Iron Maiden----} band member info
STEVE HARRIS as known by Janick Gers
I was introduced to Steve and Bruce when Gillan were playing Hammersmith Odeon back in the Eighties. I quite liked the lad at the time, and I met him subsequently at a few Maiden gigs after that. He always seemed quite intense and serious and aware of what was going on.
BRUCE DICKINSON as known by Nicko McBrain
I think my first encounter with Bruce was when he was rehearsing with Samson in Kilburn, which must have been 1979. I remember I was playing pool and Bruce came out of the studio and he was very animated and very loud and I thought, ‘Who is this geezer?!’ His personality was way in front of the man himself. But as I got to know Bruce, I realised that he is a very intense guy. In the early days when I joined Maiden, he was very extrovert, yet he was introverted at the same time. When he gets a great idea, he won’t let it go and he gets so animated, but other times he would be so intent on what he was thinking about, he would be in another world. His mind amazes me. He’s a genius. He’s also an absolute lunatic - but most geniuses are! And inside there’s a heart of gold.
In the early days, there was a bit of ego. He was the frontman of the band, and you can’t be the stubborn brawny frontman of a band like Maiden and be timid and weak. Outwardly, very few things would phase him, but I know inwardly he’s a very sensitive man. We would have incredible times together, but he would also be a bit of a loner and go off and do his own bits and pieces.
He got into his fencing, which I completely admired about him, because he’s superfit now, but he doesn’t work out half as much as he used to. He was such a good fencer, he was actually asked to join the Olympic fencing team in the mid-to-late Eighties, but he couldn’t because he had to go on the road with the band.
Writing books was the next thing. He was unbearable when he was writing those Iffy Boatrace books, because you’d be doing something on the bus and he’d have just finished writing a new chapter and he’d want to read the whole fricking story to you! But he was so excited, you can’t blow someone out the sky for that.
I was very angry with him when he left the band, because of the way it happened and because I didn’t want him to leave. But when we all got back in the room to take that beautiful picture of the reunion, it was as though we’d all been on holiday for a couple of months, instead of four-plus years and in Adrian’s case, ten almost. The most amazing thing about making music together is that you really bond with your music and also personally, in your inner soul. There’s an amazing vibe that’s always maintained and even though we had four great years with Blaze, when Bruce and Adrian came back into the band, there was this incredible affiliation again.
A change I saw in Bruce from that time, apart from his enthusiasm for the band back like he had when I first joined it, is the genuineness of the emotion that I feel from him. He’s changed in that he seems more rounded and more content, although he’s doing so much more than before he left the band. He’s doing his radio show, he’s doing his flying and he’s got a part-time gig in a band as a singer! He is an absolute joy to be around. We’ve had so many great times on the ‘Give Me Ed’ tour, as we will do on the ‘Dance Of Death’ tour.
I think his finest moment on ‘Dance Of Death’ has got to be on ‘Journeyman’, because it shows a lighter side to Bruce’s voice. There are a lot more subtle emotions than you get with some other tunes and there’s so much more control. The emotion he puts into that track is phenomenal.
As a person, Steve is one of the few people you meet that you can trust totally. He wouldn’t sell you down the river, he wouldn’t badmouth you behind your back; he’s a very straight fella. You can confide in him and it won’t get passed around, and he doesn’t bullshit. He has the ability to stand back and look at both sides of a situation, but if he’s convinced that he’s right, he will argue with every fibre of his body and he’ll never change his mind, which I think is a great strength. He has very strong mental tolerance.
In situations where other bands might have caved in, the one thing that has kept Iron Maiden doing what it does best is Steve, because he has this belief that what he’s doing is right. When you’re in a young band and your record company come to you, saying, 'You need to soften up your sound, we need a single', Steve’s the kind of guy you need to turn round to them and say, '**** off!'
