LEGENDS OF ROCK N ROLL

The Rock N Roll Hall of Fame: Inductees by Year: 2012

2011-12-15T04:47:00.000-08:00

Inductees by Year: 2012

Beastie Boys
Induction category: Performer
Donovan
Induction category: Performer
Tom Dowd
Induction category: Sideman
Guns N' Roses
Induction category: Performer
Glyn Johns
Induction category: Sideman
Freddie King
Induction category: Early Influence
Don Kirshner
Induction category: Sideman
Cosimo Matassa
Induction category: Sideman
Laura Nyro
Induction category: Performer
Red Hot Chili Peppers
Induction category: Performer
The Small Faces/The Faces
Induction category: Performer

Kiss - I Was Made For Lovin' You (Live From Inner Sanctum)

2011-12-15T04:33:00.000-08:00

Linkin Park - Papercut HD

2011-12-15T04:30:00.000-08:00

Linkin Park - Runaway

2011-12-15T04:28:00.000-08:00

Van Halen - Van Halen - Little Dreamer

2011-12-06T09:52:00.000-08:00

REM Everybody Hurts

2011-12-03T12:51:00.000-08:00

R.E.M. - The One I Love

2011-12-03T12:38:00.000-08:00

DEDICATED!

Kiss - Detroit Rock City

2011-12-03T02:14:00.000-08:00

TESLA - LOVE SONG

2011-11-22T05:17:00.001-08:00

(1) [MINI STORY]

"Love Song" is a power ballad by the band Tesla, from the album The Great Radio Controversy, released in 1989. When the video was placed in heavy rotation on MTV, the song rocketed to number ten on the U.S. charts, becoming one of the group's biggest hits.

The music video was filmed in the band's home town of Sacramento at the former Cal Expo amphitheater. Old 93 Rock banners can be seen hanging in the back ground.

The single and video version removes the classical guitar intro, reducing the song length to about 4:09.

U.S. Billboard Hot 100: 67 (until End of year chart (1990))

(2) [VIDEO CLIP]

(3) [LYRICS]

So you think that it's over, say your love has finally reached the end
Any time you call, night or day, I'll be right there for you
If you need a friend

It's gonna take a little time, I know, time is sure to mend your broken heart
But don't you even worry, pretty darling, 'cos I know you'll find love again

Love is all around you, love is knockin' outside your door
Waitin' for you is this love made just for two
Keep an open heart and you'll find love again, I know

Love is all around you, yeah yeah, love is knockin' outside your door
Waitin' for you is this love made just for two
Keep an open heart and you'll find love again, I know

[Solo]

It's all around
It's all around

Love will find a way - darlin', love is gonna find a way
Find it's way back to you
Love will find a way - so look around, open your eyes
Love is gonna find a way
Love is gonna, love is gonna find a way, yeah
Love will find a way - love is gonna find a way back to you, yeah yeah yeah

[Solo]

Love will find a way - darlin', love is gonna find a way
Find its way back to you
Love will find a way - oh just look around, look around
Open up your eyes now, honey
Love is gonna find a way - love is gonna, love is gonna
Love is gonna, love is gonna find a way, yeah
Love will find a way - love is gonna find a way back to you, yeah, I know

(4) [TABS]

I feel this is 99.9%!! Enjoy! 


e|---3-----3p2------2-------------------14p12p10----------2---3-3p2--------|
B|--------------5-------3-3-3-----------------------------------------5----|
G|-------------------------------------------------------------------------|
D|---0--------------0-------------------------------------0----------------|
A|-------------------------------------------------------------------------|
E|-------------------------------------------------------------------------|

     
e|--------------------------2--------------------------------5----7-7p5----|
B|---2----3---5------2---------3---------0-----2---3---------7-----------8-|
G|-------------------------------4-----------------------------------------|
D|-----------------------4-----------------------------------0-------------|
A|---0---------------2-----------------------------------------------------|
E|---------------------------------------3---------------------------------|

     
e|---0----2---3-------------2---------------------------5---7-7p5----------|
B|---2----3---5-----2----------3---------0---2---3------7----------8-------|
G|--------------------------------4----------------------------------------|
D|----------------------4-------------------------------0------------------|
A|---0--------------2------------------------------------------------------|
E|---------------------------------------3---------------------------------|

