Thursday, November 1, 2007
Sunday, October 28, 2007
(Left) Photo shoot for 'The Next Room'. One of the only photo's to feature Paul Kimball, Scott Holderby's replacement.
Saturday, October 27, 2007
Monday, June 18, 2007
If anyone has any details on set-lists/ members, please post in comments.
Here's the interview (thanks Paul) -
1) What did you do before Mordred ?
Paul: I was lead singer for several bands prior to Mordred up in Washingtonstate, the most prominent of which during the pre-grunge heyday ofthat area's scene (Helltrout and Lansdat Blister). It was a great time to be gigging, and we got to share bills with quite a few of theseminal bands from that period
2) Had you heard, or even heard of Mordred before you joined ?
PK: Nope, had never heard of them.
3) Can you explain how you got the Mordred job ?
PK: They were having auditions, and I sent in a tape of my previous stuff.They called me back, sent me a tape of some of their songs, and I showed up and sang 'em. I remember thinking they had the nicest gear of any band I'd ever played with, and that the rehearsal space wasawfully nice too. They were obviously very "pro", and when they said they were trying out close to a hundred singers my competitive nature kicked in and I decided I really wanted to get the gig. Felt quite stoked when I did, I gotta say!
4) Was material for 'The Next Room' already writen when you joined, or did you have input ?
PK: I had lots of input actually. They had written several of the songs already, but the band gave me free reign on the lyrics and melodies for those. The rest we worked out as a band. There was even one that Scott Holderby had originally written words and melody for, but at that time the relationship between the band and him was strained, so they asked me to rewrite it. Originally there was some question as to whether Dj Pause was going to be in the "reformed" group, and before meeting him and hearing him play I was definitely not into the idea. It seemed really corny to have a DJ, but man... when he showed up and played with us the first time I was completely sold that we needed him, and was glad that my input on that point too was respected. Pause is not just a great musician, he's a helluva good guy to hang around with.
5) The album had a very 'grunge' and heavier feel to it which disappointed alot of fans. Was this change of direction for sommercial reasons ?
PK: No, not at all. It certainly was a conscious move toward heavier material, and I was culpable as a catalyst for that, but the drive among the group was a generous one, largely. It was more "Hey, we got this new guy, and he is bringing a different set of things to the group than our old guy brought, so let's see where it leads us if we all try to bend toward one another." In retrospect, the myriad meanings and implications of the word "compromise" were all appropriate, both good and bad.
6) How long were you in the band ?
PK: Amazingly, only about eight months. To this day, it was the hardest eight months of creative effort I have spent.
7) Did you leave the band before they split or was it mutual for the whole band to go separate ways ?
PK: Mordred just died when our European tour fell through. Everything fell apart really quickly after that.
8) What did you think of 'The Next Room' as a record ?
PK: I think it got a bad rap, really. I think if folks had had a chance to see us play those songs, they would have felt quite differently about it. But I also think it's fair to say that it somehow lacks the sparkle of newness that some of Mordred's earlier tracks had. It's the sound of a band racing to find itself, and at times I think it really succeeds, but our (quite conscious) musical schizophrenia didn't make it an easy one for other folks to penetrate. Still, I have had several people tell me that they think it'll hold up better to the ravages of time than the other Mordred records.
9) What are your fondest memories of being in the band ?
PK: • The first time we nailed "Lo-Cal Hi-Fiber" in practice• Working on an acoustic tune called "Shaggy" with Jim Sanguinetti in the stairwell of our studio• The first night of tracking the record at Gish Studio• Partying in Dortmund, Berlin, Paris, and London, on our press tour• More than anything else, the few live gigs we got to do. The band was really good, and criminally unheard.
10) What did you do once Mordred split ?
PK: I walked away from music completely for a while. Then I picked up a guitar and decided I really needed to be able to make some music on my own, completely of my own choosing.
11) You are now in Careless Hearts. Can you give us a little insight into the band.
PK: For the first time I'm playing an instrument while singing, which makes the entire experience feel new, and the majority of the songs are my compositions. The band I have is just awesome, solid players with lots of feel, and no attitude or BS whatsoever. The music is rootsy rock, with lots of folk and country influences, sorta like 'Exile...'-era Rolling Stones or Creedence, but pretty contemporary sounding, too. We are in many ways the anti-Mordred: kinda sloppy and lacking in ambition, but uniformly happy. (We are also staunchly DIY,so I'd like to ask anyone reading this to please buy our self-titled CD: it's good, I promise!)