Steve has a very fertile imagination and a very simple way of writing lyrics. It’s not highbrow stuff – it’s deeper than that. He writes it as he sees it and you really get the feeling the words are from inside him. Every time I play the song ‘Blood Brothers’, it makes me shiver, because he hit the nail on the head. He lost his dad when he was on tour and when things like that happen to you, sometimes you go to deep places - everyone experiences that - but to be able to write it down is another thing. When you read his lyrics, there’s an honesty in there that comes out and he opens himself up more than he does when you’re talking to the guy.
He’s a great football player and he had the choice to play football professionally or play music when he was a kid, but I think he made the right decision. I don’t think he could cope with the discipline of the footballer’s life at the time when you’re a teenager and you’re starting to meet people and get into music. He’s his own man. But having said that, he doesn’t drink much and he takes care of his body – that’s very important to him. Being a sportsman, his attitude is that if your body is healthy, your mind is too, and I think that helps with the band, because you don’t get locked into that stupid rock'n’roll 'let’s go party every night' lifestyle.
He is an idiosyncratic bass player. He picked up the bass and taught himself in such a way that nobody can really copy it. People say it’s like a lead guitar, but it’s not. It gives the band a basis and it moves around quite a lot, but it’s the tone that he has. He has a way of hearing things and a tone that isn’t normally associated with a bass, it’s more like a rhythm guitar. Him and Nicko provide the pulse of Iron Maiden, the body of the band. You copy it at your peril, because the sound of Maiden is built around the way Steve plays bass and the only band that it would work in is Maiden.
Steve has been very involved in the new album. He has this tunnel vision where he can really hone in on things and he has this tremendous focus when he’s recording albums - or doing anything with Iron Maiden really. He wants to get it right and he’s prepared to put the time in. Not many people have that kind of determination and focus.
He is a very, very strong personality. Without his drive and ambition, it wouldn’t be Iron Maiden, no doubt about it. He’s its heart and its power.
DAVE MURRAY as known by Adrian Smith
Dave and I grew up in the same area of London and I think we probably met at the local youth club, through a mutual friend called Dave McLaughlin. I knew that Dave McLaughlin was already playing guitar and I told him that I was a singer. I wasn’t, but I thought I’d get in with these guys! Then I think Dave Mac introduced me to Dave Murray and we started playing together; they played guitar and I sang.
When I first met him, he was a complete Hendrix nut and he loved Robin Trower and Santana, but I think he likes more blues based stuff these days. Back then, he had two guitars - he was very professional! His spare guitar from Woolworths wasn’t working, so I bought it off him for five quid and my dad fixed it, and that was my first guitar. It was a really nice guitar, as you can imagine!
Dave Mac drifted out of the band into other things, and Dave Murray and I carried on playing together for a few years until he decided to broaden his horizons and eventually he joined Iron Maiden. I carried on with the band we’d had, which became Urchin; he actually came back into the band for a while after he fell out with Iron Maiden’s singer, but then he went back to them. Before they did the first album, Iron Maiden asked me to join them, but my band was doing quite well, so I turned it down. Then they asked me again in 1980. I think Dave rang up and said, 'Look, I think you really should do it' and I did.
Dave is so easy-going and he’s a quiet guy. He has his moments, but generally, he goes with the flow. If you had six guys like Bruce or six guys like Steve in the band well, you need a combination of personalities. That’s what the chemistry of the band’s all about. In fact, I guess Dave and I are fairly similar. We’re both pretty laid-back and we’ve always got on very well.
Another good thing about Dave is that he’s always got a smile on his face. He has good energy, which is always a good quality to have in a band.
He’s a very consistent player, so it’s hard to pick his best moment on ‘Dance Of Death’, but the song ‘Rainmaker’ is one of my favourites and he wrote that with Steve, so I suppose I’d have to say that really.
Dave’s a very good guitarist, but he’s not the kind of guy who tries to outdo everybody. There’s enough scope in Iron Maiden’s music for all three guitarists to express themselves. The phrase 'Let the music do the talking' springs to mind when you talk about Dave. He’s always been able to express himself very well through the guitar.
