Heavy Metal

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Heavy metal (often referred to simply as metal) is a genre of rock music that developed in the late 1960s and early 1970s, largely in the United Kingdom and the United States. With roots in blues-rock and psychedelic rock, the bands that created heavy metal developed a thick, massive sound, characterized by highly amplified distortion, extended guitar solos, emphatic beats, and overall loudness. Heavy metal lyrics and performance styles are generally associated with masculinity and machismo.

The first heavy metal bands (Proto) such as Led Zeppelin, Black Sabbath and Deep Purple attracted large audiences, though they were often critically reviled, a status common throughout the history of the genre. In the mid-1970s Judas Priest helped spur the genre’s evolution by discarding much of its blues influence; Motörhead introduced a punk rock sensibility and an increasing emphasis on speed. Bands in the New Wave of British Heavy Metal (NWoBHM) such as Iron Maiden followed in a similar vein. Before the end of the decade, heavy metal had attracted a worldwide following of fans known as “metalheads” or “headbangers”.

Visit the NWoBHM sub-genre page for more details on this particular music movement.

Source: http://en.wikipedia.org/wiki/Traditional_Heavy_Metal

Inclusive Traditional Heavy Metal Genres

Melodic Metal is often short for Melodic Heavy Metal and as such is usually included under Traditional Heavy Metal on the MMA. On rare occasions Melodic Metal releases may also be included under Power Metal however, such as Arven's Black is the Colour (2013).

Sub-genre collaborators (+ child sub-genres & shared with Hard Rock and Glam Metal):
  • 666sharon666 (Leader)

heavy metal top albums

Showing only albums and EPs | Based on members ratings & MMA custom algorithm | 24 hours caching

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heavy metal Music Reviews

METALLICA Wherever I May Roam

Single · 1992 · Heavy Metal
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martindavey87
Decent enough CD single, let’s see what we have here… ‘Wherever I May Roam’ is a great song. Heavy, grooving, with a nice tasty riff and some big vocals, singing about life on the road, or whatever typical nonsense you’d imagine a metal band singing about in 1991. There’s no denying it though, it’s a great song.

Then there’s a live version of ‘Fade to Black’, which, again, great song, although this could easily be one of the thousands of other live recorded versions of this track and I wouldn’t know the difference. And a demo of the title track, despite the very rough sound, it’s a nice touch, although listening to James Hetfield ‘na na na’ his way through the song is humorous for a one-off listen, but once is enough, thank you.

Overall, can’t really complain. It’s a harmless enough CD for collectors, but music fans today generally don’t really care for CD singles, do they? So yeah, one for the collectors.

CREOZOTH Creozoth

Album · 2005 · Heavy Metal
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UMUR
"Creozoth" is the eponymously titled debut full-length studio album by Swedish heavy/power metal act Creozoth. The album was released through Escapi Music in 2005. Creozoth only existed a few years and this album is their only output. Maybe the timing wasn´t right as Lars Johansson (guitars) and Jan Lindh (drums) were simoultaniously reuniting with their Candlemass bandmates, which probably left little time for Creozoth. Other than the two Candlemass related members mentioned above the lineup consists of Torbjörn Moen (bass) and Michael Storck (vocals). The latter was a pre-album vocalist for Yngwie Malmsteen in the period 1978-1979.

Stylistically this is a pretty riff heavy traditional heavy metal/power metal release. Not doomy like Candlemass, but featuring crushingly heavy riffs and rhytms and Storck´s powerful raw vocals on top. Start to mid-90s Trouble isn´t the worst reference, although Creozoth don´t quite reach the heights of the Americans and are generally a bit more power metal influenced. Although the songwriting is both professional and the songs are well executed (and the album is well produced), I´m missing a few more hooks. I´m enjoying the album while it plays, but it´s not a particularly memorable release. Therefore this one doesn´t end in the highest end of the rating scale, but a 3 star (60%) rating is still warranted.

TRAITORS GATE Devil Takes the High Road

EP · 1985 · NWoBHM
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siLLy puPPy
TRATORS GATE was one of countless acts to pick up the playing style of the NWOBHM sound of the late 70s and early 80s. This underground band formed in Pontypool, Wales only as Cyron in 1979, first changing its name to Quest and then settling on TRAITORS GATE. To demonstrate how prolific the early years of the NWOBHM were, there were actually two other bands with the same name in England alone. One from Fleetwood and the other from Weston-super-Mare.

