In mid December, Metallica – drunk on the euphoria building for their 30th-anniversary celebrations, or scampering to mitigate the damage caused by Lulu – made the unusual decision to sell some demos on iTunes.

As the Garage Days releases have shown, the band aren’t afraid to show warts, but the decision to release (which also arrived on CD in January) the Beyond Magnetic EP was a curious one. First, the four leftovers – from 2008’s Death Magnetic – were originally given to fanclub members, which was on par with Metallica’s relationship with its official supporters. Each was then played on separate nights of the San Francisco-rooted anniversary showcase – an event populated entirely by fanclub members.

Delivering them to general music consumers, however, is a change in course. Over the years, Metallica have jealously guarded sketches and outtakes of songs that were eventually intended for release (note their conspicuous absence from the world of expanded reissues and boxsets), a tactic in keeping with their highly manicured and rigid image maintenance from no videos, to the iconic one, to the “Black Album,” explosion, Load-era. You could argue that it all fell apart with the Some Kind Of Monster debacle, and they’d prefer you averted your eyes from their personal failures to their musical ones.

*The announcement of guitarist Tony Iommi’s battle with lymphoma strikes a number of chords – mostly saddening, given the proximity to Ronnie James Dio’s death from stomach cancer. On business terms, it’s a blow to the planned Black Sabbath reunion, which was fought for tooth-and-nail by Sharon Osbourne as she struggles to boost Ozzy’s image post-Heaven And Hell’s success. It also renders Iommi’s own, recently published autobiography, Iron Man (Da Capo), pretty incomplete. Though not quite symbolic of Sabbath’s vengeful outcast, the phrase “iron man” typically denotes someone with superhuman endurance. Struggling to contain several dozen (not always chronological, sometimes repetitive) “chapters,” each about four to five pages long, Iommi’s memoir instead recalls someone who runs distance events by sprinting and stopping every couple-hundred feet. Short on narrative but long on uncanny detail, Iron Man (subtitled: My Journey Through Heaven And Hell With Black Sabbath) will satisfy Sab fans looking for a coffeetable book, but frustrate people seeking a more thoughtful, historical counterpoint to the frenzied I Am Ozzy. Iommi has stories to spare – he’s dealt with abusive parents, disfigurement, marital strife, severe addiction, and, of course, Mr. Osbourne – but his dry, anecdotal approach is better suited to snippets than 416 pages.

*No sooner did we coax Trevor de Brauw into submitting for “Caught In A Mosh”’s collection of best-of-2011 top-fives, do Pelican announce a new EP and tour. The jaunt will mostly canvas Europe, but Ataraxia/Taraxis (Southern Lord, April 10th) breaks a two-year recording gap. The four-song set was also tracked in a quartet of different studios, and they stuck to Chicago-band protocol by doing some of the work with Sanford Parker.

*Supergroups are de rigeur in our incestuous, local circles, and Beak are no exception. Consisting of former Timeout Drawer members Chris Eichenseer and Jason Goldberg as well as Engine Studios co-founder Andy Bosnak and frontman Jon Slusher (who’s also sat in Timeout), the quartet had no trouble deciding where to record their debut. Though Beak demur when being categorized as metal, it’s difficult to fathom lumping Eyrie (Someoddpilot, April 3rd) anywhere else. True, elements of post rock, hardcore, and prog intermingle (and hello Micromoog bass!), but the opening minute of “Angry Mother Of Bones” pushes a pretty fierce interpretation of black metal. They open for Anvil on the 23rd at Reggies.

*On the 28th, Corrosion Of Conformity’s Animosity-era lineup drops a self-titled album via Candlelight. For those of us who met C.O.C. in Pepper Keenan’s Sabbath-drenched ’90s heyday and later learned they were a hardcore punk band when they started, 1985’s Animosity was a girder-solid melding of the two, and its masterful balance has been faithfully replicated on the new album. They hit Double Door on March 7th with Torche, Valient Thorr, and A Storm Of Light.

