Call to Arms (2011)

     Saxon's Call to Arms is exactly what the title claims to be - a call to arms, a battle-cry to rouse every denim and leather clad supporter back to the 80's when Metal ruled the day. In return they shall hear deafening roars of approval, for I have to agree with Biff Byford, this really is some of the best material they have written. Saxon adopt a back-to-basics approach and stick firmly to their guns on Call to Arms and the result is an album that can very proudly stand alongside any of glorious 80's back-catalog. 

    While their previous albums from the 2000s were sort of return to form, Byford manages to marshal his troops and prove that they indeed are a force to be reckoned with. Bursting at the seams with steely riffs, catchy hooks and soaring melody Saxon prove that they still are capable of some very inspired songwriting with Call to Arms. There really isn't much to differentiate the fillers from the rest of the tracks. From the interesting guitar work on Scarratt and Quinn's part, thudding basslines courtesy mainstay Carter, energetic drumming ala Glockler and Byford's solid pipes everything fits together liked a well-oiled machine.

    Kicking off the album with a groove/speed metal hybrid that both hearkens to Saxon of yore and yet has a modern polish to it, Hammer of the Gods is a song that will instantly grab you. The choppy riffs and resounding bass serve to tell the tale of a soldier being drafted in the first world war. Powerful solo to boot, anthemic choruses and you know why this song is one the standout tracks on this album.

    Up next is Back in '79, yet another monster of a track. Slow, chugging riffage that stomps all over the place, coupled with Byfords shrieks and a bluesy solo that is set off at just the right time, this is the perfect vehicle to reminisce about the glory days of the band. Saxon managed to get 79 fans during the recording to scream their heads off during the chorus and the result is self-evident.

   Blazing furiously back from the 80's is track number three, Surviving Against the Odds. The lyrics are standard Saxon staple - holding your own and standing your ground. If anything on the album felt like a filler it's probably this song, which goes to show the consistency in songwriting.

    In at position four is Mists of Avalon one of the more superior tracks on this album. Treading a progressive path, a nod to the albums of the new millennium, it's indicative of the direction Saxon intends pursuing in the near future. Clean riffs, tremendously melodic soloing, epic-romantic lyrics - stuff that normally doesn't stick well the average listener makes this track soar. Exceptional Metal, but I can't quite put my finger on what exactly sets it apart. On a side note, very reminiscent of Battalions of Steel.

    Following the epic is the title track, Call to Arms. A down-tempo tracks that lumbers along between heavy and light riffs, lead by strong vocal lines this is yet another exemplary song. Byford is in his element, and the rest of the band supports him passionately. Typical metal power ballad, with a bit of Saxon's charm imbued in it.

    Track six, Chasing the Bullet is straightforward, no frills, rhythm driven, 80's Heavy Metal. Nothing particularly spectacular about this song, and yet makes its impact felt.

     Stuck in the same mentality is the up-tempo Afterburner with it's lightning fast riffs and thundering drumming. Custom built to cause a riot during their live shows with the aggression and frenetic energy it displays.

     Next up is the middle-eastern-tinged track eight, When Doomsday Comes which was written for the movie Hybrid Theory. With it's slow, dark and despondent sound it isolates itself from the rest of the songs on this album. Don Airey makes a guest appearance on this track, and his keyboard work lends an epic feel to the song. 

    No Rest for the Wicked, the ninth track again feels like a filler but is a pretty strong song overall. This is the second song of the album written for the movie Hybrid Theory. Chunky, heavy riffs and an interesting solo apart the song has nothing new to offer. 

    Ballad of the Working Man is another solid effort on the band's part. Saxon take their classic sound and give it a modern twist with this track. This song exemplifies the Saxon of the 80's, during their golden age. The twin lead guitar attack is much appreciated, excellent riffing and kickass soloing to follow it, it's pure magic. 

    The album closer is an orchestral version of the title track, providing an interesting alternative to the listener. Being a ballad, the orchestral version seems to the have upper hand because it makes the song feel that much more grandiose and eloquent.