12) What did you make of the interest in Mordred a few years ago, with the website coverage as I believe you posted on one of them (being the Every Day's A Mordred Day site) ?
PK: I was excited to see that the guys were playing again, and that the audience for Mordred still existed. And I thought it was great that they had mended fences with Scott.
13) How well was 'The Next Room' received ?
PK: Poorly, overall, was the impression that I got. People didn't know what to make of it, most notably the record label, who treated it like it was smeared with feces. They did an abominable remix of one of the songs, which stands as a gleaming example of the one of the worst pussification jobs in the history of the audio arts. The first time anybody in the band (outside Gannon Hall, who, despite his best intentions, was way over his head as acting manager) heard the remixed version it was on the finished CD-single, and by then it was way too late! I was mortified, and as you can tell, still am.
14) How did you find my blogspot ?
PK: You sent traffic to my band's website, which showed up in our usage reports. (Thanks, by the way!)
15) Do you still keep in touch with any of the Mordred guys ?
PK: Not really. In past years I've exchanged brief emails with Art and Pause, but that's it. Last time I saw all those guys was at my wedding, waaaaay back in 1995.
16) Compared to the first three records, can you see why 'The Next Room' was received so badly ?
PK: My main theory: if we'd not released it as a "Mordred"-branded product we might have done a lot better. It wasn't bad music, it was just not what the fans of Mordred wanted to hear. Had we freed ourselves from the weight of history we might have been able to take the music even farther than we did, because some creative choices were made in attempts to NOT alienate fans. I think that would have made it a better album overall. Considering how few copies it sold I think we could have done just as well, and maybe generated more buzz, as a new band.
17) Can you tell me roughly what each song on 'The next Room' was about, because there were some dodgy song titles in there, such as 'Murray The Mover' ?
PK: I'm sorry, I don't want to get too far into that. I'll say this, though:"Murray The Mover" was meant to be pure camp, based on a dumb band in-joke. It was me writing from the point of view of a really obnoxious, Lothario-type guy.It wasn't a song to be taken seriously at all, unlike some of the other tunes,which I poured a lot into. (If you have specific questions I don't mind addressing them, but jeez, there's a lot to go over if I tried to open-endedly address them all.)
18) Did you ever meet Scott Holderby ?
19) Do you think Mordred suffered due to the lack of effort from the record label, being Noise Records ?
PK: At the end, absolutely. They promised us tour support, then renegged in a way that basically bankrupted us. Then, when we were flailing, they took advantage of the situation and swooped in on all our publishing rights like opportunistic vultures. Stupid parasites, killing the thing that feeds them...
20) Do you have any old photo's of you and the band ?
PK: I wish I did. We did one photo shoot as a band, and it was less-than-stellar. If you come across any, especially live shots, I'd love to see them.
21) Anything else you'd like to say ?
PK: I'll say this: carrying on in the absence of somebody fans really like isn't easy, and I'm proud of the way Morderd took on the challenge of evolving during the writing of "The Next Room". It was clear throughout the process that the fit between me and the band wasn't perfect, but it was one of the best musical educations I've ever had, as much in terms of what not to do as anything else.
Friday, May 25, 2007
Wednesday, May 9, 2007
1) So Scotty, around 2005 there was meant to be a reunion show in New York, but it never materialised. What happened ?
Scotty: There were to be two shows in NYC but sadly all the people in the group couldn't make it and we wanted everybody there. We could probably pull it off now.
2) Since we last spoke around two years ago, what have you been up to musically ?
Scotty: I have the High Society Angels (organic electric soul) - six-piece with drums, bass, guitar, keys, trumpet and me singing and writing the songs. Hi-Nobles also, (mod-garage-soul) - six-piece with sax, and also Blue Sun (psychedelic garage blues) three-piece, with an English guitarist, drums and me singing and playing bass. Those are bands I have rolling at the moment.
3) The main Mordred websites seemed to become inactive around 2004, has there still been a strong interest in the band ?
Scotty: There has been some interest in releasing the 'In This Live' Dvd. We'' see if it pans out.
4) Are there any plans for a Mordred reunion on a permanent basis ? If not, why ?