*As we lead up to the Republican nomination, all this chatter about when life actually begins and the dominos of court cases that led to Roe v Wade got us thinking: when’s Dying Fetus playing again? Not for nearly two months: March 26th at Mojoes. The Marlboro-bred death titans proclaim a “return to roots” for the upcoming Reign Supreme, which Relapse hasn’t yet handed a release date. In a sign of the impending apocalypse, their tour kicks off at the South By Southwest Music Conference in Austin.

Trevor Fisher is taking some time off.

– Steve Forstneger

In Use Your Illusion II’s “Get In The Ring,” Axl Rose called out a number of rock journalists and editors, but famously referred to Mick Wall as the “punk in the press who wants to start shit by printing lies instead of the things we say.” There was also some stuff about bitches with silicone injections, yeast infections, and rippin’ off the fuckin’ kids.

“Mosh” refers to Wall as the guy who penned an awesome and addictive Metallica biography called Enter Night (St. Martin’s Press). It’s human nature to approach “unauthorized” biographies with skepticism because, honestly, they usually suck. Enter Night does no sucking. Wall (whose journalism resume includes work for Mojo, Kerrang!, and Classic Rock and books include Led Zeppelin, Iron Maiden, and Ozzy Osbourne bios) knocks it outta the park with Enter Night, and, as he says below, it likely would have suffered by earning Metallica’s official endorsement. That classification would have ultimately given James Hetfield and Lars Ulrich’s egos final say on allegations like Hetfield’s subtle – and not-so-subtle – racism, the possibility Cliff Burton’s death saved Ulrich’s job, and the unceremonious way Metallica dumped those who helped build their career.

In an unrelated, related note, Metallica have recorded studio album with Lou Reed. The two played together in 2009 at the 25th Anniversary Rock And Roll Hall Of Fame shows in New York, and apparently are under the assumption it was so magical they should do an entire record together. “Mosh” does not assume this.

Mosh: How and when did you decide to write Enter Night?

Mick Wall: I was looking around for what to do as my next book after my Led Zeppelin biography (When Giants Walked The Earth), looking for a really good story that might equal or at least come close to that of Zep, when I thought of Metallica. It just clicked. Like Zep, there had never been a really literary biography on the band, nothing I would enjoy reading, so it seemed perfect. Lots of highs and lows and weird inbetweens. For me, it’s not really about the music, it’s always about the story, and the story of Metallica is a terrific tale.

M: Do you remember your first official Metallica interview? What were the circumstances surrounding it?

MW: I had met and hung out with Lars long before I formally interviewed or wrote about the band. That was in 1985 when I went to Copenhagen to be in the studio with them while they were making Master Of Puppets. Snow outside, snow inside, if you get me. And a lot of grass needing cutting.

M: You obviously had a boatload of interviews to draw from, but did you approach the band about participating in the book?

MW: Yes. I made it my first job to let them know what I was doing and to invite them to participate if they wished. Lars was up for it, James wasn’t. The main thing, I wasn’t interested in making this in any way official, so they would not have had any say in the outcome or have been allowed to alter the manuscript. They also want to do their own no-holds-barred book one day but weren’t ready for that yet. I look forward to it. Knowing how scrupulous and shrewd they are, I know it will be fascinating.

M: Obviously you are a fan, but you also maintain an unbiased perspective that allows you to be critical of Metallica. Have you received any feedback from the band?

MW: I am not a fan and did not write this book as a fan or even for the fans. I wrote it for people that like to read literary biographies and enjoy rock and roll outlaw stories. I do admire Metallica’s music very much, but as I said, it’s the story I’m primarily interested in. I spoke with Lars on the phone a few weeks ago, and he was very complimentary about the book, which shows you the measure of the man as the book certainly pulls no punches.

M: Dave Mustaine’s influence on Metallica is disputed in heavy-metal circles and a topic brought up in Enter Night. Some say he played a significant role in shaping the band. Others claim he was just a loudmouth too willing to take credit. What’s your take?