Overview : Why does Call to Arms work so well? Because it's not a simple nostalgia trip down memory lane that the band aim to send you on, but put forth a refreshing set of songs that reflects heavily on their origins as well the progression they intend to take. The lads are back with a lot of swagger and it most certainly shows. From figuring out how to garner more MTV airplay in the 90's to making a resounding, to-be-classic masterpiece, the band has done right by its legions of fans keeping its roots alive. Saxon is still very relevant in Metal today and their re-surging popularity is a testament to that. Classy, potent, somewhat-dogmatic 80's Metal that's pure joy to listen to is what Call to Arms really is. Ergo essential Saxon. Go get this album right away.  

Genre : Heavy Metal

Track Listing : 

Title	Writer(s)	Length
1."Hammer of the Gods"	Saxon	4:23
2."Back in '79"	Saxon	3:28
3."Surviving Against the Odds"	Saxon	5:02
4."Mists of Avalon"	Saxon	5:02
5."Call to Arms"	Saxon	4:29
6."Chains the Bullet"	Saxon	4:14
7."Afterburner"	Saxon	3:06
8."When Doomsday Comes (Hybrid Theory Soundtrack)" 9."No Rest for the Wicked" 10."Ballad of the Working Man" 11."Call to Arms (Orchestral Version)"	Saxon Saxon Saxon Saxon	4:29 3:09 3:48 4:28

Total Album Time : 54:55

Personnel/Contributors : 

• Biff Byford  - Lead Vocals
• Paul Quinn - Lead Guitars
• Nibbs Carter - Bass
• Nigel Glockler - Drums
• Doug Scarratt - Lead Guitars
• Don Airey - Keyboards (Guest Appearance)

Release Date :  3 June 2011

Recorded : 2011, Chapel Studio, Lincolnshire/ Brighton Electric Studios, Brighton, U.K.

Supporting Tour : Call to Arms World Tour

Trivia : 
The artwork is a play on the famous World War I recruitment posters Britain used - Lord Kitchener Wants You!

Two of the songs, Tracks 8 (When Doomsday Comes) and 9 (No Rest for the Wicked) were written for the movies Hybrid Theory.

They got Don Airey to play on the album, when they met him in the American Embassy, waiting to collect their Visas.

Back in '79 has 79 fans shouting out the chorus, Byford rounded the fans the night before the recording.

Back to Saxon's Page

Polaris (2009)

   Given the tumultuous time Stratovarius have had this past decade especially with the departure of their oldest member and long time guitarist, Timo Tolkki, the Finnish prog metal legends return with new blood on the frets and the bass to put forth their best album since 1998's Destiny. With Tolkki being the band's main songwriter thus far, the expectation after his departure was for the band to radically change their signature sound, though they do nothing of sort and instead churn out classic Stratovarius from start to stop. They seem to be willing to add new elements to the old winning formula.

   Polaris encompasses all that is great about Stratovarius, it has tons of variety while maintaining a fine balance of speedy, old school power metal pieces; the up-tempo neo-classical bits and the slower, more epic, progressive, power ballads. The progression is almost natural and album runs like a well oiled machine. On occasion, pieces and riffs do seem to be a bit derivative. 

   Johansson's keyboards find a prominent place throughout the album and it's heartening to see that they aren't buried underneath all the percussion and bass. Kupiainen is almost like a Tolkki clone at times, reproducing the classic Stratovarius style with neo-classical, Malmsteem-esque overtones. Lauri Porra is a great new find and does a splendid job on the bass. Kotipelto's vocals soar throughout the album and age hasn't done much to diminish the man's vocal prowess. Jorg Michael resonates the same thought showing that he too hasn't slowed down and is still able to pound the skins.

   The lyrical theme of the album deals with regions far beyond terra firma, celestial topics now seeming to be a favourite for the band.

   Polaris kicks off with Deep Unknown, a fast paced, roaring power metal song that is very reminiscent of Blood Diamond. Kupiainen's prog tinted composition goes through the motions effortlessly. A slightly off-kilter start, but not a bad one nonetheless.

   Falling Star makes a big mark on the album. With great choruses, hooky, emotive riffing akin to the style in Fourth Dimension, this is a steadfast Stratovarius number that will appeal to the older bunch of fans.

   What is probably the most powerful song of the album makes it's entry at position 3. The epic King of Nothing is an intense, melodic masterpiece that will not cease to stun throughout it's entirety. The focal point of the song is Johansson's keys, instead of merely backing up the guitars, he steals the show right from the start. Beautiful composition, that with its military rhythm, majestic soloing and melodic riffing shows you that new lineup shows some promise and that if the current lineup is stable, the fans have something to look forward to.