Scotty: I would love to make my living and my own way with Mordred. I'm pretty sure we have enough past members to make two complete bands. Gannon and Danny live in NYC now so practicing would be difficult. I think if anyone wanted to fly us anywhere exotic to play we'd be right there. Hasn't anyone got an inheritance and needs Mordred for their wedding-bar mitzva in Monte Carlo ? I have a nice tux...!
More to come....!
Sunday, May 6, 2007
Sunday, April 15, 2007
All photo's copyright of the publisher.
'In Mordred's case, they don't so much defy description so much as cover just about every base you could possibly imagine. Shambling onstage, the San Franciscans journey through cataclysmic crescendos of scratching Rap meets Funk meets Metal, with some Thrash thrown in. Absolute crazy-assed lunacy! James Sanguinetti hammers out the huge, grungy riffs, Gannon Hall beats the living daylights out of his tortured skins and Scott Holderby spits out the lyrics in a manner that's so indecipherable as to make Mordred sound like any other thrash metal band you could name. However, underneath all this mayhem Aaron Vaughn mixes, scratches and raps in a way that'd make any other DJ hang their head in shame. As if to enforce their unpredictability, the band even slotted in a little of country & western and a shambolic rendition of the theme to 'Mash'! All this plus album faves 'High Potency', 'Killing Time' and 'Falling Away', and a couple of new numbers. And the icing on the cake was an almost note for note stab at Thin Lizzy's classic 'Johnny The Fox' - complete with scratching 'n' rapping of the title! - that must surely have prompted the Ace of Spades himself to look down from the Heavenly Bar & grill and nod approvingly.'
Review by Kevin McDempster (who probably wasn't even at the gig considering some of his bizarre descriptions of the band!!)
Monday, April 9, 2007
Sunday, March 18, 2007
DJ Pause's MCM & THE MONSTER page:
Thursday, March 15, 2007
Falling Away promo:
Spectacle Of Fear live:
Scott Holderby and his band:
Wednesday, March 14, 2007
http://truemetal.org/snakepit/interviews/mordred.htm (if this link doesn't take you directly to the page, go to 'Interviews' and then 'Mordred', obviously!
Thanks to Martyn Corf for the link.
Monday, February 5, 2007
During their time, Mordred were featured in the press reasonably often. The buzz around Fool's Game culminating in an excellent video showing Pause and his skills, which must have intrigued many at the time. However, In This Life certainly gave them the exposure they thoroughly deserved, with Kerrang magazine in the UK giving the album a five K! out of five rating, whilst other magazines such as Metal Forces, Metal Hammer, Raw et al were certainly in praise of the band. Fortunately, I kept most of my Mordred clippings in the hope that some day they would become useful, so here are a good selection for you to look at.
Sunday, February 4, 2007
Recording I have worked with, SANTANA,THE DONNAS, CEE-LO, JIMMY MCCRACKLIN, DISCO BISCUITS, RICKY WATTERS(of SF 49ers)and many more.
I have recently married my long time girlfriend,Stacy.We have a little shorty and life is good.I could go on and on...............
Favorite songs, In This Life, The Vagrant,In Time, Unload, Close minded, Strain, Young Lust, W.C.H.....The Vagrant is still my favorite......
I liked the second Dynamo fest, the first one was great also, when I painted myself like Krishna.The Italian shows, all the UK shows (after touring Europe it is nice to be among English speaking peeps) I loved all the DC shows at the 930 club, off the hook....The old Ritz in NYC. The Astoria, The Marquee, London was like my homebase for awhile. I had a girlfriend I lived with on and off, SF to London. I would stay over there between tours.
Oh yeah the Tijuana gigs were off the hook, New Years in TJ.....The Warfield in SF.......I can go on...
On stage, the pumped through a smattering of tunes from their history, almost performing a "greatest hits" package including tunes from their debut disc, 1989's "Fool's Game", 1991's "In This Life", 1992's "Vision" and 1995's "The Next Room". Some of the tunes included in their long set were "State of Mind", "The Strain", "The Vagrant", "Falling Away", "Johnny The Fox Meets Jimmy The Weed", "Reach", "Close Minded", and their popular tune "In This Life".