MW: He was both. Without him, no them. Without them, no him. The openly sad part is that Dave has never gotten over being kicked out of the band. He should realize it was the making of both him and them. They could not have carried on together and been as successful and Metallica and Megadeth eventually became.

M: What about his ousting? Was it really about drinking, or was it more about egos?

MW: It was about drinks, drugs, fights, and the fact that Dave was so out of control. All of which made him a great guitar player and character onstage but a royal pain-in-the-ass off it.

M: Your book also shines light on how poorly Jason Newsted was treated during his 14-year tenure. How did he last as long as he did?

MW: My guess? Money. Why else put up with such bullshit? That’s not to denigrate him. Most of us do much more degrading work for far less pay. Jason remained honorable throughout his career, and I respect that very much.

M: Was Newsted simply a victim of the circumstances, replacing Cliff Burton, or was there more to Metallica never “accepting” him. Would anyone hired to replace Cliff have been in the same boat?

MW: Jason was an accidental victim. They went from Godhead Cliff to fanboy Jason. They just didn’t have respect for him, and without he had no chance. It wouldn’t have been the same for everyone. If Joey Vera from Armored Saint had taken the job, I’m sure things would have been different.

M: An interesting question you often present is, simplified, What would Cliff have said? So, in your opinion, had Cliff lived, would the history/discography of Metallica be different?

MW: Everything would have been different. How though, no one knows, though as the book shows, Cliff and James were actually talking about replacing Lars as drummer just before Cliff’s death. So the whole story could have been very different. Or maybe they would have stayed together and made more albums like Master Of Puppets, but that’s doubtful, too. Cliff had even broader musical tastes than any of them, from Kate Bush to R.E.M. and Stanley Clarke. It’s the big what if.

M: I’d like to rattle off a couple items in Metallica history and have you provide insight into what – good, bad, or ugly – they meant to the band’s legacy: “Black Album.”

MW: Everyone loves a hit. This is the album they will always be remembered for. Did they sell out in making it? Of course! That’s the whole idea if you want to be the biggest rock stars in the world. But it’s not like they won “American Idol.” They wrote their own story and had the guts and talent to make it happen.

M: Napster.

MW: Big mistake, still living it down, but at least they can now joke about it. What never gets mentioned is how nearly all other bands and the entire music industry were on their side and how right they were to fear the impact of the Net on the old 20th century model of the record business, now officially extinct. No one is ever going to sell 100 million records again like Metallica did.

M: Load and its corresponding image overhaul.

MW: Brave, inspired, self-indulgent, doomed to failure, but one of the reasons Metallica are now bigger and more important than Slayer, Anthrax, etc. Their closest rivals are now U2, AC/DC, The Stones, etc.

M: Some Kind Of Monster documentary.

MW: Another brave move. But also very shrewd. It was made 12 months after “The Osbournes” was such a huge and game-changing hit. Did Lars take that onboard when he agreed for the movie to be “warts-and-all?” You fucking betcha.

M: St. Anger.

MW: Their best album since Load, one of the all-time great truth albums, up there with Berlin by Lou Reed, Tonight’s The Night by Neil Young, and Saved by Bob Dylan. The fact that so many people still get worked up over it, angry, confused, hurt, says a lot. Much better than Death Magnetic.

M: On the spot: Name your favorite and least-favorite Metallica records and explain why.

MW: Favorite – Master because even the band say it’s their best. It is. Least favorite – Reload, [it is] what it is, leftovers from Load.

MOSH-WORTHY: Orange Goblin Box Set (Rise Above); Barn Burner Bangers II: Scum Of The Earth (Metal Blade); Pharaoh Ten Years (Cruz Del Sur); Death Human deluxe edition (Relapse); Soundtrack Afterparty Massacre (Ibex Moon).