   Up next is the neo classical Blind. The breakneck paced, melodic thrash of this track is a sort of letdown after King of Nothing, but then again isn't bad given that it's just a filler. 

   Almost midway through the album we encounter the heavy power ballad Winter Skies. One of the slower songs of the albums, it's quite unlike anything they've done before, but is extremely enjoyable. Kotipelto's unique wail fits brilliantly with the mood of the song. The keys again aren't there just to accentuate the guitars but add that certain something to the track especially during the solo. One of the better songs of the album.

   Forever is Today, power metal staple or sorts is a sudden jolt after Winter Skies. Nothing particularly outstanding about the track, yet another necessary filler. Though the solo towards the end is the savior of the track.

   Higher We Go continues in the same vein, another charged, melodic number. Interesting rhythm sections and great choruses save the song. Excellent neo classical soloing, as I mentioned before - like something out of a Malmsteem album, finishes the song. Standard Stratovarius from start to stop.

   The elegant Somehow Precious comes in at position eight. Another slow ballad, it does not have the panache and style that Winter Skies did but feels poignant for some reason. This is Kotipelto's song all the way, yet another great vocal performance.

   The extensively progressive, two pronged epic Emancipation Suite brings in the rear of the album. Filled oriental influences that alternates between drop dead heavy riffing, and slower melodic parts. Together, these are some the highlights of the album. The first part has the best soloing throughout the album. This is where Stratovarius truly return to form and you can really see the band working as a cohesive, multifaceted unit. Kotipelto hits some incredibly high pitches during the second part, which is again vocally driven. All is all, a well crafted opus that is a certifiable classic in the years to come.  

   The surprisingly short When Mountains Fall ends the album. The simple, vocally driven song that endears itself to the listener easily. If you listen hard, you'll notice Kotipelto's thick accent for the very first time on the album, seems like he loses himself emotionally on this particular piece.

Overview : Polaris is definitely a return to their old glory days. A renaissance for Stratovarius was long in order given the nightmarish turn their career had taken and Polaris is exactly the revival they needed. The infusion of new blood does not the see the band changing the proggy-power metal they pioneered, rather bringing it back in a grandiose manner. The same old Stratovarius sound that the fans have come love is still there, it's just got a brighter sheen with Polaris. Matias Kupiainen is a fine addition on the guitars. It almost seems like Tolkki's departure did little to spoil the sound of the album. In the end, a solid effort from Stratovarius.

Genre : Progressive Metal, Power Metal

Track Listing : 

Title	Writer(s)	Length
1."Deep Unknown"	Kotipelto, Kupiainen	4:28
2."Falling Star"	Porra	4:33
3."King of Nothing"	Johansson	6:43
4."Blind"	Johansson	5:28
5."Winter Skies"	Johansson	5:50
6."Forever is Today"	Porra	4:40
7."Higher We Go"	Kotipelto, Kupiainen	3:47
8."Somehow Precious" 9."Emancipation Suite (Part I : Dusk)" 10."Emancipation Suite (Part II : Dawn)" 11."When Mountains Fall"	Kotipelto, Kupiainen Porra Porra Porra	5:37 6:57 3:40 3:12

Total Album Time : 54:55

Personnel/Contributors : 

• Timo Kotipelto  - Lead Vocals
• Matias Kupiainen - Lead Guitars
• Lauri Porra - Bass, Backing Vocals
• Jorg Michael - Drums
• Jens Johansson - Keyboards

Release Date : 15 may 2009

Recorded : September-December 2008

Supporting Tour : Polaris World Tour

Live Albums : Polaris Live

Trivia : This is the first Stratovarius album not to feature Timo Tolkki   

   

Back To Stratovarius's Page                 

Rust in Peace (1990)

Get ready to rattle yer heads!! With Rust in Peace Megadeth pulls out the biggest, baddest, thrashiest, most destructive fucking album from their mighty arsenal. It was Megadeth's finest hour, to bring out what is regarded as one of the best thrash albums at a time when the genre seemed to be dying. It's a good twenty years since the release of the album and yet it neither seems to have lost relevance or importance, still being one of the most highly revered thrash masterpieces.

