METAL ARCHIVIST & OLD SCHOOL METAL HEAD … OBSESSED WITH HEAVY * THRASH * DEATH * BLACK * DOOM * HARD ROCK *
Thursday, May 28, 2026
RECOMMENDED LISTENING: PUNISHER (ARG) "KYBALION" [TAPE/LP]
Genre: Heavy Metal
Year: 1998
Country: Argentina
Who would like this?: Those claiming traditional Heavy Metal was dead in the 1990's. The lyrics are in Spanish, and although I don't understand a single word, it's my favorite language, just beautiful.
Notes: Heavy Metal band from Buenos Aires, Argentina. This is the bands only full-length album, released in 1998. First only on tape and then later on vinyl. According to Metal Archives the band recorded some material to be released on CD but disbanded because some members became christians.
Recorded between August 1997 and April 1998 at Estudios Del Oeste. Mastered at La Nave de Oseberg Studios, Buenos Aires, Argentina. Produced by Punisher.
Side A
1. Camino de Piedra 06:00
2. Sistema de Violencia 05:52
3. TNT (El Poder) 04:23
4. Cobarde Asesino 03:46
Side B
5. Inocente el Soldado 04:52
6. Nueva Generación de Idiotas 04:38
7. El Triunfo del Metal 03:54
8. Uno con el Trueno 04:48
DISCLAIMER:
Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
I do not own any of the music, videos & photos. All clips, photos and music belong to their respectful owners. I do not earn any money with these post. This is for educational purposes only. Any use for monetary gain, contact the creator.
Any tracks, demo tapes or albums streaming on this channel is not in print at the date of the upload. If any music on this blog have been re-released by a label, contact me and I'll take it down.
PATREON MEMBERS
As a support Patreon member you can download the album
and their1988 demo tape as m4a/mp3, by clicking the logo down below.
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MYTHOLOGY (PRE-BLACK SABBATH) "QUEENS HOTEL, SILLOTH, U.K. (JULY 13, 1968)
Mythology was an English blues band based in Carlisle that formed in early 1967, out of The Square Chex. The band featured future Black Sabbath founding members Tony Iommi and Bill Ward.
The founding members of the band were bassist Neil Marshall (born Neil Martin Marshall, in 1944, in Carlisle, Cumberland), lead singer Mike Gillan, lead guitarist Frank Kenyon (born 12 October 1945, in Carlisle) and Terry Sims on drums. All had been in The Square Chex formed in 1965 with Gillan on lead vocals, Jimmy Wyllie on bass, Danny Little on drums, Ray 'Smokestack' Parr on lead guitar and Ian 'Mel' Meldrum on drums. Terry Sims replaced Little and Meldrum, Frank Kenyon (ex The VIP's) replaced Parr and Neil Marshall (ex The Street) replaced Wyllie in 1967. The band changed their name to Mythology in early 1967. Gillan left in December 1967 after a short tour of Europe and was replaced by a Newcastle singer called Rob. A week later Kenyon left. In January 1968, former members of The Rest, Tony Iommi (born Frank Anthony Iommi, 19 February 1948, Aston, Birmingham, Warwickshire) and Chris Smith (born Christopher Robin Smith, 1949, Erdington, Birmingham) replaced Kenyon and Rob on lead guitar and lead vocals respectively. Bill Ward, also formerly of The Rest, replaced Sims on drums in mid February 1968. Ward made his debut with the band on 17 February 1968 at the Globe Hotel in Main Street, Cockermouth, Cumberland. On 30 April 1968, the band supported The Move at the 101 Club in Carlisle and on 4 May 1968 they supported Gary Walker and the Rain at the Clockwork Orange in Chester, Cheshire.
Mythology had some regional success but eventually disbanded after an incident where all four members were arrested and fined 15 pounds for possession of cannabis resin on 27 May 1968. Much of their gigging work dried up after this event, and they soon disbanded after the final show at the Queen's Hotel, in Silloth on 13 July 1968.
After the dissolution, Ward and Iommi, along with Ozzy Osbourne and Geezer Butler, founded a new band, the Polka Tulk Blues Band, later called Earth and finally renamed Black Sabbath.