He’s got his own style and sound, and that’s a rare thing. Everyone who plays guitar wants to have that and he always has, even when he’d just started playing. We could plug into the same amp and he’d still sound like him. If you hear Dave playing, you know it’s Iron Maiden straight away.
ADRIAN SMITH as known by Bruce Dickinson
I first met Adrian when I was in Samson and he’d just joined Iron Maiden. We were over the road from each other in different studios; we were doing the second Samson album and he was doing ‘Killers’. He was very much the new boy in the band, but I was really impressed with the style of his guitar playing. And he was dead rock and roll. He was skinny, pasty and waiflike, and he looked really cool!
He’s a pretty mellow person, and he’s got a very dry sense of humour. His nickname in the band used to be Willie-Orwontee - not for nothing! He likes to take his time over things, which is not a bad thing and in the old days when we used to do soundchecks together, we’d all be waiting for him, he’s such a perfectionist over sound.
In a world populated by faceless guitarists who all go to school to learn how to do it and end up all sounding virtually indistinguishable, Adrian has evolved a tone and style that is all his own and is unique. Nobody sounds like Adrian, and that is priceless. His guitar playing sounds lazy, like the notes are almost falling over each other but they never do. You actually hang on every note that he plays, because you don’t quite know where it’s going to go next.
He’s a very good athlete. When he plays football or tennis, he has a natural grace, and that’s what his guitar playing’s like. When he plays football, he gets the ball and you think, ‘He’s never going to get past that guy’, but suddenly, there’s a little shuffle and he’s dribbled past him. And it’s like watching him play guitar. I swear to God the timing is the same!
When he left the band in 1990, I think everybody was a bit surprised at how much we missed him and certainly, I don’t think anybody had realised how much the fans would miss him - big time. I wouldn’t have rejoined Iron Maiden if he wasn’t in the band. I just don’t think it would have been complete without Adrian, and now, it’s great having three guitarists.
I think possibly one of the greatest tracks he’s ever written is on the new album; it’s called ‘Paschendale’. When I was writing stuff with him for the album, I noticed he had lots of Siegfried Sassoon and other war books lying around, and he was researching this track. It’s a fantastic song and really evocative of the whole horrific period of warfare - a stunning piece of music, ten minutes long.
Adrian’s philosophy, I guess, goes back to something we were talking about one drunken night. He turned around and said, 'The thing about me is, all I’m interested in is just having a bit of a sing and a play', and that is at the root of everything that is Adrian. He’s happy having a drink, having a sing and playing guitar. And for something that’s that simple, he does it alarmingly well - especially the guitar playing
JANICK GERS as known by Dave Murray
I saw Janick onstage before I actually met him, and that was when he was with Gillan at Wembley Arena. I saw this flamboyant showman dancing around the stage playing great guitar, and I thought it was absolutely wonderful. Then he came down to a few of our shows and I met him backstage in the bar and we hit it off pretty much immediately - he was a really nice bloke.
In 1990, when Adrian left the band, Janick had just worked on Bruce’s solo album (‘Tattooed Millionaire’) and obviously, he was going to be the first choice as a replacement. But I remember at the beginning that Janick was actually defending Adrian - he was upset that he’d left the band and I think he was trying to talk him into coming back, which shows you what a good guy he is.
He came down to rehearsal and the stacks had been set up facing each other, wall-to-wall, so it was like a stand-off in a Western like ‘The Good, The Bad And The Ugly’, except I think we both wanted to be Clint Eastwood! We did ‘The Trooper’, we just went straight into it, there was no 'Let’s work it out together quietly.' It was just like one, two, three, four… bang! And straight away, sparks were flying round the room! It was apparent right away that this was going to work. He was very exciting to play with and it gave the band a well-deserved kick up the rear.