– Trevor Fisher

We couldn’t find any local chapters at press time, a semi-disappointing discovery in a city that prides itself on its uprising and cliques. So, we cast our vote for someone to join the Music Monitor Network/Coalition Of Independent Music Stores’ “Metal Club,” a group of brick-and-mortar retailers pushing to build strong community with metal fans. (Metal Haven would have been perfect, R.I.P.) What are the membership benefits? Well, unlike the Metallica (pictured above) fanclub, which doles out such garbage as “Livin’ To Win” T-shirts, Grimey’s in Nashville hosted an intimate (150 capacity!) Metallica concert in 2008 and affiliated stores will be privy to Live At Grimey’s, releasing via Warner Bros. on the 26th. Other exclusives include a 10-inch Anthrax single, deluxe vinyl for Slayer and Queens Of The Stone Age, special editions of the new Monster Magnet, and a Job For A Cowboy collectors’ set. Visit mymetalclub.com for the nearest shop.

Play The Blues, Hick!

O.K., so Jon Spencer won’t be yelling the above at Judah Bauer this fall, but if Blues Explosion were playing the Chicago Bluegrass & Blues Festival (December 3rd through 5th) he might. The third edition of the annual roots gathering plots wider boundaries than those of us who cling to genre limitations would, posting headliners Edward Sharpe & The Magnetic Zeros (a Laurel Canyon mix from a former indie rocker) and Grace Potter & The Nocturnals (libidinous Sheryl Crow meets Allison Moorer), also dedicating space to David “Honeyboy” Edwards and The Skatalites. Unlike some other local gatherings, CBGB (it actually goes by CBB, but it’s truer to CBGB’s roots than the real CBGB is) emphasizes local talent, so you also get The Giving Tree Band, Van Ghost, Sexfist, Daphne Willis, The Right Now, The Shams Band, Jaik Willis, and many more. Visit cbbfestival.com for ticketing information.

The Daley News

We’ve lived through two Bush administrations and now the second of two Daley reigns is set to end, the latter of which inspired an outpouring of retrospectives from Chicago-based arts columnists last month. Given that he’s been in power since ‘89, Little Richie’s command was sure to have its enemies, though not much perspective has been given in light of his predecessors. Daley II’s legacy will always suffer in comparison to the late Harold Washington’s, who marshalled and booked the German-American parade in 1985 that culminated with a North Shore teenager commandeering a float and delivering a blistering lip-synch of “Twist & Shout.” Jane Byrne gave us the Taste Of Chicago, paving the way for countless past-their-prime acts to soundtrack a million rib-sampler sales, but she also came down hard on our burgeoning punk scene. Michael Blandic’s folly will forever remain the Canadian rapper Snow and, as for Daley’s da, his influence on the local folk scene remains unmatched. So long, sir. We’ll always have guacamole.

Next Issue: Fuji Vs. Mandarin

Years ago on Daytona Beach, buzzed on cheap brandy and having accidentally inhaled some Cuban cigar smoke, I challenged a friend – now a lawyer – by alleging Kiss’ influence on rock ‘n’ roll was comparable and perhaps more crucial than Bob Dylan’s. I didn’t even like Kiss all that much, however my opponent L-O-V-E-D him some Dylan and I drew thrills as a schadenfreude. I was also 17. This fall, Chicago’s pop-critic chieftans Jim DeRogatis and Greg Kot reprise those roles with a Beatles v. Stones faceoff in Sound Opinions On The Great Rock ‘N’ Roll Rivalry, a 194-page exercise in . . . well, you decide. Ultimately, the lesson is we have to keep publishers away from DeRo. He’s a fine scribe and impeccable rock historian, but following some great treatises on psyche rock he’s served up the juvenile Kill Your Idols provocation and now this. Don’t take Kot down with you.