     
e|---0---2---3------2-------2---------------------------2---3-3p2----------|
B|---2---3---5-----------------3---------0---2---3-----------------5-------|
G|--------------------------------4----------------------------------------|
D|----------------------4-------------------------------0------------------|
A|---0--------------2------------------------------------------------------|
E|---------------------------------------3---------------------------------|

    
e|----------------------0--------------------0------------2------------2---|
B|---2--3--5-----3---2------3------------2-----2----2-------2-----2------2-|
G|-----------------------------0-----------------2------------2-----------2|
D|--------------------------------0---------2------------------------------|
A|---0-----------2---0---------------0---0--------------4------------4-----|
E|----------------------4---3-----------------------2-------------2--------|

[ Tab from: http://www.guitaretab.com/t/tesla/19170.html ]
e|-------------------------------------------------------------------------|
B|---0--2--3------2--3---3s5--3--3p2p0-----2--3---0--2--3------2--3--------|
G|-------------2------------------------2-------------------2--------------|
D|-------------------------------------------------------------------------|
A|-------------------------------------------------------------------------|
E|---3---------2---------0--------------2---------3---------2--------------|

                                     (quickly)            (quickly)
e|-------------------------------------------------------------------------|
B|---3s5--3--3p2p0--2------------------------------------------------------|
G|--------------------(let ring)------4p2p0--(repeat x4)--4p2p0------------|
D|--------------------------------------------------------------4p2p0------|
A|------------------0-------------------------------------------------4p2p0|
E|---0---------------------------------------------------------------------|

        (quickly)
e|-------------------------2--3-3p2----------------------------------------|
B|-------------------------3---------5-------------------------------------|
G|--4p2p0------------------2-----------------------------------------------|
D|--------4p2p0------------0-----------------------------------------------|
A|--------------4p2p0------0-----------------------------------------------|
E|-------------------------x-----------------------------------------------|

     
e|--------------------------2--------------------------------5----7-7p5----|
B|---2----3---5------2---------3---------0-----2---3---------7-----------8-|
G|-------------------------------4-----------------------------------------|
D|-----------------------4-----------------------------------0-------------|
A|---0---------------2-----------------------------------------------------|
E|---------------------------------------3---------------------------------|

   
e|---0----2---3-------------2---------------------------5---7-7p5----------|
B|---2----3---5-----2----------3---------0---2---3------7----------8-------|
G|--------------------------------4----------------------------------------|
D|----------------------4-------------------------------0------------------|
A|---0--------------2------------------------------------------------------|
E|---------------------------------------3---------------------------------|

     
e|---0---2---3------2-------2---------------------------2---3-3p2----------|
B|---2---3---5-----------------3---------0---2---3-----------------5-------|
G|--------------------------------4----------------------------------------|
D|----------------------4-------------------------------0------------------|
A|---0--------------2------------------------------------------------------|
E|---------------------------------------3---------------------------------|

     
e|----------------------0--------------------0---------2---3--(slide)-10---|
B|---2--3--5-----3---2------3------------2-----2-------3---5----------10---|
G|-----------------------------0-----------------2-------------------------|
D|--------------------------------0---------2----------0---------------0---|
A|---0-----------2---0---------------0---0---------------------------------|
E|----------------------4---3----------------------------------------------|

| 
| s  slide 
| h  hammer-on
| p  pull-off
| ~  vibrato
| +  harmonic
| x  Mute note

--------------------------------

(1) Wikipedia

(2) Youtube

(3) Lyrics

(4) Tabs

George Thorogood & The Destroyers

2011-11-14T14:34:00.001-08:00

George Thorogood & The Destroyers Biography

2120 South Michigan Avenue, home of Chicago’s Chess Records, may be the most important address in the bloodline of the blues and rock ‘n’ roll.

That address – immortalized in the Rolling Stones’ like-named instrumental, recorded at an epochal session at Chess in June 1964 and included on the band’s album 12 X 5 – serves as the title to George Thorogood’s electrifying Capitol/EMI salute to the Chess label and its immortal artists.

Thorogood has been essaying the Chess repertoire since his 1977 debut album, which included songs by Elmore James and Bo Diddley that originated on the label. He has cut 18 Chess covers over the years; three appeared on his last studio release, 2009’s The Dirty Dozen. On 2120 South Michigan Avenue, he offers a full-length homage to the label that bred his style with interpretations of 10 Chess classics.