Yet again with a different lineup, one that would to prove to be the band's most skilled, hailed and loved, Mustaine brings in Marty Friedman and Nick Menza as Megadeth's new lead guitarist and drummer respectively. Mustaine and Friedman make for a killer combination of guitarists it comes to the riffs, even more so when it comes to those mind blowing solos, and the guitar interplay is just deadly. Menza does a noteworthy job, not trying to steal the show at any point, but accentuating the rest of the band brilliantly. The other Dave, Dave Ellefson does a fair job with the bass, but in certain tracks the bass is the primary driving force at times. Of course, most of the songs have Mustaine doing his characteristic leering snarl, something that goes really well with the snide, sarcastic taunts that form a majority of the lyrics. All these together lend to the album a really unique sound that even Megadeth haven't been reproduce over the years.

The overall sound of the album is rather unique; thrashy, fast riffs with a fair amount of melody incorporated in it. The songs have a progressive edge, making this a smarter breed of thrash but one that everyone can enjoy. Cutting leads, chopping rhythm sections, impressive shredding, Mustaine's trademark vocals and Menza's powerful drumming - what's not to like.

The lyrical themes are along the same line as the previous albums with the songs dealing with politics, history, wars, nuclear fallout and environmental concerns. Of course the odd song or two strays away from the beaten path. The lyrics are written well, in a contemptuous manner that turns out to be amusing. Even the songs names are extremely original and creative.

Rust in Peace begins it's assault with one of thrash metal's all time greats - Holy Wars... The Punishment Due. Megadeth just couldn't have asked for a better track to open of the album. This one has technical thrash written all over it what with the unrelenting, speedy, shred riffs. The sheer level of ferocious, face-melting intensity is amazing. The sudden breakdowns into slow passages that allows for more focus on the vocals aids in telling the story behind the song - the Crusades. Mustaine has attributed the inspiration to song to various things from the Northern Ireland conflict to the a Marvel Comics' supehero - The Punisher due to the controversy it generated. The passages leads to incredible solos that sound unearthly at the blistering speed they're going at. With distinct sections that alternate between flat out thrash, speed and melodic thrash, Holy Wars... is one exhilarating ride. This is one song that simply whips ass start to stop.

Done with the technical workout that Holy Wars... turns out to be, up next is the middle eastern tinged Hangar 18. With strong progressive and neo-classical influences in everything from the riffing to the solos, this one shows us why Rust in Peace is considered unique in thrash. Hangar 18 relies heavily on the masterful performances by both the lead guitarists. It has a grand total of eleven, tremendously melodic solos between Mustaine and Friedman, not a single one of which is disappointing. This song goes into UFO conspiracy theories and primarily focuses on Hangar 18, part of the Roswell myth, where supposedly the aliens and their craft were brought to after the crash at Roswell. The cover of the album, by Ed Repka, has something in the vein of this song with Vic Rattlehead near the body of an alien (which has surprising similarities to Spielberg's E.T. ), as Mustaine puts it so well in the song - " in a suspended state of cryogenics". Really impressive lyrics that are brought out well. Menza does a excellent job with the drums, sounding almost mechanical at times. Taut, tight rhythm sections in between the solos are where the band showcases it's breed of thrash.

Following the insanity that is Hangar 18 is Take No Prisoners, a straight up, no holds barred, visceral toxic waltz about prisoners of war that is thrash for thrash metal's sake. Aggressive, diverse drumming, bombastic chorus lines and a muscular bass line just add to the mood. Ellefson's ultra fast bass solo starts the mood off with both the lead guitarists joining in with the jaw dropping shred riff and Mustaine frantically snarling all over it. A typical give 'em hell, obliterate-everything-in-your-path, war themed thrash metal song.

Continuing on with the vicious assault is Five Magics at position four. A melodic two minute instrumental passage drenched with a haunting harmony awaits the listener before Mustaine kicks in with his snarl, giving the band enough time to prove their mettle once more. Friedman comes in for another neoclassical solo before the songs breaks down into a simpler riff and the characteristic chorus. It finally closes off with a Mustaine solo. The only complaints you can think of are that it's an extremely short song, given the relative complexity of the song, it's hard to enjoy all the nuances.

Following up with yet another short number Megadeth put Poison Was the Cure in at five. Again it begins with a bass driven intro with short thrash bridges. After a brief drum solo it breaks into a thrash riffs that has a hard rock vibe at heart. Even though it's a filler it has it's silver lining in the form of a brilliant solo that comes in at the tail end of the song.