He is a genuine, salt-of-the-earth bloke, a very smart man with a great sense of humour. He’s a very sociable kind of chap. He likes going out strutting, especially on tour. He’ll go out for 20 mile walks and try to hit every bar on the way back!
He’s a good soul. He’s got a very good way of calming things down if they suddenly start to go overboard. He can pull everything together and make sure that people see things the right way. He’s very good at expressing himself that way, a very diplomatic man.
When he’s playing, he’ll push himself to the edge and really goes for it. There are two sides to it. His playing can be very controlled or it can be very spontaneous, but then he plays a lot of the melodic stuff. He’s got great feel, great dexterity, very fluid. So he’s fully rounded as a guitar player who goes from one extreme to another. He encompasses all aspects, from the quiet acoustic clean stuff into overdrive. It’s 360 degrees he plays everything. And he’s a great showman.
He wrote the track ‘Dance Of Death’ and it’s got everything on there, from the quiet moody melodic guitar to clean guitar to really heavy riffs, but done in the most complex and beautiful and sweet and heavy way, done with really good taste. If that song was the alphabet, from A to Z, it’s got every letter in it.
NICKO MCBRAIN as known by Steve Harris
With a character like Nicko, you never forget the first time you meet him! We were playing our first ever show abroad in Belgium and he was playing in a band called McKitty when I first saw him. He was sitting outside a café, dressed in a white suit, panama hat and winklepicker shoes. I thought he was a pimp or something from the way he was dressed! Larger than life, as he always has been and always will be, he had obviously had a couple of drinks and was chatting off, and I thought, ‘Wow, who is this character?’ It was quite an amazing experience to meet him and it still is really, he’s just a whirlwind. I suppose he’s calmed down a little bit over the years, but not a lot - but you wouldn’t really want him to.
He was with Trust when they supported us in ‘82 and we thought he was a fantastic drummer, so when Clive left the band, we approached Nick and asked if he’d like to try out and it worked fantastically.
It’s hard to describe what he’s like if you haven’t met him. I know people see him on the videos and that, and they think he’s crazy - and he is! But there’s a lot more to him than that. He flies planes and does all sorts of other things. He’s a more complex guy than you might think. He’s just really good fun to have around. I’m a bit on the shy side, so when we go out to meet people, I usually take him with me, because he’s a laugh and he’s got so much verbal, he takes the pressure off me. I just have to stand smiling in the background!
He is without a doubt the entertainer of the band. I really do think he could be a stand-up comedian if he wanted to. He half does that when he does his drum clinics. He tells these little stories and comes out with all these jokes. Often they’re in Spain or Italy or somewhere like that, and half the time, I’m sure the audience don’t really understand him, but he’s laughing at his own jokes anyway, so they laugh along with him! It really is a sight to behold, so I would recommend anyone to see his drum clinics, whether they’re into drums or not.
Technically, he’s a great drummer and he can play all kinds of music. Drummers from other bands sit round the back of him to see what he’s doing, but he’s got his kit set so he doesn’t even look at what he’s hitting half the time. He just puts his head down and plays.
He’s got his first songwriting credit with Maiden on ‘Dance Of Death’ with ‘New Frontier’. About time – he’s only been in the band 20 years! But the first one is probably the hardest to bring in to the other band members, especially when you’ve been in the band so long, and he’s up and running now, so I think it will give him the confidence to write stuff in future. Any variation in writing is a good thing and everyone is encouraged to write in this band; the only criteria is that it’s got to be bloody good!