The album also includes original tributes to the Windy City and Chess’ crucial songwriter-producer-bassist Willie Dixon, penned by Thorogood, producer Tom Hambridge, and Richard Fleming, plus a cranked-up version of the Stones’ titular instrumental.

Chess Records had been making musical history for a decade before it moved into its offices on Michigan Avenue, in the heart of the Windy City’s record business district, in 1957. Leonard and Phil Chess, sons of a Polish immigrant family and South Side nightclub operators, bought into a new independent label called Aristocrat Records in 1947. The brothers bought out their partners in 1950 and gave the label the family name; by that time, they had racked up blues hits by Muddy Waters, Sunnyland Slim, Robert Nighthawk, and St. Louis Jimmy.

Chess’ studio spawned timeless ‘50s and ‘60s recordings by Waters, Chuck Berry, Bo Diddley, and Howlin’ Wolf, which served as inspiration for the Stones and their blues-rocking brethren, and then lit a fire under their successors George Thorogood and the Destroyers.

            Thorogood recalls, “I remember as a teenager reading about Mick Jagger meeting Keith Richards on a train. Jagger had a Chuck Berry record, and he said he wrote to Chess Records and got a catalog sent to him. Just out of curiosity, I took out one of my Chess records, got the address, and I wrote to Chess Records. And they sent me a catalog of the complete Chess library, and I started buying up these Chess records. I bought every single one of them I could possibly get.
            “And I remember reading the backs of those Chess records and seeing the address, 2120 South Michigan Avenue, and I said, ‘That’s the same address as the Rolling Stones’ instrumental!’ And I started putting one and one together and coming up with a big two.”
            Over time, Chess’ catalog and artists became the sources of Thorogood’s higher education in music. “That was my school, the college that I had to learn my trade in,” he says. “I had to figure out how these people did these things.”
            The new album also celebrates the performers who shared stages with Thorogood and the Destroyers and encouraged them when they were just coming up on the East Coast blues scene.
            He says, “The people who helped me out were all the guys in Muddy Waters’ band, all the guys in Howlin’ Wolf’s band. They were wonderful to me, and they wanted to help me. They saw what I was trying to do.”

2120 South Michigan Avenue isn’t just Thorogood’s salute to a great record label – it also pays homage to the tough, larger-than-life men who made the music.

“It was a lifestyle as well as an art form, as far as music goes,” Thorogood notes. “They were singing about what their life was like on a daily basis. Sonny Boy Williamson and Wolf and Muddy Waters – they didn’t think they were the baddest cats in the world, they knew they were the baddest cats in the world. They had to be, or they wouldn’t have survived. There’s nothing glamorous in it – that’s just the facts. They had to fight their way through on a daily basis just to keep their heads above water. That’s very clear in a lot of their songs.”
Some of the songs from the Chess catalog heard on 2120 South Michigan Avenue were staples of the Destroyers’ live repertoire; Thorogood says, “A lot of the things I recorded I was doing 25 or 30 years ago, and I had stopped doing them.”

He adds that since many Chess recordings have become linchpins of the rock and blues repertoire, both on record and in concert, some careful winnowing had to be done for the album: “We did a lot of research and said, ‘Wait a minute, the Rolling Stones did that song, John Hammond did that song.'"

Producer Tom Hambridge is the ideal collaborator for 2120 South Michigan Avenue. A veteran of tours with Chuck Berry, Roy Buchanan, the Drifters, and other stars, Hambridge won a 2010 Grammy for his work on Buddy Guy’s Living Proof, and wrote the album’s Guy-B.B. King duet “Stay Around a Little Longer.” He received Grammy nominations for Guy’s Skin Deep (2008), Johnny Winter’s I’m a Bluesman (2004), and Susan Tedeschi’s Just Won’t Burn (1998). He also fronts his own band, Tom Hambridge & the Rattlesnakes.

The special guests on 2120 South Michigan Avenue sport direct connections to Chess and Chicago’s blues scene. Guitarist Buddy Guy made his Chess label debut 51 years ago.

Thorogood remembers, “I went to [the Austin blues club] Antone’s for the first time in 1977, and I saw Buddy Guy play. It was the first time I saw him, and I never forgot that he led off with [Chess artist Tommy Tucker’s] ‘High Heeled Sneakers.’ I thought that was just unbelievable. Buddy just tore it apart, like he does everything – that’s his style.”

