CLASS OF 1984 – Classic Metal Albums That Are Turning 30 This Year!


Yikes, now this post definitely makes me feel “old” – whatever that means! 1984 was a great year for hard rock and heavy metal.

*This was re-Blogged from VH1 | Ben Smith


It may seem like a distant memory now, [but at the time] 1984 was a very foreboding year. Whether in the dystopian George Orwell novel of the same name or the punk rock exploitation thriller Class of 1984, it had ominous connotations and the reality of it wasn’t much better. The threat of nuclear war between The United State and The Soviet Union hovered in the air, especially that summer when U.S. President Ronald Reagan glibly joked “My fellow Americans, I’m pleased to tell you today that I’ve signed legislation that will outlaw Russia forever. We begin bombing in five minutes.” Reagan was the perfect And the soundtrack to such a bleak year, from Zürich, Switzerland to California’s San Fernando Valley, was heavy f**king metal.

1984 was an important year for heavy metal music which had gained commercial ground and going from artistic strength to strength since the late 1970s. Well-established acts like Judas Priest, Dio and Iron Maiden were at peak popularity and releasing the last of their classic albums. Seminal metal bands Motorhead and Deep Purple returned from sojourns, both brief and extended, to remind the faithful of their enduring greatness. The genre made significant inroads in the charts as well as glam-metal bands like Ratt and Twisted Sister released their biggest albums, supported by widely seen music videos on the upstart cable channel MTV.


Judas Priest’s Rob Halford

Judas Priest’s Rob Halford performing live in 1984. [Photo: Getty Images]

The enduring legacy of metal’s Class Of 1984 though is what was happening in the metal underground. As the Hollywood bands partied and put on make-up a new generation of malcontents subsisting on cheap beer, buzzsaw riffing and fifth-generation demo tape dubs lay in wait. 1984 was the year thrash metal sent its first shots across the bow as scene leaders Metallica released their crucial sophomore effort Ride The Lightning and Anthrax issued their searing début album, Fistful of Metal. Deeper into the underground still, Celtic Frost and Bathory issued their first recordings which would help shape the sound and imagery of black metal. Even further afield, Saint Vitus and Cirith Ungol released dark, sludgey doom metal epics whose impact wouldn’t even be felt for another 15 years.


Cliff Burton and James Hetfield

Cliff Burton and James Hetfield of Metallica on stage in 1984. [Photo: Getty Images]

Looking back now 30 years later, there were no less than 30 important heavy metal full-length albums released in 1984 which either sold in the millions or laid the groundwork for the genre’s future evolution. This list doesn’t even take into account important EP’s by the likes of Slayer, Overkill and Hellhammer not-to-mention crucial demos from the tape trading underground. So crack a beer, crank up your favorite metal album from 1984 and check out our gallery of 30 classic heavy metal albums that are celebrating their 30th anniversaries in 2014!

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N-Joy the ALBUM COVER slide show



*How many of these are in your collection?

King Diamond announces North American Tour 2014

Some of the best news that I’ve received in my “in box” lately. All hail the KING!

Go see this show – you will not be disappointed. They’ve always been consistent and deliver in a live setting.

*Notice Andy LaRocque and Hal Patino are in this line up. I remember seeing them in the 80’s @ Bogart’s in Ohio. I’ll scan some of the pic’s I took; I’ve got some excellent Vault-quality images to share with Demolish readers. \m/


King Diamond has confirmed what has been rumored for several weeks: the band will return to North America for a full tour this Fall! The tour will wrap up with the previously announced performance at Fun Fun Fun Fest in Austin, TX, and begins on October 11 in Atlanta, GA. A limited edition King Diamond jacket will be available through the fan club presale, which begins tomorrow, June 24th. Tickets will be on sale online and at box offices nationwide on Friday, June 27th.

King Diamond will be joined on stage, of course, by long time band members Andy LaRocque, Mike Wead, Hal Patino, and Matt Thompson. Additionally, North American fans will be bearing witness to the band’s full European festival stage show. These will be the most ambitious and largest productions in North America in the band’s entire history. A special guest supporting act for the tour will be announced at a later date.


North American Tour 2014

10/11 Atlanta, GA Center Stage
10/13 Silver Spring, MD The Fillmore
10/14 New York, NY Best Buy Theatre
10/16 Worcester, MA Palladium
10/17 Montreal, QC Olympia
10/18 Toronto, ON The Sound Academy
10/19 Pittsburgh, PA Stage AE
10/21 Chicago, IL The Vic Theatre
10/22 St. Louis, MO The Pageant
10/24 Denver, CO Paramount Theatre
10/26 Salt Lake City, UT The Complex
10/28 Seattle, WA The Moore Theatre
10/30 San Francisco, CA The Warfield
10/31 Los Angeles, CA The Wiltern
11/01 Las Vegas, NV House of Blues
11/03 Tucson, AZ Rialto Theatre
11/05 Houston, TX House of Blues
11/06 Dallas, TX House of Blues
Fun Fun Fun Fest
11/08 Austin, TX Auditorium Shores


On tour in Europe this summer

25/07 Stockholm, SE Gröna Lund
28/07 Berlin, DE Huxleys Neue Welt
30/07 Tilburg, NL 013 Poppodium
01/08 Wacken, DE Wacken Open Air
08/08 Oulu, FI Jalometalli

Let There Be Talk [Podcast] Steffan Chirazi/Metallica – So What! Magazine

LET THERE BE TALK Podcast cover art

Dean Delray Podcast EP70

I recently ran across this cool podcast series from following a link on Twitter. I enjoyed this talk so much that I decided to share it with our Demolish Magazine readers.Click the large orange “play” button below or download if you prefer to listen later or on another preferred device.