The founding members of the band were bassist Neil Marshall (born Neil Martin Marshall, in 1944, in Carlisle, Cumberland), lead singer Mike Gillan, lead guitarist Frank Kenyon (born 12 October 1945, in Carlisle) and Terry Sims on drums. All had been in The Square Chex formed in 1965 with Gillan on lead vocals, Jimmy Wyllie on bass, Danny Little on drums, Ray 'Smokestack' Parr on lead guitar and Ian 'Mel' Meldrum on drums. Terry Sims replaced Little and Meldrum, Frank Kenyon (ex The VIP's) replaced Parr and Neil Marshall (ex The Street) replaced Wyllie in 1967. The band changed their name to Mythology in early 1967. Gillan left in December 1967 after a short tour of Europe and was replaced by a Newcastle singer called Rob. A week later Kenyon left. In January 1968, former members of The Rest, Tony Iommi (born Frank Anthony Iommi, 19 February 1948, Aston, Birmingham, Warwickshire) and Chris Smith (born Christopher Robin Smith, 1949, Erdington, Birmingham) replaced Kenyon and Rob on lead guitar and lead vocals respectively. Bill Ward, also formerly of The Rest, replaced Sims on drums in mid February 1968. Ward made his debut with the band on 17 February 1968 at the Globe Hotel in Main Street, Cockermouth, Cumberland. On 30 April 1968, the band supported The Move at the 101 Club in Carlisle and on 4 May 1968 they supported Gary Walker and the Rain at the Clockwork Orange in Chester, Cheshire.
Mythology had some regional success but eventually disbanded after an incident where all four members were arrested and fined 15 pounds for possession of cannabis resin on 27 May 1968. Much of their gigging work dried up after this event, and they soon disbanded after the final show at the Queen's Hotel, in Silloth on 13 July 1968.
After the dissolution, Ward and Iommi, along with Ozzy Osbourne and Geezer Butler, founded a new band, the Polka Tulk Blues Band, later called Earth and finally renamed Black Sabbath.
SETLIST
1. Steppin' Out 2:40
2. Top Of The Hill 2:13
3. All You Love 3:40
4. Help Me 14:04
5. Dust My Broom 3:06
6. All That Jazz 7:01
7. Room With A View 3:30
8. Morning Dew 3:14
9. Spoonful 6:13
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EUROPE (KAMRATPOSTEN #12, AUGUST 14, 1985) < TRANSLATED
Kamratposten, also known as KP, is a Swedish magazine founded in 1892 by teacher Stina Quint under the name Folkskolans barntidning (The Primary School Children's Newspaper). Kamratposten's target audience is children and young people between the ages of 8 and 15. Here's a translation to English for you.
It's been quite a few years since the fashion for guys to have really long hair died out. But that's something that Joey Tempest, Ian Haugland, John Leven, Mic Michaeli and John Norom in Europe ignore.
— It's nice to have long hair and we enjoy it, says Joey Tempest, singer and the one who talks the most of the guys.
Ian Haugland:
— Cool (fun) clothes are important but you can't look too sloppy. There are many groups that only focus on outfits, perhaps as compensation for the fact that their music isn't that popular, but they tend to disappear pretty quickly. We're not that kind of band.
But what kind of band is Europe?
Many people think they're Sweden's best hard rock band. But they don't just play hard rock, they also play soft and nice ballads.
— We want to mix the music so that it sounds good, and there's nothing wrong with soft ballads. The most important thing is that people are happy and feel good about our music, says Joey Tempest.
Condemns violence
At the same time, the guys in the band want to dispel the myth that hard rockers are aggressive and like violence.
— Hard rockers are actually calm and kind. We're basically the same people as the synthesizers, says John Levén, and John Norom adds:
— Violence is too damned, we're absolutely not violent people. I don't think anyone really likes violence, not even those who do it.
No one in Europe believes the talk that hard rock is harmful and encourages violence.
English lyrics
The important thing in Europe's music is a good combination of music and lyrics. The lyrics, which are about war and love, are always in English. Why then?
— There is more rhyme and more melody in English than in Swedish. That makes it much easier to write in that language, says Joey Tempest, who writes all the group's songs.
— When I make a song, I write the music first and then the lyrics. It's easiest to do it in that order.
But neither Joey nor anyone else in the band has any real musical education. All of them have certainly "suffered" some form of municipal music school, but most of all they are self-taught.
Various idols have also served as role models.
Right now they don't have any particular idols. However, they do have "sources of inspiration". These include Whitesnake and Garry Moore. These are the people that Europe sometimes look to for tips on how to develop their own music.
From Force to Europe
It is their own music, their own lyrics and the band's way of playing that has made them so enormously popular in just two years. Until 1982, Europe was a relatively unknown local band in Upplands-Väsby, north of Stockholm.
At that time, they called themselves Force. But the guys decided that Europe was a better and “bigger” name.