thier tour dates are:
09/11/2006 DENMARK - Aalborg Gigantium
10/11/2006 DENMARK - Copenhagen Valby
12/11/2006 FINLAND - Tampere Icehall
14/11/2006 FINLAND - Helsinki Hartwall Arena
15/11/2006 FINLAND - Helsinki Hartwall arena
17/11/2006 SWEDEN - Stockholm Globen
18/11/2006 SWEDEN - Stockholm Globen
20/11/2006 SWEDEN - Gothenburg Scandinavium
21/11/2006 NORWAY - Oslo Valhalla
23/11/2006 NORWAY - Bergen Vestlandshallen
25/11/2006 SWEDEN - Stockholm Globen
27/11/2006 HOLLAND - Den Bosch Brabanthallen
28/11/2006 FRANCE - Paris Palais Omnisport de Bercy
30/11/2006 SPAIN - Barcelona Palau Sant Jordi
02/12/2006 ITALY - Milan DatchForum
03/12/2006 ITALY - Milan Datchforum
05/12/2006 SWITZERLAND - Zurich Hallenstadion
07/12/2006 GERMANY - Stuttgart Schleyerhalle
08/12/2006 GERMANY - Dortmund Westfallenhalle
11/12/2006 WALES - Cardiff NIA
12/12/2006 ENGLAND - Birmingham NEC
14/12/2006 ENGLAND - Manchester Arena
15/12/2006 SCOTLAND - Glasgow SECC
17/12/2006 ENGLAND - Newcastle Arena
18/12/2006 ENGLAND - Sheffield Arena
20/12/2006 IRELAND - Dublin The Point
22/12/2006 ENGLAND - London Earls Court
23/12/2006 ENGLAND - London Earls Court
Metallica-----} Band History
It's the sort of story that scriptwriters would get laughed out of conference rooms for entering. The sort of story that illustrates perfect synchronicity between hunger, passion and time. The sort of story that only happens every 30-odd years. And the sort of story that would approximately 500 pages to do it true justice.
Metallica. A household name. The 7th biggest selling act in American history.
Who'd have thought it when, on October 28th, 1981, drummer Lars Ulrich made guitar player/singer James Hetfield an offer he couldn't refuse: "I’ve got a track saved for my band on Brian Slagel's new Metal Blade label."
The truth is, Lars didn't have a band at that time, but he did that day when James joined him. The two recorded their first track on a cheap recorder with James performing singing duties, rhythm guitar duties and bass guitar duties. Lars dutifully pounded the drums, helped with musical arrangements and acted as manager. Hetfield's friend and housemate Ron McGovney was eventually talked into taking up bass and Dave Mustaine took lead guitar duties.
The band adopted the moniker Metallica after a suggestion from Bay Area friend Ron Quintana, and they quickly began gigging in the Los Angeles area opening for bands like Saxon. Eventually recording a fully-fledged demo called No Life Til Leather, Metallica quickly saw the tape whistle around the metal tape-trading underground and become a hot commodity, with San Francisco and New York particularly receptive.
Metallica performed 2 shows in San Francisco and found the crowds friendlier and more honest than LA's "there to be seen" mob. They also caught up-and-coming band Trauma, and most importantly their bass player, Cliff Burton. Cliff refused to move to Southern California: it was enough to convince Metallica to relocate to the Bay Area, and Cliff subsequently joined Metallica.
In New York, a copy of No Life Til Leather made its way to Jon Zazula's record shop, the aptly named Metal Heaven. Zazula quickly recruited Metallica to come out east to play some shows and record an album. The band made it to New York in a stolen U-Haul. Dave Mustaine, at that point the band's guitarist, was proving to be more problematic than even these loose young chaps could handle. Thus a few weeks after arrival, Mustaine was sent packing, roadie Mark Whitakker suggesting Kirk Hammett from Bay Area thrashers Exodus. Two phone calls and one flight later, on April 1, 1983 Kirk Hammett joined Metallica.
Metallica's first album, Kill 'Em All, was released in late 1983 and some ferocious touring which saw the band's reputation soar both in the US and Europe. In 1984 they went to work with producer Flemming Rassmussen in Copenhagen at Sweet Silence Studios on their second album. 'Ride The Lightning' proved that Metallica were not some thrash-in-the-pan one trick pony, the writing and sound illustrating a growth, maturity and intensity which saw them immediately targeted by major management in QPrime, and a major label in Elektra. Both deals were done by the fall of '84 and their reputation continued to grow worldwide.