On this Episode of LET THERE BE TALK Editor and creative director of METALLICA – SO WHAT! MAGAZINE Steffan Chirazi stops by and talks about his life as a rock journalist and how he got his start working for the #1 metal band in the world Metallica.

Steffan and Dean also talk about all things rock and metal including Nirvana, Alice in Chains, Faith No More and the Bay Area Thrash Metal Scene.

2014 rocks!



SCHaving started rock’n’roll writing at the age of 15, 46-year old ex-pat Steffan Chirazi’s career could almost look like an old Batman cartoon speech bubble!

  • RIP
  • BAM
  • SPIN

…are just a few of the publications he has contributed to over the years, and for the last 14 years he has been the editor of Metallica’s own in-house publication, So What! magazine. He lives in San Francisco, CA with his family.

Ego Ripping [Digital Art]

by Martin Grohs

© Martin Grohs

© Martin Grohs


Ego ripping – is about selfish/egotistical people, people who have
an overdose of self-love and on the second side about the “alter ego” (second ego),
which some people have at the same time..
schizophrenia is a really interesting area and I think everyone has not only one side.
There are always different ego’s. 
Few can hide it better or the ego’s are better fused together.



*analog pencil drawings . digital colored . martin grohs . 2013

created for cosmosys 13 – overdosed


Steve Hackett: How I Invented Finger Tapping On Guitar

by Joe Bosso

© Tonsoffun (Mario) Rimati / Demot/Demotix/Corbis

© Tonsoffun (Mario) Rimati / Demot/Demotix/Corbis


Think Eddie Van Halen invented finger tapping on the guitar? Think again.

Seven years before Eruption created a new school of shredders, Steve Hackett [then guitarist for prop-rock godfathers Genesis] set aside his pick and applied his index finger to the fretboard of his Les Paul – and he’s not afraid to lay claim to conceiving of the technique.

“I’m the inventor of tapping on record,” he says. “We haven’t found anyone who tapped earlier than me, unless somebody did it in the 1930s, but I doubt it.”

While Hackett admits that [Eddie] Van Halen and his followers popularized and expanded on finger tapping, his place as a wholly inventive guitarist, one who also helped introduce players to techniques such as sweep-picking, is assured.


Before we get into some of the new songs, let’s address the matter of finger tapping. Eddie Van Halen does credit you as having done it first. Have the two of you ever talked about it?

“Eddie and I have never spoken about it, but yes, he has credited me with tapping. When you see old films of Genesis from 1971 on, you can see me using the technique. It’s there on many recordings, as well. Eddie is a fine player, of course, and he’s the one who named the technique. The important thing is that you play as fast as you’d like, but you do it all on one string – and you have to use a finger from your picking hand instead of the pick.”



Between 1971 and 1978, the year Van Halen’s first record came out, did you hear anybody else finger tapping?

“No, I’m not really aware of that, I must admit. All I know is that it became part of the language for heavy metal players, and it became one of the glossaries of terms that you can dip into if you’re playing electric guitar. You can play it on a nylon-string guitar, of course, or acoustic steel, but it’s really going to work best on an electric through an amp with some distortion.”


Eddie_Van_HalenSo where did you get? How did you start doing it?

“Well, I’ll tell you: I was trying to play a tiny phrase from Toccata and Fugue by Bach, and I was wondering how to do it, because you couldn’t really do it across the strings. I figured that if I could do it on one string, then I’d be using the fretboard like a keyboard. There’s a couple of techniques I took from Bach, like sweep-picking, which is akin to a violinist rocking the bow across the strings.

“I did it one day, the tapping, but I thought it was a little unwieldy at first because I couldn’t play it in time. But then I could play it in time, and I started doing it live with Genesis. This was back in 1971, an awfully long time ago. It enabled me to be the fastest gun in the west for about five minutes, until somebody else came along and did it in a whole new way.

“It’s a little bit like Bruce Lee’s technique for martial arts: just like he did things so fast that the camera couldn’t pick them all up, with tapping, the microphone can’t pick up all the notes – it’s a blur of music.”


What did you think when Eddie burst on the scene with tapping – and when everybody started copying him? Did you say, “Hey, that’s mine! I invented that”?

“No, I’m not protective of any techniques. I’ve learned from every guitarist that I’ve watched. Everybody plays slightly differently; everybody has been my guitar teacher. I guess I’ve shown a few moves to some people. A guitar can sound like anything – a harp, even.”



The title track of the new album features a very striking guitar solo. Do you plot your solos out, or do you prefer to improvise?

“I would say they’re refined improvisation. Sometimes I’ll have phrases ready – I’ll work them out on a nylon-stringed guitar. I do a lot of things on paper; I tend to write things down. When you’re holding an electric guitar and you want to be spontaneous, that’s the time to do it. The beauty is, you can always go back and correct what you play if you don’t like something.”


The song Tall Ships has a pretty jazzy feel. For something like that, do you use a different guitar than the Fernandes?

“No, it’s the same guitar. The Fernandes is quite versatile. It’s like having an onboard E-Bow, something that’ll make the strings sustain. That song is a bit like a piece of trance music.”


© Tonsoffun (Mario) Rimati / Demot/Demotix/Corbis

© Tonsoffun (Mario) Rimati / Demot/Demotix/Corbis


Has there been any new talk of a Genesis reunion, one involving you?

“I’ve been working on a version of Genesis material that I’m going to take live with some guests. I’ve always said that I’d be up for a reunion if anyone wanted to do it. They approached me some years back, but it seemed to be far too complicated. As far as I’m concerned, with some of the guys from Genesis saying they’re going to retire, I feel that nobody should hold his breath, although I won’t be the reason it won’t happen.”




*Reblog from Music Radar: Article by Joe Bosso