Harmonica master Charlie Musselwhite is heard on two of the album’s tracks, a cover of Little Walter’s hit “My Babe” and the Stones’ “2120.” “Memphis Charlie” haunted Chicago’s South Side clubs in the ‘60s, learning at the feet of Chess titans like Little Walter Jacobs and Sonny Boy Williamson and hanging out with such like-minded contemporaries as Paul Butterfield, Mike Bloomfield, and Elvin Bishop of the pathfinding Paul Butterfield Blues Band.

Thorogood says, “I don’t play harmonica. Little Walter plays harp, and Sonny Boy Williamson plays harp, and Howlin’ Wolf plays harp. So I said, ‘Well, what am I gonna do about this?’ It’s an easy choice. I said, ‘There’s only one cat we can get to play ‘My Babe’ by Little Walter, and that’s Charlie.’ He’s the last cat!”

Through the entire project, Thorogood and the Destroyers attempted to put their own distinctive spin on the Chess material while maintaining fidelity to the originals’ attack.

“When you do Chuck Berry and Bo Diddley, when you play Muddy Waters and Howlin’ Wolf, there’s no experimenting,” Thorogood explains. “That’s a religion, and you’ve gotta do it right.”

The historic music heard on 2120 South Michigan Avenue didn’t merely change George Thorogood’s life, as he himself notes.

“It’s not a musical phenomenon, it’s a social phenomenon. The man who created rock ‘n’ roll was Chuck Berry, and he listened to Muddy Waters. Bo Diddley went to the same school and listened to the same people. Rock ‘n’ roll changed the whole world. That never would have happened if it hadn’t been for Chess Records. It’s the source of the whole thing.”

George Thorogood - You Talk Too Much

George Thorogood - Get A Haircut And Get A Real Job

Bruce Springsteen - Born To Run

2011-11-09T14:24:00.000-08:00

Born to Run

Studio album by Bruce Springsteen

Released

August 25, 1975

Recorded

Record Plant, New York
914 Sound Studios, Blauvelt, New York
January 1974 - July 1975

Genre

Rock

Length

39:26

Label

Columbia

Producer

Bruce Springsteen, Mike Appel, Jon Landau

Bruce Springsteen and the E Street Band chronology

The Wild, the Innocent & the E Street Shuffle
(1973)

Born to Run
(1975)

Darkness on the Edge of Town
(1978)

In the day we sweat it out in the streets of a runaway american dream

At night we ride through mansions of glory in suicide machines
Sprung from cages out on highway 9,
Chrome wheeled, fuel injected and steppin out over the line
Baby this town rips the bones from your back
Its a death trap, it's a suicide rap
We gotta get out while were young
`cause tramps like us, baby we were born to run

Wendy let me in I wanna be your friend
I want to guard your dreams and visions
Just wrap your legs round these velvet rims
And strap your hands across my engines
Together we could break this trap
Well run till we drop, baby well never go back
Will you walk with me out on the wire
`cause baby Im just a scared and lonely rider
But I gotta find out how it feels
I want to know if love is wild, girl I want to know if love is real

Beyond the palace hemi-powered drones scream down the boulevard
The girls comb their hair in rearview mirrors
And the boys try to look so hard
The amusement park rises bold and stark
Kids are huddled on the beach in a mist
I wanna die with you wendy on the streets tonight
In an everlasting kiss

The highways jammed with broken heroes on a last chance power drive
Everybodys out on the run tonight but there's no place left to hide
Together wendy well live with the sadness
Ill love you with all the madness in my soul
Someday girl I don't know when were gonna get to that place
Where we really want to go and well walk in the sun
But till then tramps like us baby we were born to run

SCORPIONS- WHEN THE SMOKE IS GOING DOWN

2011-10-27T14:43:00.000-07:00

Line Up:

Klaus Meine (Vocals)
Rudolf Schenker(Guitars)
Matthias Jabs (Guitars)
Herman Rarebell (Drums)
Francis Buchholz(Bass)

Producer:

Dieter Dierks

Release:1982

Music: Rudolf Schenker
Lyrics: Klaus Meine

Just when you make your way back home
I find some time to be alone
I go to see the place once more
Just like a thousand nights before
I climb the stage again this night
'Cause the place seems still alive
When the smoke is going down