While never achieving any level of success, TRAITORS GATE which consisted of Andy D'Urso (guitar), Steve Colley (bass), Paul House (drums) and Sy Davies (vocals) released one demo in 1984 and then an EP titled DEVIL TAKES THE HIGH ROAD in 1985. Originally only consisting of three tracks at barely over 11 minutes, the rediscovered “lost gem” was remastered and rereleased with three bonus tracks from those same early years thus essentially doubling the EP’s length.

This is one of those long lost artifacts that seems to have been reevaluated and deemed worthy of finding a second life. It features the typical NWOBM format of heavy guitar riffs, a pummeling bass and percussive rhythmic drive and those classic high pitched vocals all forged into melodically driven hard driving upgraded versions of the 70s style of hard rock. Guitar solos of course are very much part of the formula. Every once in a while especially on “Love After Midnight” there are a few keyboard sounds that creep in.

Admittedly this is catchy stuff that fits well into the overall era but honestly these sorts of bands were a dime a dozen and TRAITORS GATE never evolved beyond a second tier band at best. This EP sounds more like the style of NWOBM that was brewing around the 1980 / 81 timeline. By 1985 bands like Saxon, Iron Maiden Raven and Satan had already developed the heavy metal style quite well. No doubt this was a competent band and DEVIL TAKES THE HIGH ROAD is definitely a worthy dip into the obscurity bins however the emphasis of calling this some sort of lost classic is a bit over-exaggerated.

The band reformed sometime in the 2010s, released another EP and finally a full album “Fallen” in 2018 before two of the members sadly passed away in 2020. It’s likely TRAITORS GATE ended right there but of course bands can carry on with only one founding member. A nice dated throwback to the 80s with a unique style that does stand out to a certain degree but ultimately not one i’d find worthy of rising to the to ranks of NWOBHM royalty. The bonus tracks are just as good as the three originals so i personally consider this a six song EP rather than the original three song EP that has been out of print and impossible to find anyway.

LEGEND Legend

Album · 1981 · NWoBHM
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siLLy puPPy
The island of Jersey’s NWOHM band LEGEND may not have reached legendary status but rather is one of those bands that has earned its creds over the long haul. One of the original NWOBHM bands that formed on the self-governing British Crown Dependency of Jersey off the coast of Normandy, France, LEGEND formed quietly in 1980 in its small island enclave of less than 120 square kilometers (47 square miles) and cranked out two highly developed and accomplished albums in the early 1980s before disbanding four years later and reforming in 2002. This band is not to be confused with the legions of other LEGENDS out there including the Connecticut based prog / metal hybrid band nor the other English band from Kent.

Also developing simultaneously as Iron Maiden, early Def Leppard, Saxon and all the famous bands that have become NWOBM royalty, LEGEND remained obscure in the underground although gained enough traction to support Thin Lizzy in its 1981 UK tour. The band released both this self-titled debut album as well as the following “Death In The Nursery” independently and the original lineup featured Mike Lezala on vocals, Peter Hasworth and Marco Morosino on guitars, Eggy Aubert on bass and drummer David Whitley. The band’s origins lay in an early band called Dr. Morris which featured Haworth on vocals and Whitley on drums. After securing the proper talent, band leader Peter Haworth wrote this first album of material which sounded quite differently than the regular NWOBHM sound.

Inspired as much by Black Sabbath as Led Zeppelin, Budgie, Jimi Hendrix and other 70s hard rock / heavy metal giants, LEGEND developed a less aggressive take on the NWOBHM with elements of the Sabbath inspired doom metal dominating large chunks of its soundscape. The guitar playing more resembled the Scorpions’ original guitarist Uli Jon Roth however the band’s musical style was all its own with a less operatic vocalist delivering lyrics about politics, humanity and other subjects outside the mainstream. LEGEND also had a darker overall sound style than Iron Maiden, Angel Witch and other bands that were dominating the scene although many similarities such as the twin guitar attacks, strong bass and drum grooves and classic power chord breakdowns.

The album featured seven tracks at a typical album’s run of over 42 minutes and showcased a clear display of talent that emerged from the small but vibrant Jersey metal scene. The beauty of this debut album is how diverse it is and although clearly one of those links between the hard rock 70s and NWOBHM 80s, LEGEND truly did stand out from the crowds with Lezala’s unique vocals sounding like no other as well as a greater emphasis on slower traditional doom metal grooves that alternate with the more upbeat NWOBHM styles. The sound on this low budget debut is as you would expect, namely raw and focused more on the compositions rather than any slick production tricks. The band excelled at what it performed and therefore must have been a captivating live act as it performed regularly for its small island population base.