As far as reunions go (and lately there have been quite a few, many of the Bay Area bands reuniting after last August's Thrash of the Titans jump started the movement), Mordred seemed to have a differing path ahead with this batch of reunion shows. First off, the band was kicking through their material at top notch speed and precision, giving those who know the music just about everything possibly wanted in a hour-plus set of reunion tunes. However, Mordred seems destined for something else and this show was the jump start into their next musical direction as the band will be sticking together but creating much different music under a different name (no word as to what it will be yet). So, Mordred basically took this opportunity to slam through some old favorites (and they pumped through "In This Life" VERY well) as well as introduce some of their new material their collective new project will be performing. Their new tunes still had the heavy funked out flavor and highly precise music ability, but they seemed to have traded any kind of metallic edge for more of a streamlined, dare-say accessible style, making songs that rely more on the vibe and presence than their inadvertent bite and delivery. This show was both classic Mordred and something more as these guys gave closure to their 'metallic' sound of years past and opened the door to their new future. Killer show from a once killer band."
I heard the Acrophobia ‘single’ and threw it up the wall! Sure, this is all about opinion and I’m sure the sound on The Next Room may well have gained the band a few more fans, because in a nutshell, this opus is power-metal, something akin to Corrosion Of Conformity’s mighty Blind and and also Alice In Chains records…only nowhere near as good, and that hurts to say that. So, in came new vocalist Paul Kimball, a throaty mover of some power which is great if you like Pantera and the nu-metal breed of vocalist, but this just doesn’t work. This wasn’t Mordred, despite Gannon Hall saying this was his best drumming performance or whatever. I’m not sure what Scott did immediately after he left, but judging by his already mentioned solo record, he was still Mordred without the heavier side. Mordred meanwhile had become stream-lined, more metal, less thrash, and far less cool, with any kind of experimentation sounding almost awkward next to power metal riffs. Was this a way of attracting a metal audience ? Whose idea was this ? Yet, for over almost an hour I had to sit there thinking, “…what the hell is this all about ?”. The Next Room is bland, despite some decent lyrics and experimentalism, but Kimball’s vocals are extremely dull despite their power, Pauses’ scratches mundane and predictable and the tracks are forgettable, despite such ridiculous titles such as Rubber Crutch and Murray The Mover. Are you serious ? Tracks such as Lo-Cal, Hi-Fiber and Skid skip by without effect, at times Kimball seems to slip into a Holderby mode, it doesn’t work. There’s even a track called Crash, yet it has nothing to do with the original the band recorded. It seems to have a hangover from Vision in its slo-mo approach and it’s pointless, and by this time you’re left wondering what direction they are taking. Splinter Down is run-of-the-mill metal, nothing more, a mediocre six-minute ramble that never changes pace, and then we have Aaron’s contribution, a jazz-club special called Shut that doesn’t fit onto a record bereft of coolness. It’s actually better than Close Minded, sewn together by a wailing sax but ruined by Kimball’s non-descript vocal yell, which pretty much drowns the whole record, as well as the samey riffs of mundanity. Shall I go on ? Pauper’s Wine sounds like the hideous mess that is Nickleback, suggesting an almost polished grunge feel, Acrophobia is okay…for another band, at times catchy, with a chorus that suits Kimball’s voice, but it’s regular stuff, the same formula through-out, and on Murray The Mover things get a little embarrassing, Kimball’s gravelled voice just not accustomed to singing what are an attempt at ‘groovy’ lyrics, enough said. In A Turn is another soulful cut naked without Holderby’s execution, The Trellis is bland, The Next Room Over a drab instrumental affair, splashed with the almost now predictable scratching and the final track, Rubber Crutch begins like some ‘80s metal anthem and never shifts gears from its tiresome routine.
Even if you judge this as a separate rock record, The Next Room is a tired affair, lacking most of Mordred’s unpredictability, class and soulful innovation. And even the band must have known this, which is why this opus was the last record, but one which most certainly disassociates itself from the others like some ugly sister.
Vision is a laid-back slab, cosmically mixed, soulfully tweaked and something akin in stature to Voivod’s magnificent, darkly-tinged Angel Rat opus although that particular opus being more Pink Floyd-esque. If anything, Vision is Mordred moving away from the thrash and becoming a heavy rock act. By 1992 death metal and 'grunge' was taking over, the Bay Area thrash scene was dying, rock was also dying, and it would take quite a few years to re-emerge albeit in regurgitated form, because 1992 was all about so-called grunge, although that scene was mainly late ‘80s, and an underground scene at that, but by 1992 bands such as Nirvana, Pearl Jam and Soundgarden had taken over, they were accessible to the masses, maybe there was no more room for Mordred.
