![]() There were bands out there like Venom and Accept that played fast, but Metallica took this style to a level of perfection." When discussing that day in Holland, Petrozza was equally reverential: "We were excited when we heard that they would open for Venom and everyone went there to see Metallica. Petrozza remembered being inspired by Hetfield and Metallica even before that Aardschock appearance: "When Kill 'Em All came out, it was like some kind of sonic revolution. With a growing number of likeminded followers in Europe, if ever there was an opportunity for Metallica to establish themselves at the forefront of a transient metal scene, 1984 was it. The Swiss band Celtic Frost-who influenced a slew of black metal and death metal bands with their off-kilter and avant-garde debut, Morbid Tales-were another young act trying to break into the market with a much darker and extreme sound. ![]() Their vast stage sets and ambitious visual production set the standard for any rock band to follow. Both bands continued to tour and release quality material for another twenty-five–plus years, but this was one of several peaks for both bands, particularly Iron Maiden. Iron Maiden, the most successful act to hail from the NWOBHM that Lars loved so much, released their mighty Egyptian-themed Powerslave that year, while Judas Priest-that other force of British metal-were flying high with Defenders of the Faith. Some of the more established bands enjoyed career-high success, while new acts-including Metallica-were trying to crash the party. In many ways, 1984 was a pivotal year in the genre. Far from being a time of media censorship and cultural repression, there was an outburst of aural productivity, and it was an exciting time to be a metal-head. Matrix / Runout (Side A Variant 2): MRI-769-A ▻ MASTERED BY FRANKFORD/WAYNE NEW YORK ¢ L.I.When 1984 rolled around, it was less Orwellian than some had predicted. Matrix / Runout (Side B Variant 1): A-2 MRI-769 Matrix / Runout (Side A Variant 1): A-1 MRI-769 Mastered at Frankford Wayne in New York City, New York. Recorded and mixed at Sweet Silence Studios in Copenhagen, Denmark during the spring of 1984. ![]() Lovecraft story, although the original spelling is "Cthulhu". "The Call of Ktulu" is titled after a H.P. Lars Ulrich revealed that the label was not convinced that the album had only 7 songs, so they asked the band to record one more song. "Escape" was the last song made for the album, and besides, it was done at the last minute. "Trapped Under Ice" contains riffs from the old Exodus songs "Impaler" and "Hell's Breath." The song contains a riff from the old Exodus song called "Die by His Hand" composed by Kirk Hammett. "Creeping Death" is lyrically about the biblical story of the plagues of Egypt. Cliff Burton's bass intro was played with his band Agents of Misfortune in a battle of the bands in 1981. The bell that rings at the start is a hammer striking an anvil. "For Whom the Bell Tolls" is titled after the book by Ernest Hemingway, and borrows its subject matter from one passage. Dave Mustaine gets a co-songwriting credit for "Ride the Lightning" and "The Call of Ktulu." Mustaine used several riffs from these songs in Megadeth, such as "Ride the Lightning" (on "Wake Up Dead" and "Hook in Mouth") and "The Call of Ktulu" (on "In My Darkest Hour", "Hangar 18", "High Speed Dirt", "Countdown to Extinction", "Blood of Heroes", and "When"). The first 10,000 copies include a "Metal Militia" insert.
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