Definitely one of those worthy from the vaults sort of bands that had the talent to take things much further but just out of the reach of developing anything larger despite some significant exposure on the Thin Lizzy tour. Strong songwriting, strong musicianship and a unique band sound that set them apart keeps LEGEND relevant some four decades later after its initial run. Its reformation in 2002 only continues to gain the band more attention with an album coming out as recently as 2013’s “The Dark Place.” LEGEND continues to record new material well into the 21st century but none is as compelling as this earliest raw recordings of the band’s first years. LEGEND’s debut album is definitely a nice addition to your NWOBHM collection once you’ve exhausted the usual suspects.

JUDAS PRIEST Sin After Sin

Album · 1977 · Heavy Metal
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vmagistr
1977 was certainly not the most prolific year for hard rock music in the United Kingdom. The old "dinosaurs" were either quitting or devoting their favour to the wide American market, and it was too early for the album production of the early members of NWOBHM. In this strange in-between time, alongside bands like UFO, Nazareth, AC/DC or Thin Lizzy, a relatively established, almost six years long touring formation from the Birmingham suburbs called Judas Priest tried to take the next step in their still slowly developing career. With a new record deal in their pocket, the band has gradually begun to blaze a trail for other future members of the brotherhood of aggressive distortion and sixteenth-notes. But the fact that the band was still in their "searching" phase shows fully on their first release for CBS - the album Sin After Sin.

The opener Sinner sounds pretty pumped up, and the accompanying guitar lines of the Tipton/Downing pairing amuse me a lot; unfortunately, the band also inserted a slowed-down instrumental passage into the bowels of the track, which still stumbles backwards to the progressive tendencies of the previous two albums. Even Halford's vocals, at times turning into a rather annoying squeal for me, don't yet have that edge of years to come. Joan Baez's cover of Diamonds and Rust (on the one hand, it sounds utterly implausible that an increasingly harder rocking band would borrow material from a folk bard, on the other hand - with the band's name itself inspired by a Bob Dylan song, I suppose pretty much anything is possible) is another in a line of hilarious covers that Priest have been able to do - fast, melodic and with the potential to be properly hardened.

Starbreaker shows exactly the direction the band would take on subsequent albums - biting guitars, Halford's vibrating but already sovereign vocals in the treble, and a throbbing rhythmic underside. At the same time, he's my biggest (who knew, right?) favorite on the record. It makes it all the more frustrating every time that the following track, Last Rose of Summer, goes in a completely different direction. A calm narrative with Halford's civilian vocals makes it a rather uninspiring end to the first side of the album at five and a half minutes long.

After an awkward opening, Let Us Prey peels off into a passable ride in which the work of hired drummer Simon Phillips and the colourful escapades of the guitar solos are definitely worth mentioning. The track Call for The Priest - Raw Deal does offer some sympathetic riff work, but the slow pace with few changes is not enough for its seven minute length. Oh, and we have another ballad here, named Here Come the Tears, on which Priest seem to have definitively assured themselves that the road to success does not lead past the piano in their case. Closing one Dissident Aggressor comes in with a proper acceleration and a wailing guitar solo, and (like Starbreaker) I more than enjoy it.

So what to do with this trying but still "looking over its shoulder" effort? When Judas Priest tried to rock hard, things were looking very promising, but the slow tempos and ballads drag the record down to below average again - the real "Sin After Sin" is contained mainly on the second side of the album. Along with the debut, I see this record as the weakest thing Judas Priest issued in the seventies or eighties.

heavy metal movie reviews

FOZZY Unleashed, Uncensored, Unknown

Movie · 2003 · Heavy Metal
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martindavey87
I’m totally unashamed about my love for this band and this DVD! Released in Fozzy’s early days when they were playing mostly covers, this is complete rock ‘n’ roll nonsense documenting how Fozzy created heavy metal and then signed a dodgy contract that left them stranded in Japan for twenty years!

The main documentary is hilarious. You can tell everyone is just having a blast filming it, and the added cameos from the likes of Zakk Wylde, Sebastian Bach and Mike Portnoy just add to this. And at barely a half an hour in duration, this main feature has plenty of replay value.

