friend bought Iron Maiden I
just because of the cover.

It was so fresh and new back then that
a lot of people thought "Running Free"

was an Exodus original
for a little while.

We're like, no, sorry.
Can't take credit for that one.

Yeah, "Prowler."
Like, I love that song "Prowler."

Yeah, "Prowler."
Like, I love that song "Prowler."

That song rocks.

Kirk used to sing
"Another Piece of Me" by the Scorpions.

That was in my high school band room,
back when I still went to school.

[Kirk Hammett] It was a perfect storm
of all the people that we needed

inform a long-lasting musical scene
that went on to do great things,

and the amazing thing about it
is we were all young, innocent,

and the amazing thing about it
is we were all young, innocent,

and didn't know what
the fuck we were doing

or where it all was going.

It just happened.

It was like- It was like from--
from heaven.

It was one of
the greatest times of my life.

You know, I was telling
somebody this morning

that I thought Metallica played here.

No, no. Kirk Hammett from Metallica,

when he was a member of our band Exodus,
played here when we were 16 years old.

-No, you guys are Exodus?
-Yeah.

I've been a fan forever.

That is so awesome. You're back.

That is so awesome. You're back.

[Brian Posehn] Exodus continue in play
on around the world,

and still no fucking ballads!

["Heart and Soul" playing]

♪ All alone in the dead of night ♪

♪ My worst nightmare is coming true ♪

♪ Soon they'll come for me
With one single kiss I

♪ Soon they'll come for me
With one single kiss I

♪ I stand accused
You put me down ♪

♪ But I forgive this thorny crown ♪

♪ Pledge my heart and soul ♪

♪ Pledge my heart and soul ♪

♪ Pledge my heart and soul ♪

♪ Pledge my heart, my heart and soul ♪

♪ Pledge my heart, my heart and soul ♪