In 1982, some record producers decided to organize a Swedish rock championship. More than 4,000 cassettes from different bands were entered into the competition. Of these, 240 bands were selected to compete for the title of Sweden’s best rock band.
Europe won. The prize was the opportunity to record an LP. And the album sold really well. About 40,000 copies in Sweden and the same number in Japan.
Suddenly, Joey, Ian, John L, Mic and John N were idols. People wanted to see and hear them.
— It happened quickly. We started touring in 1983. So far, we’ve done about 200 gigs, mostly in public parks. But we have also played in ice rinks and abroad, says Joey Tempest.
Not millionaires
They have become full-time musicians and they earn good money.
— But we have not become any millionaires. I think we will reach the normal Swedish income. But money is not everything, the most important thing is that people listen to our music, says Ian Haugland.
It is not only young people who listen to their music. The guys say that it is common for children to come with their parents to the performances.
The guys also say that they got used to being idols quite quickly.
— It is a dream to be able to do this. It is great to constantly work and live with music. We could do it our whole lives. It would feel wrong to stop and I don't think we could do that either. Even if people stopped asking for us, we would at least keep playing, says John Levén.
But of course there are downsides to the music life. Touring can be hard with long trips and boring hotel rooms. The fans can sometimes be a bit pushy. The guys also find it boring to be interviewed and photographed by journalists so often. But the whole group still gets up and talks to KP for a long time. The guys themselves read KP when they were in school.
Bright future
The future looks bright for Europe. They recently signed a contract with a major American record company to record ten LPs over the next few years. The albums will then be released all over the world.
— The goal is to become big in the US, but also in other countries. Right now we are doing well in Japan. We have been on their top lists and only we and ABBA of Swedish artists have managed to do that, says Joey Tempest.
The group has also appeared in a film that Staffan Hildebrand (the guy from the film “G”) has made for the trade union movement.
— But that doesn’t mean we have taken a political stance. We are apolitical. We were in the film because we wanted to stand up for Staffan, say the guys.
But even though Europe have become famous idols, they at least have one thing in common with the rest of us.
— It always gives you a tingle when you go on stage and know that there are several thousand people sitting below watching us, says Ian Haugland.
EUROPE
KIND ROCK BEHIND THE SMOKESCREEN
Five guys in their 20s. Three years ago they called themselves Force and not many people knew them.
Today they call themselves Europe and are big idols, not only in Sweden but also in Japan, among other places.
KIND ROCK BEHIND THE SMOKESCREEN
Five guys in their 20s. Three years ago they called themselves Force and not many people knew them.
Today they call themselves Europe and are big idols, not only in Sweden but also in Japan, among other places.
It's been quite a few years since the fashion for guys to have really long hair died out. But that's something that Joey Tempest, Ian Haugland, John Leven, Mic Michaeli and John Norom in Europe ignore.
— It's nice to have long hair and we enjoy it, says Joey Tempest, singer and the one who talks the most of the guys.
Ian Haugland:
— Cool (fun) clothes are important but you can't look too sloppy. There are many groups that only focus on outfits, perhaps as compensation for the fact that their music isn't that popular, but they tend to disappear pretty quickly. We're not that kind of band.
But what kind of band is Europe?
Many people think they're Sweden's best hard rock band. But they don't just play hard rock, they also play soft and nice ballads.
— We want to mix the music so that it sounds good, and there's nothing wrong with soft ballads. The most important thing is that people are happy and feel good about our music, says Joey Tempest.
Condemns violence
At the same time, the guys in the band want to dispel the myth that hard rockers are aggressive and like violence.
— Hard rockers are actually calm and kind. We're basically the same people as the synthesizers, says John Levén, and John Norom adds:
— Violence is too damned, we're absolutely not violent people. I don't think anyone really likes violence, not even those who do it.
No one in Europe believes the talk that hard rock is harmful and encourages violence.
English lyrics
The important thing in Europe's music is a good combination of music and lyrics. The lyrics, which are about war and love, are always in English. Why then?
— There is more rhyme and more melody in English than in Swedish. That makes it much easier to write in that language, says Joey Tempest, who writes all the group's songs.
— When I make a song, I write the music first and then the lyrics. It's easiest to do it in that order.
But neither Joey nor anyone else in the band has any real musical education. All of them have certainly "suffered" some form of municipal music school, but most of all they are self-taught.
Various idols have also served as role models.
Right now they don't have any particular idols. However, they do have "sources of inspiration". These include Whitesnake and Garry Moore. These are the people that Europe sometimes look to for tips on how to develop their own music.