There’s an abundance of extras too, including more daft early Fozzy shenanigans as well as sincere and out-of-character footage too, showing that even in their early days this band possessed unlimited potential, but then, what would you expect when rap metal pioneers Stuck Mojo joined forces with wrestling icon Chris Jericho?

ACCEPT Restless & Live

Movie · 2017 · Heavy Metal
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Kingcrimsonprog
Restless & Live is a concert release from the veteran German Heavy Metal legends Accept. It was released on Nuclear Blast Records in 2017 on several formats; such as a CD set with tracks taken from different concerts across the touring cycle for Blind Rage (their third studio album since being reinvigorated by the joining of new singer Mark Tornillo). It was also released as a Blu Ray of a single entire performance at 2015’s Bang Your Head Festival. If you’ve got a bit more money to splash out you can get a set with the Blu Ray and CD versions, or if you prefer DVDs that’s also an option.

My personal preference for concert movies or albums is that they come from on single concert not a mix of shows, and if available preferably on Blu Ray, so for me this was the version I went for and am most happy with. (which this review will be focusing on).

In terms of specs: The Blu Ray version is in 1080p with PCM Stereo and DTS HD Master 5.1 options, Region:All. There aren’t any bonus features. There’s a booklet with some photos but no linear notes.

So the main reason you are buying this disc is for the concert; which is about an hour and forty-five minutes of blistering classic Heavy Metal. The 18-song tracklisting is pretty heavily focused on the three Tornillo-era albums, with a few of the classic ’80s crowdpleasing tunes added in as well. So if you’ve already got the DVD that came with Blind Rage its still worth checking this out for the different tracklisting and higher production values. (The CD version of Restless & Wild contains 27 songs and more of a mix of material).

The tracklisting is: 1. Stampede 2. Stalingrad 3. London Leatherboys 4. Restless & Wild 5. Dying Breed 6. Final Journey 7. Shadow Soldiers 8. Losers & Winners 9. 200 Years 10. Midnite Mover 11. No Shelter 12. Princess Of The Dawn 14. Pandemic 15. Fast As A Shark 16. Metal Heart 17. Teutonic Terror 18. Balls To The Wall

The performance is tight and professional but still has that ‘live’ feeling and energy, it isn’t all sterile but it isn’t loose and sloppy either, its just right. They all give it gusto and look pretty into it. There’s no complaints on vocals, musicianship or song selection for me. Wolf Hoffman’s guitar solos are as entertaining as you would expect and there’s a fun bass versus guitar trade off section at one point. The camera work, editing, sound and mix are all solid. Nothing jarring or out of place, no sync issues, all instruments audible and in correct balance. The songs sound clear and yet muscular.

Its a pretty simple and honest affair. There’s no gimmicks here; no big show with giant robot crabs on stage or band members catching fire or shooting lazers out of their eyes, and there’s no life changing documentary, no animations weaved into the concert or anything… but if you want to buy an Accept live concert and watch songs like ‘Fast As A Shark’ and ‘Balls To The Wall’ played well by the new line-up and competently captured and prepared for home viewing then it is an absolutely fine product and I highly recommend it to fans of the band, especially to fans of the newer three albums. For me, watching songs like ‘No Shelter,’ ‘Stalingrad’ and ‘Pandemic’ belted out enthusiastically are worth the money.

If you are new to the band, this is a very strong starting place, (if not entirely representative of the overall discography) and if you are a fan already its a worthy addition to your collection.

IRON MAIDEN Live After Death

Movie · 1985 · NWoBHM
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siLLy puPPy
Universally cited as one of the absolute best live albums of all time, LIVE AFTER DEATH is the first live album / video release of IRON MAIDEN’s classic early Bruce Dickinson years and was recorded during their “World Slavery Tour.” Despite lasting a whopping 331 days, this double LP album only took two venues as their source for representing their electric live performances. The first 13 tracks were recorded at the Long Beach Arena in California, USA and the remaining five tracks were taken from a night at Hammersmith Odeon in London. While LIVE AFTER DEATH was released both as audio LP and video VHS in 1985, the two aren’t exactly identical in content. The audio LP originally contained 18 tracks (one of which is “Intro: Churchill’s Speech”) but the VHS visual experience only had 14 tracks. Unfortunately when LIVE AFTER DEATH was originally released on CD it was too long for a single disc and instead of simply issuing a double disc, EMI unwisely decided to cut the last five tracks which included the Odeon performance, therefore it is highly advisable to obtain the Sanctuary remastered version which was released as a double disc and retains the entire run of one classic song after another.