Returning to the same studios in 1985, the group recorded 'Master Of Puppets', mixing in LA with Michael Wagner and releasing in early 1986. They quickly secured a tour with Ozzy Osbourne, and that stint (plus a top 30 album chart position) saw their fan base and name take a quantum leap. What had seemed so unlikely was nearer than ever to coming true; world domination.
PART TWO
On September 27th, 1986, that dream was given the most shattering of blows. Somewhere in Sweden on an overnight drive, the bands' tour bus skidded out of control and flipped, killing Cliff Burton. His influence on the musical growth of the band was enormous. Burton combined the DIY philosophies of jamming and experimenting with an acute knowledge of musical theory, and Hetfield in particular found a lot in his playing and personality. It was impossible to imagine Metallica without him. Yet Cliff would equally not have cared for people throwing in the towel because he wasn't around. And so it was that after a brief yet intense mourning period, Lars, James and Kirk decided to fight on. Jason Newsted was chosen from over 40 auditions to be the new bassist, the Michigan-born four-stringer leaving Arizona based Flotsam & Jetsam to take on the chance of a lifetime. The quartet immediately jumped into a tour, and then quickly recorded an EP of cover tunes titled Garage Days Re-Revisited (the band literally did the dirty work in Lars' garage!).
With Jason fully established, the band went back to record their fourth full-length album, ...And Justice For All, released in August 1988. The explosion that had been threatening for sometime finally happened. It reached #6 on the US charts, received a Grammy nomination for Best Metal/Hard Rock album, the band blew headliners Van Halen off-stage during the Monsters Of Rock tour and subsequently embarked upon an enormous worldwide tour. It was even the moment they finally delved into video territory, although the footage for 'One' was most certainly the most 'anti' video video of it's era.
The band took the show back out on the road and toured extensively to all parts of the world. ...And Justice For All produced two US singles and the band's very first venture into music video for the song One.
In 1991 Metallica released the self-titled 'Black' album, and saw their popularity soar to stratospheric heights. With new producer Bob Rock, this album was a subtle departure from the previous album with shorter songs, a fuller sound and simpler arrangements. It went straight to number one all over the world, stayed there for several weeks and ended up selling in excess of 15 million copies worldwide, spawned several legitimate singles as well as earning a Grammy and MTV/ American Music Awards. The band toured for close to three years, playing a solo arena tour in 'An Evening With Metallica', with Guns N' Roses on the duos' joint-headline stadium tour, and as headliner at many festivals. It meant that by the time the fall of 1993 rolled around, the four members were shattered both physically and mentally. Save for some Summer Shed action, there was little major activity as the band allowed their real lives to catch up with their rock lives.
Nearly four years would pass before the next Metallica album saw the light. Called Load, and recorded at The Plant in Sausalito California, it was the longest Metallica album to date with 14 songs, and signaled some significant changes for the band. Produced by Bob Rock, the material was loose, powerful and eclectic, the sound thick and punchy and the image one which screamed out change and freedom from enslavement to the Black album era. So many songs came from the sessions, that a second album titled ReLoad, followed in 1997. The Load tour was spectacular, encompassing cutting-edge technology, stuntmen, two-stages and an epic two-plus hours of performance. What ever doubts people might have had were swiftly blown away, and whilst Load could never match the heights of the Black album sales wise, it became a phenomenally successful album in it's own right.
In 1998, they re-packaged all the old B-sides, covers and the two previous Garage Days sessions and ran into The Plant to slam down 11 new covers. Electric, exciting and raw, the double-disc Garage Inc. was great reminder that for all the success, Metallica's heart still lay in the music. This point was further proven in 1999, when with conductor/composer Michael Kamen, Metallica embarked upon collaboration with the San Francisco Symphony to bring new dimension to classic material. Any potential skepticism of the project was blown away by two nights in April at the Berkeley Community Theater which proved to be epic milestones in the group's history. Far from their material being compromised, the arrangements of songs such as 'Master Of Puppets' gave symphonic instruments the chance to explode into the spaces and fill them with greater, heavier power than ever before. Having recorded and filmed the shows on the off-chance it might turn out alright on the night, Metallica released the S&M double-disc and DVD in late '99, marking yet another significant chapter in a Hall Of Fame - like history.