From Force to Europe
It is their own music, their own lyrics and the band's way of playing that has made them so enormously popular in just two years. Until 1982, Europe was a relatively unknown local band in Upplands-Väsby, north of Stockholm.
At that time, they called themselves Force. But the guys decided that Europe was a better and “bigger” name.
In 1982, some record producers decided to organize a Swedish rock championship. More than 4,000 cassettes from different bands were entered into the competition. Of these, 240 bands were selected to compete for the title of Sweden’s best rock band.
Europe won. The prize was the opportunity to record an LP. And the album sold really well. About 40,000 copies in Sweden and the same number in Japan.
Suddenly, Joey, Ian, John L, Mic and John N were idols. People wanted to see and hear them.
— It happened quickly. We started touring in 1983. So far, we’ve done about 200 gigs, mostly in public parks. But we have also played in ice rinks and abroad, says Joey Tempest.
Not millionaires
They have become full-time musicians and they earn good money.
— But we have not become any millionaires. I think we will reach the normal Swedish income. But money is not everything, the most important thing is that people listen to our music, says Ian Haugland.
It is not only young people who listen to their music. The guys say that it is common for children to come with their parents to the performances.
The guys also say that they got used to being idols quite quickly.
— It is a dream to be able to do this. It is great to constantly work and live with music. We could do it our whole lives. It would feel wrong to stop and I don't think we could do that either. Even if people stopped asking for us, we would at least keep playing, says John Levén.
But of course there are downsides to the music life. Touring can be hard with long trips and boring hotel rooms. The fans can sometimes be a bit pushy. The guys also find it boring to be interviewed and photographed by journalists so often. But the whole group still gets up and talks to KP for a long time. The guys themselves read KP when they were in school.
Bright future
The future looks bright for Europe. They recently signed a contract with a major American record company to record ten LPs over the next few years. The albums will then be released all over the world.
— The goal is to become big in the US, but also in other countries. Right now we are doing well in Japan. We have been on their top lists and only we and ABBA of Swedish artists have managed to do that, says Joey Tempest.
The group has also appeared in a film that Staffan Hildebrand (the guy from the film “G”) has made for the trade union movement.
— But that doesn’t mean we have taken a political stance. We are apolitical. We were in the film because we wanted to stand up for Staffan, say the guys.
But even though Europe have become famous idols, they at least have one thing in common with the rest of us.
— It always gives you a tingle when you go on stage and know that there are several thousand people sitting below watching us, says Ian Haugland.
The front cover of the magazine
Wednesday, May 27, 2026
AC/DC "VH1 STUDIOS, LONDON, ENGLAND" (JULY 5, 1996) + REHEARSAL
Live performance at the VH-1 studio in London, England, on July 5th, 1996. During the Ballbreaker Tour, and a few days before the Live At Plaza De Toros, Madrid show.
SETLIST
1) Interview - 0:00
2) Riff Raff - 2:41
3) Go Down - 8:11
4) Gone Shootin' - 14:48
5) Back in Black - 19:44
6) You Shook Me All Night Long - 23:46
7) Shoot to Thrill - 27:34
8) Rock and Roll Ain't Noise Pollution - 33:33
9) Down Payment Blues - 37:51
10) The Jack - 43:24
11) Ballbreaker - 49:46
12) Whole Lotta Rosie - 54:21
THE REHEARSAL
Very rare VHS upscaled and color corrected version.
Please report dead links!
SETLIST
00:00:00 - Gone Shootin' (Take 1)
00:19:05 - Go Down (Take 1)
00:28:20 - Riff Raff (Take 1)
00:36:29 - Riff Raff (Take 2)
00:51:15 - Riff Raff (Take 3)
00:59:10 - Go Down (Take 2)
01:10:20 - Supersticious
01:12:00 - Gone Shootin' (Take 2)
WHEN SOUTH KOREA CENSORED ALBUM COVERS ... OR WHERE'S OZZY?
South Korea’s history of censoring records, media, and cultural materials is rooted in its geopolitical history, the rise of post-WWII authoritarian regimes, and cultural protectionism. While South Korea is now a vibrant democracy, this historical censorship was driven by several distinct motives.
National Security and Anti-Communism
Enacted in 1948, the National Security Act gave the government broad control over media to suppress pro-North Korean ideologies and prevent any information deemed a threat to the fragile state.