Next up is the fantasy-themed, power/thrash hybrid Lucretia. Though not the conventional thrash one would expect the band makes an impressive effort with this one. Filled with catchy hooks and killer riffing the song tells the tale of Mustaine's conversation with a ghost, weirdly enough. Friedman puts forth a more delicate, melodious solo that fits in very nicely with the mid tempo pace the songs goes at. Catchy and hard not to appreciate.

If previous three songs were the calm before the storm, violently raging forward at number seven is the tempest itself - Tornado of Souls. Easily one of the best tracks of the album, it's laden with intricate hooks and harmonics all over the song. Though Mustaine's vocals may not have exactly worked well for the previous three songs, him putting his best in here makes the song a more of an emotional experience for both the band and the listener, that in part being that the song is about dysfunctional relationships. Right from the hyperactive melodic riffage to the tight bass line to the staccato drumming everything aligns to form intelligent thrash start to stop. Menza provides excellent drum fills in between the varied passages throughout the song. Friedman opts to go for a more straightforward, classic metal solo that imprints itself immediately into your mind. Extremely impressive execution on the band's part.

  A song about environmental activism, or atleast one that is intended at getting people to think in that direction Dawn Patrol makes it's presence felt at number eight. Starting with and comprising almost entirely of a chilling, spooky bass riff and rather lethargic drumming that somehow works for the song it's another good piece albeit meant to showcase Ellefson's talent. Not that great a song in the technical aspect given that it's in the same album as Holy Wars..., Hangar 18 and Tornado of Souls. Surprisingly it's rather short not even touching the two minute mark.

  Finishing off the thrash metal masterpiece is the album's lost track, Rust in Peace...Polaris which is about intercontinental missiles (There actually is an intercontinental ballistic missile called the Polaris which is intimately linked with the Cuban missile crisis). A trademark Megadeth song, although one in which Mustaine's vocals yet again prove to be disastrous, Rust in Peace... is thrash metal straight from the eighties. Yet again Friedman's solo turns out to be the major highlight of the song.

Overview : Stellar thrash, no questions asked. Re-invigorated with a new line-up Megadeth recorded one of thrash metal's finest that proved to be the genre's savior in the nineties when thrash seemed to be dying out. This is the band's strongest effort musically and they outdo themselves here on Rust in Peace. Calculated, technical thrash that manages to maintain the fine balance between aggression and melody, it's no wonder why Rust in Peace, a thrash metal great apart, is regarded as one of metal's most influential albums. Can Megadeth top what they've done with Rust in Peace? So far, a good twenty years after the album's release the band haven't been able to match it.

Genre : Thrash Metal, Speed Metal

Track Listing : 

Title	Writer(s)	Length
1."Holy Wars...The Punishment Due"	Mustaine	6:32
2."Hangar 18"	Mustaine	5:14
3."Take No Prisoners"	Mustaine	3:26
4."Five Magics"	Mustaine	5:40
5."Poison Was the Cure"	Mustaine	2:56
6."Lucretia"	Mustaine	3:56
7."Tornado of Souls"	Mustaine, Ellefson	5:19
8."Dawn Patrol" 9."Rust in Peace...Polaris"	Mustaine, Ellefson Mustaine	1:51 5:54

Total Album Time : 40:48

Personnel/Contributors : 

• Dave Mustaine  - Lead Vocals, Lead Guitars
• Marty Friedman - Lead Guitars
• Dave Ellefson - Bass, Backing Vocals
• Nick Menza - Drums
• Ed Repka - Illustration

Release Date : 23 September 1990

Recorded : 1989 - 1990

Supporting Tour(s) : Rust In Peace Tour

                             Rust In Peace 20th Anniversary Tour

Live Albums : Rust in Peace Live

Video Album : Rusted Pieces

Trivia : 

It has been nominated twice for a Grammy in 1991 and 1992 in the category Best Live Performance.

The track Hangar 18  has a sequel in the Megadeth album The World Needs a Hero called Return to Hangar 18.

The Formation Of Damnation (2008)

In 2008, Testament made an epic return to the forefront of thrash metal with an album so mesmerizing and fierce in its approach that it made their previous studio effort, The Gathering look like a 3 legged dog running for its life. Don't get me wrong here, their 1999 album was and will always be regarded as one of the finest Thrash albums of the 90s, but when after a 9 year recording hiatus a band comes up with ball crunching riffs and dazzling vocal skills, it becomes extremely easy to forget their past laurels.