– Steve Forstneger

So I paid $18 to see The Big Four broadcast in June. The idea of going to the movies to watch a metal concert was a bit strange and spending nearly $20 to do so was plain dumb, but I had to. My gut tells me this thing eventually comes to The States (Slayer drummer Dave Lombardo agrees; read my interview with him this issue), but there’s also the possibility it won’t. What if Metallica puss out? If you were James Hetfield or Lars Ulrich, would you risk getting blown offstage by Slayer every night (exactly what happened in Bulgaria)? Would you want to face the fact, night after night, you aren’t the best Big Four band, just the most popular?

Hence why I sat in a stuffy Evanston theater (Cinemark is obviously trying to save some bucks by decreasing A/C frequency), eating popcorn (with M&M’s mixed in!), drinking iced tea (work the next morning; no caffeine after 7 p.m.), and watching heavy metal.

It was a strange scene. Lucky for you, I packed my notebook. Below are the kind of observations you can only get from a credited, highly regarded member of the music press.

• Not one person yelled SLAYEEER all night. Unacceptable.

• Joey Belladonna literally has not changed his hair style since 1984. Are we supposed to be excited about his return to Anthrax? A whopping four years after his last one?

• Dave Mustaine looks worn out and beaten down. Haggard. His face, to quote “Seinfeld,” looks like an old catcher’s mitt. Fell off the wagon? Doubtful. Endgame would be much better if that were the case.
• How in the world does Kirk Hammett fit into pants that tight?
• Why in the world does Kirk Hammett wear pants that tight?
• Very few people in Evanston like heavy metal, apparently.
• Lars Ulrich is a douchebag.
• Mustaine sounded fucking lousy.
• At least Dave Ellefson is back. Wonder if he considered asking the soundman to turn Mustaine’s vocals down in his monitors.
• Jeff Hanneman hates you.

Now some Big Four-themed lists. Who doesn’t love lists of shit, right?

BIG FOUR BEST FOUR
1. Megadeth Rust In Peace
2. Metallica Kill ‘Em All
3. Slayer Reign In Blood
4. Megadeth Peace Sells . . . But Who’s Buying?

BIG FOUR WORST FOUR
1. Metallica St. Anger
2. Megadeth Endgame
3. Megadeth Risk
4. Metallica Reload

BIG FOUR UNDERRATED FOUR
1. Anthrax The Sound Of White Noise
2. Megadeth Youthanasia
3. Slayer God Hates Us All
4. Slayer Diabolus In Musica

HIGH ON HIGH ON FIRE: I finally own Blessed Black Wings and Death Is This Communion on vinyl. Very excited. Yes, they are reissues. No, I don’t give a shit. All three High On Fire Relapse albums (Blessed Black, Communion, and Surrounded By Thieves) are available again on wax. Each is a double-LP packaged in a special “gatefold LP Stoughton ‘tip on’ jacket.” I have absolutely no idea what that means, but shit looks real sharp. Sounds real sharp, too, of course. Various color options are available depending on which pressing you snag, but beware: Only 1,500 copies of Thieves were pressed . . . You’re an idiot if you missed HOF at Lincoln Hall back in April. They killed. Luckily, our society gives idiots second chances. Matt Pike, Jeff Matz, and Des Kensel will plunder Chicago again in October, this time as part of Riot Fest. The punk-centric festival branches out more and more each year, and besides HOF, the 2010 version also includes Corrosion Of Conformity (albeit the original, hardcore, three-piece lineup of Mike Dean, Reed Mullin, and Woody Weatherman). An official schedule wasn’t available as of press time, but Riot Fest goes down October 6th through 10th. Check www.riotfest.org.

OUR CITY IS BETTER THAN YOURS: It’s been proven: Chicago heavy metal is the most awesome heavy metal in this country. Forbes — where I go for all my headbanging headlines — recently compiled a list of the best musical cities based on 10 specific genres. The mag interrogated a bunch of expert types (journalists, producers, musicians, etc.), and they confirmed what Chicago heshers already knew: We rule, boners.