This is the place where I belong
I really love to turn you on
I've got your sound still in my ear
While your traces disappear
I climb the stage again this night
'Cause the place seems still alive
When the smoke is going down

I climb the stage again this night
'Cause the place seems still alive
When the smoke is going down
When the smoke is going down
When the smoke is going down

Scorpions are one of those classic bands I never checked out until recently, so I won't try to make this review sound like I know everything about the band - rather, I'll be writing this from the perspective of a new listener who has not yet become familiar with all incarnations of the band. Blackout was the band's eighth album, the newest at the time in a long line of innovative hard rocking glory. Well, as was par for the course at the time, Scorpions did not do the same thing they did on the last album, changing gears yet again and still retaining their signature German rocking charm. However, unlike previous changes in style, Blackout was the band's first nose-dive into the 1980s, so the order of the day became shinier, catchier hooks and a sparklier production. Out went the drug-induced haze of Hendrix and Sabbath and in came this new sound.

Blackout, though, is not a shameless sell-out record. The band got a little dumber lyrically, and they started repeating the title of the song more often for their choruses, but does that make this any less of a killer? Fuck no, this is about as good as it gets with commercial Heavy Metal. Virgin Killer is a little better, but this just rules. The thing I like about this album is that while it takes on a very streamlined, basic approach, it never begins to wallow in the realm of the dreaded pandering that so many later bands did. It is a near perfect marriage of the budding 80s brand of poppy commercialism and the traditionally energetic and complex Heavy Metal that had been thriving in the underground for about ten years at the time. The hooks are crystal clear and sticky as hell, the vocals are high-pitched and saccharine, and the riffs are ass-kicking hard-rock-drenched slabs of metal that I just love, galloping along with ease and making you bob your head and tap your feet while you sing along. And yet Scorpions never become too asinine or silly in their simplicity. These guys are honest, never sounding sleazy or watered down, never slowing down the tempo and never playing with anything but 100% energy and heart with that unique Scorpions flavor layered over it like honey.

So, yeah, the title track starts out with a classic, jumpy riff and a chorus that will never come out of your head - this is the definitive Scorpions sound right here! "Can't Live Without You" is another direct hit on the rock radar with its even more upbeat and poppy chorus, drilling itself into the listeners head with ironclad syncopation and a beat for the ages. The album hits a bit of a dead spot with the next two songs, which sort of repeat the exact same formula as that song does (and they even sort of have similar names...), but then the explosive "Now!," with its high-octane chorus, kicks up, and the album soars straight to the stratosphere. "Dynamite" is a straightforward ass-kicker in the same mold as the title track with blazing leads and a heroic chorus, and then "Arizona" is a more staunch and mid-paced jaunt, with a wide-open, roaming sort of feel to the music - definitely the most 70s sounding song on here. "China White" is a real surprise, as it is a total Iron Maiden-esque epic, with a booming vocal performance from Klaus Meine and some nice, searing guitar melodies, and then even the ballad of the album, "When the Smoke is Going Down" isn't sappy or over-done at all (rather a very quiet song, closing out the album with grace); very nice for this sort of music!

I really do wish more bands had taken this sort of path, but alas, even Scorpions themselves would become wrapped up in a proto-Def Leppard/Motley Crue sort of sleaze with the follow up to this one, that I just don't like as much at all. So we're left with Blackout, a shining gem in the rough, full of pep and muscle both, sparkling with a vivid and charging intensity that will provide for many more afternoons of fun. Get this one if you like quality metal or rock music in general, you will not regret it.

REALLY DAMN CATCHY - 80%

Yes, the catchiness is the main charcteristic of this record. It's incredible how the Scorpions know how to write infectious choruses and guitar riffs. Really, after hearing this album I had almost every chorus of “Blackout” in my head... Yeah, it's that damn catchy!

Klaus Meine, with his distinctive voice, is one of the most important musicians on this album. He has an amazing range and voice, and that impresses me even more because he had some kind of problem in his throat during the recording of “Blackout”. It's really spectacular how he still sounds amazingly well with his throat damaged. The two guitar players are also very good on this album, playing catchy guitar riff after catchy guitar riff. The solos are all memorable too (have I already mentioned that this record is very very CATCHY?). The drumming is very predictable and simple, unfortunately, and the bass inaudible on the majority of the songs (meh). The lyrics are.. Well, you certainly don't expect good lyrics from Scorpions, do you?