Close Minded is probably one of the most predictable Mordred songs. This may sound harsh, but for me it’s the EP’s weakest track, despite still blowing all the opposition away. This is true rap-metal crossover, a pummelling, juggernaut of a riff replacing a hip-hop beat and Pause takes to the mic, he raps as cool as any rapper or other MC, but this is almost too predictable for a band of this quality, with a lyrical content that literally questions why people should be so narrow-minded about this style of music, but it’s a common theme by 1992, and lesser bands such as Body Count, early Anthrax, Beastie Boys, The Hard Corps (to a lesser extent), and a whole host of latter bands, i.e. Rage Against The Machine, Biohazard, Korn etc, were doing it in the same almost shoddy, commercial manner. Don’t get me wrong, Close Minded is a cool track, but it’s too obvious, as if to say, “…hey, we fuse metal and rap so let’s do a rap over some riffs”, and if anything it’s too simple for this great band, and for me it wasn’t a track trying to be different and it wasn’t a track where people were going to take note because it was common ground by this point even if Vaughn’s lyrics are excellent.
Vision wraps up the platter, a vibrant, buzzing cut awash with colour, Scott’s delivery hazed, the scratching splashing and sprinkling, a mish-mash of cosmic rock and dazed and confused abandon rested upon a mellow chorus, and before you know it this brief EP is over, leaving you begging for more, yet at the time little did this listener know that such dreams were short-coming, this would be the last of the real Mordred, who, by this time had also released three excellent records, a brilliant live video filmed at one of the 1991 London Marquee shows, entitled, In This Live, and three singles. The next record, their worst, The Next Room, an awkward, Holderby-bereft slab of power metal would be the end, although such an end had obviously reared its ugly head long before.
Vision, at the time of its release, didn’t seem to be promoted very well, and it wasn’t received as ecstatically, rumours of ill spates with the press abounded, true or not, but spin this record again and you’ll be swept up in the whirlwind, and the album remains a fitting last word in that it should be called Vision, a word that sums up the world in which Mordred lived…and created, yet which many obscenely ignored. Their loss.
DJ Pause was permanent, James Sanguinetti now responsible for the crunchy, sharp riffs, and the band on the whole had escaped from the Bay Area thrash assault that other acts were still stuck in, or what they called ‘sticking to their guns’, but the innovation of Mordred was immense, people started to get it, others were irritated that it spawned horrific spin-off’s such as the UK’s Ignorance and Scat Opera, the German outfit Freaky Fukin’ Weirdoz, and U.S. atrocities such as Scatterbrain and Psychefunkupus. Some called it a new scene, others labelled it ‘funk metal’, that name alone killed it, tarred it and cursed it, because any band around 1991 that meddled with something different was bogged down by the comparisons and corniness. Mordred were still far removed from that scene despite Liboon’s bass-lines taking on a funky twist, the grooves in general becoming far more melody based, even with the thrashier outings, and now Pause was very much involved, sprinkling even the most furious of tracks with rap samples, spasticated scratches and keyboard quirks. For me, it was one of the most eagerly anticipated records of all time, and to this day it hasn’t left the turntable. Wrapped in a green-tinged industrial sleeve, complete with some of the finest, gritty, smoke-filled lyrics, this album astonished, perplexed and writhed in its own psychedelic crunchiness, revelled in its ghetto groove and was just too damn cool for my friends! The title cut bubbled in on a cool bass strut and Holderby took to the mic, a rap-style flow injected with a deep, chanted chorus of, “…make your own way, in this life, have to find a way to rise above the pain and strife”. The Strain fluently cuts in, Pause becomes evident, big time jerks in the thrash department, a cutting edge, heavy rhythm based upon a topic more akin to something off a rap album, lyrics of the street, the social despair, gunshot wounds and drugs. This was not funk metal, and neither was it thrash, and whilst other cool bands such as Last Crack, Mindfunk, I Love You and Love/Hate were mixing styles, In This Life was something else, up there with Faith No More’s The Real Thing as a cauldron of styles, somehow accessible, yet oh so complex in its volume of diversity. High Potency and Window keeping the riffs real, but it was the immense quirkiness of Esse Quam Videri that did it, the one track, like a more stylish sequel to Everyday’s A Holiday drenched in jingly, funk guitars, slap bass, Scott’s flittering tones and cosmic lyrics interwoven by an almost hip-hop backing made even more street-wise by Pauses’ rapping, yes, rapping, something so common now amongst the ‘nu-metal’ crowd and yet so commercial, but back then it was a rare sound, something used by only a handful of bands such as 24-7-Spyz, Anthrax etc. Esse Quam Videri (meaning, ‘to be rather than to seem’), is one of the band’s finest moments, a sweaty, orgasmic, flippant, epileptic circus of atmosphere, sexual innuendo and strobe light ecstasy. It remains one of the album’s greatest moments, and yet the album has no weak moments. (This track was also brilliantly remixed as a single, backed with two live cuts, and was promoted on late night t.v. with a superb, psychedelic video).