MOSH-WORTHY: Shadowgarden Ashen (Napalm); Witchery Witch Krieg (Century Media); Early Man Death Potion (The End); Hammers Of Misfortune The Bastard/The August Engine/The Locust Years/Fields/Church Of Broken Glass (Metal Blade); Aaron Aites, Audrey Ewell Until The Light Takes Us DVD (Factory 25).

MOSH-WORTHY LIVE: Torche, Yakuza Arkestra (Wicker Park Fest 8/1); Drug Honkey (Empty Bottle; 8/1); Slayer, Megadeth, Testament (UIC Pavilion, 8/20); Bible Of The Devil (Glenwood Arts Festival, 8/21); Enthroned, Destroyer 666, Cardiac Arrest (Reggie’s, 8/25).

– Trevor Fisher

After being broadcast live to a European audience, the Sonisphere “Big 4″ concert in Sofia, Belgium was hastily edited for broadcast in North American movie theaters on Tuesday.

For the most part, the concert — a super-hyped meeting of Metallica, Slayer, Megadeth, and Anthrax — went off without incident, save a little rain during Megadeth’s set. In place of traditional movie previews were perfunctory backstage interviews (Lars Ulrich, Scott Ian, Dave Mustaine as a unit; Kerry King solo) that built into the afternoon’s opening act: Anthrax.

Despite their own inner turmoil, if one of these bands were to accept going on first without regard to their ego it would be Anthrax. Opening with “Caught In A Mosh,” the dynamic was instantly in place as the band would pile on relentless, high-tempo thrash while recently readmitted vocalist Joey Belladonna would work the crowd with his usual awkwardness and goofy facial expressions. The only band to really seem to grasp the occasion, the film performances limited the band to their ’80s repertoire but allowed for the “Heaven And Hell” tribute to Ronnie James Dio in the middle of “Indians.”

That first bit of semi-spontaneity (offered earlier at a similar Polish event) would be the evening’s last, however. Perhaps that lies at the feet of the editors — each band received about 45 minutes — but otherwise the highly anticipated affair was dreadfully dry.

Dave Mustaine’s refusal to work around his tattered voice maimed Megadeth’s performance irreparably. Even the sight of reunited bassist David Ellefson couldn’t distract from the mumbled falsetto that has become the frontman’s upper register. Instead of operating an octave lower or hiring a replacement — Mustaine has no problem, mind you, altering lyrics to jive with his religious beliefs — he pushed through a wince-inducing gig that was more obstinate and arrogant than brave. The repeated bellows of “killing!” in “Holy Wars”; “You just laugh/ha ha, bitch!” from “In My Darkest Hour”; and an entirely questionable “Hook In Mouth” (a PRMC would have been the least of an Eastern Bloc’s populace’s worries in the mid-’80s) all suffered while his band gamely if blandly plucked away.

The evening could have ended after Slayer, so much did they kill. Appearing worse for the wear, frontman Tom Araya’s back problems had no effect on his voice, which commanded King and Jeff Hanneman’s blistering, divebomb-riddled blitzkrieg. While Slayer’s detractors were no doubt unimpressed by the lack of ideas musically, their approach and tightness could not be questioned. From “World Painted Blood” to the obligatory “Raining Blood” finale, the errorless set was so relentless you could feel the atmosphere change during split-second breaks in “Angel Of Death” as the collective Vasil Levski National Stadium drew its breath.

As you can imagine, Metallica’s big-top theater stood in glitzy contrast. Earlier that day, Anthrax’s Ian introduced “Metal Thrashing Mad” as the sentiment of why everyone was there yesterday, but such could not be said of the headliner. Increasingly a collection of individuals, it was difficult to focus given the spastic lights and video, James Hetfield’s wild gesticulations, Ulrich walking around his kit, Kirk Hammett’s ‘tween-song solos, and bassist Robert Trujillo prowling around like Spiderman. Nothing garners criticism like success, but Metallica recklessly invite it. Instead of a laundry list (’50s-style microphones, Hammett playing with the fluidity of someone who never changes his strings), it’d be asinine to ignore what Metallica did right, and that was the stage.