Regime Propaganda and Control
During the military dictatorships of the 1960s to the 1980s (such as under Park Chung-hee and Chun Doo-hwan), the government mandated that the media follow strict guidelines. Censors routinely banned records to suppress political dissent and forced pop artists to release "Healthy Music" that promoted patriotism and the administration.
Public Morality and Decency
Regulatory bodies like the Korea Media Rating Board and the Ministry of Gender Equality and Family (MOGEF) traditionally enforced stringent guidelines to protect "family values." Record covers containing suggestive nudity, violence, or references to drug use were routinely censored, edited, or mandated to carry 19+ ratings.
National Security and Anti-Communism
Enacted in 1948, the National Security Act gave the government broad control over media to suppress pro-North Korean ideologies and prevent any information deemed a threat to the fragile state.
Regime Propaganda and Control
During the military dictatorships of the 1960s to the 1980s (such as under Park Chung-hee and Chun Doo-hwan), the government mandated that the media follow strict guidelines. Censors routinely banned records to suppress political dissent and forced pop artists to release "Healthy Music" that promoted patriotism and the administration.
Public Morality and Decency
Regulatory bodies like the Korea Media Rating Board and the Ministry of Gender Equality and Family (MOGEF) traditionally enforced stringent guidelines to protect "family values." Record covers containing suggestive nudity, violence, or references to drug use were routinely censored, edited, or mandated to carry 19+ ratings.
Cultural Protectionism
Following decades of harsh Japanese colonial rule, South Korea enacted sweeping bans against the distribution of Japanese records, films, and music to preserve and cultivate its own developing cultural industries. This embargo was only formally phased out in the late 1990s and early 2000s.
Historical Impact on Foreign Music
Many classic western rock albums experienced bizarre cover and tracklist changes to comply with these local laws. For example, Ozzy Osbourne and King Diamond. I wonder what would have happened to Carcass "Reek of Putrefaction" 😬
Following decades of harsh Japanese colonial rule, South Korea enacted sweeping bans against the distribution of Japanese records, films, and music to preserve and cultivate its own developing cultural industries. This embargo was only formally phased out in the late 1990s and early 2000s.
Historical Impact on Foreign Music
Many classic western rock albums experienced bizarre cover and tracklist changes to comply with these local laws. For example, Ozzy Osbourne and King Diamond. I wonder what would have happened to Carcass "Reek of Putrefaction" 😬
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Tuesday, May 26, 2026
HEIR APPARENT (US/WA) (ELDRITCH ASSEMBLAGE #2, 1990)
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PATREON MEMBERS
As a support Patreon member you can download the entire fanzine
(and much more) as a pdf file by clicking the logo down below.
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Monday, May 25, 2026
GUNS N' ROSES "THE RITZ, NEW YORK, NY" (FEBRUARY 2,1988)
Please report dead links!
SETLIST
It's So Easy
Mr. Brownstone
Out Ta Get Me
Sweet Child O' Mine
My Michelle
Knockin' on Heaven's Door
Welcome to the Jungle
Nightrain
Paradise City
Mama Kin
Rocket Queen
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DEATH IS JUST THE BEGINNING VOL.II (VHS)
The legendary VHS compilation from 1992.
0:00 Intro
1:33 Opening Credits
3:17 Hypocrisy (statements)
3:25 Hypocrisy – Left To Rot
8:22 Monstrosity (statements)
11:09 Monstrosity – Final Cremation
14:33 Meshuggah (statements)
15:25 Meshuggah – Abnegating Cecity
21:59 Fetish 69 (trailer)
25:34 Fetish 69 – Pig Blood
30:51 Resurrection (statements + parts of Rage Within)
34:09 Rostok Vampires (statements)
34:34 Rostok Vampires – In Dad's House
36:43 Mortification (statements)
41:46 Mortification – Terminate Damnation
48:08 Afflicted – Ivory Tower
53:45 Benediction (statements)
53:55 Benediction – Foetus Noose
59:10 Disharmonic Orchestra (statements)
59:59 Disharmonic Orchestra – Groove
01:04:56 Brutality (statements)
01:08:09 Dismember (statements)
01:10:46 Dismember – Soon To Be Dead (Uncut)
01:13:53 Revenant (statements)
01:14:14 Revenant – The Unearthly
01:19:03 Winter – Servants of the Warsmen
01:23:18 Saint Vitus – Fear
01:29:05 Gorefest (studio report)
01:30:33 Pungent Stench (statements)
01:31:14 Pungent Stench – Sick Bizarre Defaced Creation
01:35:56 Macabre – Exumer
01:37:46 Outro
01:38:14 End Credits
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