PART THREE
In the summer of 2000, Metallica took yet fresher steps towards establishing freedom from convention, proving that it was possible to assemble, and headline, your own stadium tour without promoting a record. Summer Sanitarium, Hetfield's back not withstanding, was a huge success, and anticipation grew as to when the band would hit the studio again.
The anticipation was replaced by fear at the turn of 2001 when, after several rumors, Jason Newsted departed the band. No one reason can be fairly the cause, more several long-standing issues that silently grew beyond their initial molehills. Of course many assumed that this would precipitate the break-up of the band, when of course it merely provided a conduit to newer levels of creativity and understanding.
The band realized there was much work to be done on both their personal and creative relationships, and spent the first part of 2001 investigating spontaneous avenues of discovery both in and out of the studio. They set up shop at an old ex-Army barracks called The Presidio, jammed together at length and made a decision not to rush the process of finding a new band member, opting instead to have producer Bob Rock do all bass parts.
In the middle of 2001, James Hetfield reached a place in his life where he felt rehabilitation, rest and re-focus were necessary for him to not only continue but also flourish. It meant that for many months, the members of Metallica embarked upon various levels of deeper discovery about themselves, the band and their lives both as a band and human beings. The results were to manifest themselves two-fold: when they came together again in the Spring of 2002 there was a deeper respect and appreciation for each other than ever before. And they were finally ready to make a new album, free of outside expectations, free of inner expectations and independent of anyone.
Settling into their new HQ, the band set about making 'St Anger' with Bob Rock. Those early Presidio sessions had certainly helped shape the freeform thinking and expression that was to come, but no-one, least of all the guys themselves, could've known just how fierce, raw and passionate the 'St Anger' material would turn out to be. With Rock always offering prompt and support, lyrics were written by everyone, writing was shared and performance was off the cuff, spontaneous and a 180 degree turn from the months of cut-and-paste which had become a part of the Metallirecording process in the past.
This Metallica was proud, confident, appreciative, humble, hungry, edgy, angry and also happy. Nervous? Sure, a little bit, but that too was good, yet another driver to new places and creative achievements that Metallica were enjoying.
It was in the Fall of 2002 that the band decided it was time to search for a new bassist, and after some closed auditions with personal invitees over a few months, ex-Suicidal Tendencies/Ozzy Osbourne bass player Robert Trujillo was chosen to be the new member of Metallica. Note, member. Not bassist or hired gun or replacement. But a band member. His whole demeanor, happy, relaxed, warm, enthusiastic blended with over 15 years of experience and a ferocious finger-picking style made Robert the only natural choice.
And so it is that as you read this, 'St Anger' has been completed, expectations are reaching heights that even the band cannot believe and there is the excitement of the first proper tour since Summer Sanitarium 2000. Looking at them, listening to them and seeing them, Lars, Kirk, Robert and James look like excited, eager children, men who cannot wait to be let out of then house to go and wreak aural havoc. Why? Because they can't! Metallica are about to hit a whole new level...and this is a story that will most DEFINITELY be continued...
PART FOUR
…the “St.Anger” era kicked off on April 30th/May 1st with the small matter of a video shoot at San Quentin prison for the same-titled track, and continued in earnest with an MTV Icons tribute show a week later, where peers such as Korn and Limp Bizkit lined up to pay tribute to the chaps. The guys also performed live, marking the first ‘official’ live appearance of Robert Trujillo (and the last in which he wore long trousers!) as well as James Hetfield’s first public performance since his stint in rehab.