The first three bands seemed to be dwarfed: Anthrax a simple banner, Megadeth oversized Rust In Peace props, Slayer the anonymous wall of Marshall stacks. Metallica, by virtue of two ramps leading to an underutilized, raised portion, were thrust on top of the crowd and made more intimate by Ulrich’s lack of a drum riser. It aided their energy-level immensely, especially for Hetfield who absorbed cheerleading responsibilities after Jason Newsted left. His animae restored, gripping renditions of “Creeping Death” and “Master Of Puppets” maintained astonishingly intense levels despite living on opposite ends of the setlist.

– Steve Forstneger

It’s not quite what everyone was looking for, but Metallica, Slayer, Megadeth, and Anthrax will share the stage on June 22nd. Tickets on sale TODAY!

The catch is the show’s in Sofia, Bulgaria and will be simulcast to theaters worldwide. Four-hundred-and-fifty U.S. theaters will carry the event, what’s unclear is the time of day, as Bulgaria is 8-hours ahead of Chicago. June 22nd is a Tuesday, so that might mean taking a halfday at work if it begins at a reasonable 8 p.m. Baltic time.

Oddly, this comes in a summer when three-quarters of the original European Clash Of The Titans tour rolls through the States. Slayer, Megadeth, and Testament took Suicidal Tendencies as their opener in 1990; Slayer, Megadeth, and Testament play UIC Pavilion on a rescheduled August 22nd. (Alice In Chains opened the U.S. jaunt, on which Anthrax replaced Testament.) This is believed to be the first time Metallica and Megadeth have shared a stage; Dave Mustaine was ousted from the former in 1983.

Visit thebigfourlive.com for more information.

– Steve Forstneger

Due to a slowing economy, C.F. Martin & Co. is bringing back its acclaimed 1 Series of acoustic guitars. Initially introduced in 1993 in response to another dodgy economic period, Martin’s revamped recession fighter is a traditional solid-wood guitar in the spirit of the Style 15 and Style 17 models Martin introduced during the 1930s. According to the company’s press department, Martin “is addressing the concerns of U.S. consumers by providing players with an affordable, solid-wood bodied guitar, backed by their 175-year heritage of exceptional guitar making.” Assembled from tonewoods, including a Sitka spruce top, Sapele back and sides, and East Indian Rosewood fingerboard and bridge, it features a modified-hybrid scalloped-top bracing and comes in a Dreadnought acoustic and electric-acoustic version. The electric is equipped with a Fishman sound-reinforcement system that offers full volume and tone control and an onboard digital chromatic tuner. Martin will likely retire this model once the economy is full steam again, so the the 1 Series is both affordable and a collector’s piece. Retail is $799; visit www.martinguitar.com for more information.

Orange
Tiny Terror

Orange’s Tiny Terror amp has been a top seller for the U.K.-based manufacturer for several years, but the company realized it could squeeze a few more dollars from fans and collectors by making a hardwired, boutique edition with high-spec transformers, carbon-comp resistors, and limited-edition mustard capacitors. Orange claims this little terror creates more crunch and response than the original version via wider frequency response, more bite, and more punch. It offers the same lightweight portability in a unique lunch-box size, with the added benefit of weighing less than the original. Orange insists the hardwired Tiny Terror is not a production amp, and each one will be individually hand wired, tested, and quality checked at the U.K. headquarters, limiting the numbers available. The Tiny Terror retails for $1,344. Check www.orangeamps.com for details.

Dunlop
Kirk Hammett Wah Pedal

Dunlop’s collaboration with Metallica’s Kirk Hammett has hatched – what else? – the new Kirk Hammett signature Wah. After months of prototypes, this pedal has been meticulously tuned and tweaked to “deliver the wah-wah sound that revolutionized metal solos in the ’80s,” according to Dunlop. It recreates the legendary tone Hammett relies on when touring by emulating the EQ, volume, and tone settings of his rack wah and reproducing them with exceptional precision. The Kirk Hammett Wah offers great response as you move from heel to toe, with a thick top end full dynamic range. It will cost you about $265. Visit www.jimdunlop.com for more inf-ormation.