Once again the classic lineup is back and for the first time in years bassist Greg Christian and Alex Skolnic are back in the fold. First things first, one has to give it up for Chuck Billy, after battling cancer just a few years earlier, his vocal performance on this album are amazingly incredible.


The album starts off with For The Glory Of... an intro, albeit short, but befitting the whole feel of the album about impending doom and damnation. Infectious drumming by Bostaph makes you want more of this song, but before you know it, the second song More Than Meets The Eye starts off with ear drum bashing ferocity not felt since the thrash heydays of the 80s. The guitar solo by Skolnick is probably the first indication of what this album has, which is a long shelf life, followed by a somewhat hurried yet impressive solo by Peterson.

The Evil That Has Landed could very well be an extension of the previous song musically, but the lyrics suggest something far more destructive, recounting the horror and agony of the September 11th attacks. It surely has parts you would expect from a Megadeth album rather than Testament, but it all blends well into a monster of a song, and is sure shot live ecstasy. 


Up next is the title track, The Formation of Damnation, which may very well be on their debut offering and would sounds every bit as heavy as they did back then. The vocals here are more aggressive and gruff than any other song on the album. For some reason the vocals and drums do in fact sound like Slayer doing a one on battle with a young Swedish death metal outfit, and I'm sure no one is complaining.

Dangers Of The Faithless starts off by sending shivers down my spine, having me wonder whether what I'm hearing is true. Testament trying a nu-metal song? But those fears are fast dispersed once the chorus starts and as it turns out, this song is probably the best song from the album. Chugging riffs are the highlights here and makes this one hell of a song complete with classic metal lyrics."Condemned to Hell, Condemned To Fate, Condemned To Time."

Half way through the album and the listener will feel absolutely no exhaustion even after such a massive assault on the ears, and well, the fun has just begun. The Persecuted Wont Forget is the fastest and most brutal song on the album as probably comes closest to their style in their earlier offerings.


Killing Season kicks in with impressive though familiar riffs all finding a way to clearly be audible enough in-spite of having some thunderous and overwhelming drumming. Testament seem an almost unstoppable force at this point with brutal songs shredding everything in their path.


Henchmen Ride packs a serious punch with lyrics suggesting some amalgamation of good old biker gangs and the four horsemen. Classic thrash this is one for fans who long to hear the old school thrash that seems to be lost among the sands of time.


Off the final three tracks, which are all killer 4 minute long songs, F.E.A.R. sets itself apart from the rest as the best of the lot with one of the best drum performances on the album, case in point - the face melting intro drum roll. With vicious riffs that just sink right in this song will leave you screaming for more.

While Afterlife is more upbeat, fast tempo, groove oriented song blending speed and heavy metal seamlessly, Leave Me Forever starts with a somber bass intro, finally bursting into heavier realms in "ginormous" proportions, if I may say so.

After everything is said and done, there should be no doubt that this comeback album by Testament was, is and forever will be one of the finest metal albums of the decade and firmly placing the band as The Top Dog amongst the reigning thrash legends. A big thumbs up to these master craftsmen might just be a little under appreciative given the scale of things they achieve with this album.

Genre: Thrash Metal



Track Listing:
1. For The Glory Of...   (1:13)
2. More Than Meets The Eye   (4:33)

3. The Evil Has Landed   (4:44)

4. The Formation Of Damnation   (5:10)

5. Dangers Of The Faithless   (5:48)

6. The Persecuted Won't Forget   (5:49)

7. Henchmen Ride   (4:01)

8. Killing Season   (4:53)

9. Afterlife   (4:14)

10. F.E.A.R.   (4:47)

11. Leave Me Forever   (4:28)

Total Time : 48:30

Personnel :
Chuck Billy: Lead Vocals
Alex Skolnick: Lead Guitar
Eric Peterson: Rhythm, Lead Guitar
Greg Christian: Bass
Paul Bostaph: Drums

Release Date : 29 April 2008

Recorded : 2007 - 2008 at Fantasy Studios, Berkeley, California


Tour : Metal Master's Tour (Along with Judas Priest, Motorhead and Heaven and Hell)

Back to Testament's Page