Side Two kicks off with an acoustic intro, entitled A Beginning, to the might that is Falling Away, a pounding, black and white vision of street life, possessing some of the most chilling, searing melodies, Holderby’s most spiteful delivery and a general groove that shudders and sends icy shivers down the spine. It was a single for the band, backed with the brilliant cover of Thin Lizzy’s Johnny The Fox Meets Jimmy The Weed and cool, horn-based new cut Lion’s Den, and the promotional video was as equally cool, an urban short movie where t.v.’s fall from high windows, played out like some gritty, downtown cop movie. Killing Time is as equally industrial in its outlook, an echoing stride beyond the realms of thrash, fusing complex melodic rock with biting thrash fusion, and then we are back to the red-light coolness that only Mordred can create, the ska-influenced Downtown, like something from 'Starsky & Hutch', this slow-tempo number is straight from the San Francisco gutter, Holderby’s lyrics (even though the band often stated that Holderby wasn’t involved enough on the records!) a laid-back drool so cool that they wear shades. Downtown walks casually through a sound reminiscent of English band The Police (fronted by Sting), a strutting, smoking joint of a number shattered suddenly by the battering ram that is Progress, the true thrash number on the album, a spiteful attack on mankind’s harsh treatment of the Earth, and a number which sounds like a more modernised of say Fool’s Game’s faster numbers. The album ends with another laid-back, scratch-spliced injection, the arrogant Larger Than Life which would soon be echoed by the Vision EP title cut, Scott’s vocal buzz soaring from the debris of Pauses’ eccentric scratches and the chanted words of , “..stand my ground, won’t back down”, before the record finally stomps to its end, the needle lifts and there is silence. However, anyone in their right mind will reach for the needle immediately afterwards, just like I did, and once again sit through this black cauldron of a record, to pick out the stunning chords, the streetwise vocals, the trickling bass-lines, the complex drums and the variety of cool samples which a few years before the metal world would never of dreamed of having alongside thrash guitars.
In This Life is one of the finest, most inventive and original rock records ever made, for it’s time it is a milestone, an ignored landmark, but for this brief period, Mordred were selling out shows across Europe, the metal press ranted and raved about their style (the album received a five-K rating in Kerrang! Magazine) and their live shows, and bands from all over the world began to incorporate such styles into their own sound. However, the scene became a suffocating, sickly mess where quantity outweighed the quality. The main bands within the scene, i.e. Mordred, Faith No More, et al had to either move on or suffer tragically and go from cult stars to non-existent, and in the case of bands such as Mindfunk, that’s exactly what happened.
Lyrically here was a band shifting from political topics to random fun, all given that extra bite from the surging crunch sound, and Scott’s effortless, soulful croons which could at one moment become spiteful spits and the next, soothing, elasticated funky drools. Fool’s Game wasn’t really a hint as to what was to come, but Mordred had obviously found their niche early simply by risking the inclusion of a DJ, and giving their thrash crunch an interesting groove. It was now a matter of time before the crunch of Spellbound, or the pounding of Reckless Abandon would be tweaked into a cutting edge, self-styled groove way ahead of its time. But would the world be ready for Mordred ? Would metal be too restricted, too stale even for a band clearly light years ahead, yet risking being left behind due to lack of conformity ? No-one quite knew, but Fool’s Game was certainly one of the records that began a trend, that made ‘metal’ what it is today.