On Stage Gear
Click-It Guitar Strap

Reinventing the guitar strap is almost as difficult as reinventing the wheel, but Click-It Strap attempts to defy gravity with its lower price and ultra-strong, automotive seatbelt-quality nylon. The Click-It adjusts from 32 to 55 inches and features a secure quick-attach/quick-release clip. The female end of the clip remains secured to the guitar when the strap is not in use, but it will not interfere with the fit of molded cases. The list price is $16.99, and www.onstagestands.com has all the details.

– David Gedge

Click here to view more Metallica pics!

Hours before Metallica completed their two-night Allstate Arena stand, IE contributor Mike Meyer said, “You’re not going to see Metallica – you’re going to see Disney.” He wasn’t being disrespectful, rather trying to underscore the change in a band who no longer seek to destroy an audience, but entertain it. And he was right – in more ways than he intended. Tuesday night was for family.

In fact, “family” was a word frontman James Hetfield would repeat often. He applauded the youngsters in the stands and welcomed them. His “I can’t fucking hear you” routine was replaced by affirmations like “You make us feel good, Chicago.” By the end of the night, there were children on stage firing cans of silly string. We sang “Happy Birthday” to crew member and punched beach balls, fer crissakes.

Of course, Disney is also the best, and for a long time people said the same of Metallica. While a celebratory vibe was the two-hour set’s ultimate take-home, the band vacillated in such ways that defied their arena pedigree. Hetfield veered from post-rehab mantras (“The slave becomes the master!”) to hamming up bits of “One” and “Nothing Else Matters,” robbing them of the intensity that used to make them compelling. The intro to “The Day That Never Comes” was particularly frightful – following one of many band time-outs, the lights came up to reveal a forlorn Hetfield pensively plucking the opening notes. Guitarist Kirk Hammett stumbled over notes during solos and drummer Lars Ulrich continually mucked up cues and rhythm changes, miring the standard “(Welcome Home) Sanitarium” in slop.

Metallica boldly pushed a half-dozen songs from the new Death Magnetic (Warner Bros.), and initially the selections proved rather key. Openers “That Was Just Your Life” and “The End Of The Line” built early momentum and cut through a derelict laser-light effect borrowed from Queensryche’s 1990 Empire tour. The latter, however, combined with “The Day That Never Comes,” too eagerly campaigned to win back alienated fans, blatantly nicking whole sections from the classics “Creeping Death” and “Fade To Black,” respectively. “Broken, Beat & Scarred”’s clunky starts and stops never penetrated the audience, and “Cyanide” stood in for the Load records, which the band have completely divorced.

The diehards were sated with some throwbacks (“Fight Fire With Fire,” the Misfits’ “Die, Die My Darling”) and the band delivered the “black” album (“Enter Sandman,” “Sad But True”) with professional, if rote obligation. The throngs packed around the stage devoured every part even when they could predict each scorching pyro blast, or when the teasing pauses during “Harvester Of Sorrow” and “Sandman” would end. Cell phones lit the air when lighters couldn’t be found, tubs of picks were flung as souvenirs, and life was grand.

But there’s a lingering discontent, if restroom chatter during one of the new songs was to be believed. Death Magnetic is Metallica trying to put things right: upped tempos, thrash ‘n’ burn riffage. But half of it is a Frankenstein’s monster of spare parts misshapen into songs. Despite the inference that the last 15 years didn’t happen, they continue to focus on their image above all else. “Come back because we’re the old us again,” they seem to be saying instead of understanding they can’t go back. We don’t mind the old stories. Just don’t rearrange the old ones and call ‘em new. Not when you’re with family.

– Steve Forstneger