Then came the small matter of rehearsals…which Metallica chose to do in front of their loyal fan club members over 4 nights at the historic Fillmore Theatre in San Francisco…and then it was off to Europe in June for the start of what would end up being 19 months of touring, with the festival circuit taking the early brunt, Metallica successfully playing to multiple 60,000-plus crowds. “St.Anger” saw it’s release on June 5th, a raw, feral, unrestrained slab of molten Metallica stuffed with abrasion, aggression and the overspill of four years excitement, anger, frustration and ultimate fruition. For those who thought it would signal a radio-hohned band, “St.Anger” was a big, fat slap in the face. Indeed, it was actually too heavy for some! Oh, and as if to prove that this ‘new’ Metallica were not a bunch of ginger-snap panty-waists, the boys played three shows in three different Parisian clubs in one day during mid-June, each venue harboring a temperature of not less than 100 degrees.
In the US, Summer Sanitarium followed, with Linkin Park and Limp Bizkit amongst the support acts on another series of stadium sell-outs. In the meanwhile, the fervor was slowly building for ‘Some Kind Of Monster’, the documentary film by Joe Berlinger and Bruce Sinofsky about the world of Metallica between 2001 and 2003. Ostensibly slated to be about the making of an album, the filmmakers found a whole new project developing when James went into rehab, and thus having been projected as a marketing tool, the end product ended up being an incredibly revealing 2 hour 20 minute documentary.
As the Mighty Metallica continued ploughing on through the world (going back to Europe, Japan and then onto Australia in January), SKOM was debuted to enormous critical acclaim at the 2004 Sundance Independent Film Festival in Utah during January.
And the year continued in the way that you’d imagine a Metalli-year does, deciding to play (seemingly) every single town capable of hosting a major arena gig in North America (some 80-plus dates) with Godsmack in support. Result? Oh well, the usual sell-outs you’d expect for this ‘in-the-round’ two hour thirty minute set which saw no song off limits and many a fan favorite raised from retirement for a gleeful airing. (p.s….there was another Grammy in February for Best Metal Performance – ‘St.Anger’).
July saw the theatrical debut of ‘Some Kind Of Monster’ which opened to enormous critical acclaim and went on to hold it’s own in North American theaters for three months before going through Europe. And August also saw the release of the first official Metallica book, “So What! The Good, the Mad, and the Ugly”, an edited compilation of the band’s fan club magazine spanning 10 years from 1994 to 2004.
And still the ‘Madly In Anger With The World’ tour continued, selling out venues right through to it’s final date in San Jose, California on November 29, 2004…
A busy spell? By many’s standards most certainly.
By Metallica’s?
Business as usual.
They did publicly state that the majority of 2005 would be spent re-charging those creative and mental batteries, and true to their word it has been a quiet year up to the moment of writing…indeed, many fans have commented on how strangely similar this ‘down’ period feels to the one between “…Justice” and the “Black” album…
And there has just been news of the first Metallimovements of the year, the early stretches and brushing of cobwebs being planned at a couple of small hometown gigs for a few friends at SBC park in San Francisco with The Rolling Stones!
Tour Dates
June 3 Nurburgring, GER Rock Am Ring Festival
June 4 Nurnberg, GER Rock Im Park Festival
June 6 Berlin, GER Waldbuhne
June 8 Arnhem, HOL Gelredome
June 10 Donington, UK Download Festival
June 11 Dublin, IRE Download Festival
June 13 Tallin, EST Song Festival Grounds
June 15 Nickelsdorf, AUT Novarock Festival
June 17 Imola, ITA Heineken Jammin Festival
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Japan
Date Location Venue Tix
Aug 12 Tokyo Summer Sonic Festival Click to Buy
Aug 13 Osaka Summer Sonic Festival Click to Buy
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South Korea
Date Location Venue Tix
Aug 15 Seoul Seoul Olympic Main Stadium Click to buy
Hope that's enough!