This record is flawed though. It's main flaw is the lack of variety, since every song follows the same structure and every tune is very focused on the choruses, so better don't expect any interesting instrumental sections within them. The only song that really is a bit more ambitious and complex than the others is “China White”, the longest and heaviest track of “Blackout”. That track absolutely screams “heavy metal!”, thanks to the crushing and powerful guitar work. Really, the riffage would make Sabbath (or Priest) proud.

The title track is among the stand-outs too, a powerful song driven by the crazy vocal acrobacies of an inspired Meine. “Dynamite” is an absolutely essential song too, I just love the parts where Klaus is singing just accompanied by the dynamic drum work... great stuff, indeed. “Now” is a nice little headbangable piece too. Finally, “Can't Live without You” is another relatively aggressive song, but definitely the weakest of the bunch.

The remaining three tunes, “You Give Me All I Need”, “No one Like You” and “When the Smoke is Going Down”, are definitely calmer than the afore-mentioned songs, but only the latter can be labeled as a true ballad. The first two very weak, unfortunatey, mainly because I don't like their choruses, I think both are extremelly annoying. On other hand, “When the Smoke is Going Down” is very underrated, an amazing little emotional tune that works perfectly well as the closer, after the bone crushing “China White”.

So, a good catchy metal album, all in all. The two flaws of it are the lack of durability and variety. After listening to this record five times, I've never touched it again, that can give you an idea of the poor durability of “Blackout”. An influential and important record, though, if you like early heavy metal/hard rock check this out, this might interest you.
One last word to the production, which is pretty damn good if you bear in mind that “Blackout” was recorded during 1982.

Best Moments of the CD:
-the first time the heavy riffs of “China White” are played.
-the chorus of “When the Smoke is Going Down”, sung by an emotional Klaus Meine.
-the parts of “Dynamite” where we just hear Klaus singing, accompanied by the drum lines.

Nhorf, July 2nd, 2008

German steel! - 100%

Another excellent release by German metallers Scorpions in a fine moment. This one is specially remarkable, because it meant the move of the band into true metal, definitively. Along with Accept’s “Restless And Wild” (from the same year, 1982, a great period for metal), “Blackout” became a masterpiece of German metal, and had a huge influence on bands like Destruction, Kreator, Running Wild, Warlock, Rage or Blind Guardian. Also, like Accept’s one, this album contributed to the birth of thrash and speed metal, with killer tracks such as “Dynamite”.

“Blackout” features a great and powerful production by the legendary Dieter Dierks, and obviously the result is great. The sound, just solid, aggressive and fast. The classics “Dynamite”, the title track “Blackout” or “Can’t Live Without You” show an new attitude, stronger, harder and aggressive, as the cover also demonstrates. Klaus Meine’s voice sound sharp and dirty, but melodic and sophisticated at the same time. Matthias Jabs attacks with awesome shredding solos and Rudolf Schenker’s incredible virtuosity and riffs also contribute to build a legendary metal sound. The rhythmic parts are also played with passion and efficiency by Hermann Rarebell and Francis Buchholz, one of the best tandems of German music. “Blackout” is a wall of metal sound, filled with strength and raw attitude. “No One Like You” and “When The Smoke Is Going Down” are the ballads of the record. Both are from the best stuff ever released by Scorpions, although, in my opinion, I think the last track is slightly underrated. “Arizona”, “China White” and “Now!” aren’t considered classics by, anyway, what matters is that also shape a metal classic album.

In conclusion, this album is essential, It can’t be missed on any metal collection, along with another masterpieces from the same year, like Iron Maiden’s “Number Of The Beast”, Judas Priest’s “Screaming For Vengeance” or Accept’s “Restless And Wild”. Specially I highlight “Dynamite”, probably the most influential and speediest Scorpions song (along with “Sails Of Charon”) which is still an incredible metal anthem, awesome to listen in their concerts. The recordings from the Blackout Tour ’82 also demonstrate that the band was in a fine moment, ready after “Blackout” to record their definitively work “Love At First Sting”. I hope their recover those many old stuff in their concerts, because there ain’t no doubt that those are really an all time metal classics.

- Metal_Thrasher90, May 23rd, 2008