LIVE AFTER DEATH is the absolute perfect live album. I very rarely put live albums high on my list of favorites because more often than not something or many things prevent them from capturing my attention and worthiness as essential. If it’s not the weak production values then it is the inability of the band to capture the magic that is manufactured in the studio. That is not the case here. IRON MAIDEN was at the pinnacle of their creative prowess at this point and after several outstanding and classic albums to mine for material, they perfectly execute these live performances and offer every little ounce of excitement heard on the studio releases. Bruce Dickinson nails the vocals and the thundering trio of Steve Harris’ bass and the guitar synergy of Dave Murray and Adrian Smith accompanied by Nikko McBrain’s stellar drumming style doesn’t get any better. While most of the tracks are performed rather faithfully to their studio versions, there is plenty of live improvisation taking places as well. Standout moments include Bruce’s attempt to get audience participation on “Running Free” and another great difference can be heard on “Revelations” where the tempo is upped and Bruce changes the vocal phrasing to make the track sound different and refreshed.

The video release offers all the theatrical visuals of the tour. The “Powerslave” album was based on ancient Egypt and likewise the stage was Egyptified to the max with sarcophagi, hieroglyphs and a mummified Eddie embellished with ridiculous amounts of pyrotechnics. The tour was a smashing success and this release whether it be audio or video is the perfect testimony to the genius that went into every single detail. The sound and mixing is perfect as well as Martin Birch found the perfect balance of every cast member and delivered one of the most satisfying production jobs for a live release that i have ever heard. In the visual department Jim Yukich perfectly captured two nights in Long Beach showing a great band doing great things at the peak of their game. Another piece of perfection with this one is the brilliant cover art of Derek Riggs surpassing previous album themes of Eddie as the mascot by incorporating those themes of previous albums covers and then putting it all on steroids. The spread of the album is breathtaking in content and color with the boldness of the yellows and blues. Every aspect of talent on board with this release guarantees to wake the dead. I cannot find one negative thing to say about it. It is true that Bruce doesn’t hit every note exactly as on the studio version every single time but when he doesn’t he offers interesting new ways of interpreting the classics. This is simply one of the most perfect live releases i have ever encountered and even MAIDEN themselves haven’t even come close to achieving similar results. Masterpiece.

OZZY OSBOURNE God Bless Ozzy Osbourne

Movie · 2011 · Heavy Metal
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progshine
It is an interesting documentary that tries to focus on his personal life. But it stays in the middle of the road in the end.

You have this big and interesting chunk talking about Sabbath then when it comes to his solo career they talk about 2 albums and... that's it.

Look, if you're doing a documentary or you focus on the music or in the person, every documentary that tries to do both end up staying in the middle of the fail road.

This is interesting, it gives you an idea how Ozzy was really in bad shape for so many years and how he turned things around, but it's far away from being a great and complete documentary.

BLACK LABEL SOCIETY The European Invasion: Doom Troopin' Live

Movie · 2006 · Heavy Metal
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Kingcrimsonprog
Doom Troopin’ Live: The European Invasion is a live concert video from Black Label Society, available on Blu-Ray. It documents the European leg of their touring in support of ‘Mafia.’

The setlist is fairly heavily comprised of material from the ‘Mafia’ and ‘The Blessed Hellride’ albums, with little from the first three records, which may be disappointing if its your only BLS video purchase, but which does result in little crossover with their other DVD ‘Boozed Broozed & Broken Boned.’ A similar idea to Kiss’ Alive II perhaps.

There are 16 tracks in the main Paris concert according to the back of the box but three of those are jamming. They tease the crowd with a bit of ‘Iron Man’ and ‘Mama I’m Coming Home’ for example. Plenty of the time between songs is given over for additional guitar soloing as well.

It’s a decent mix of fast and slow, its mostly heavy but there’s a bit of light in there and it gives a lot of time over to Zack’s guitar talents, without wasting too much time away from actual songs. I think a good balance has been struck of all of Black Label’s constituent parts.

The performance is fairly strong, noticeably so on the ballads. Zack has a good stage presence pumping fists, pointing and striking poses, although some of the spoken crowd interaction is very mumbled and hard to make out. A lot of the songs feel a lot faster, louder and heavier live than they did on record, and feel crunchier and more earthy sounding. The drumming in particular is a lot more impressive live; Craig Nunemacher has a lot of character I hadn’t noticed before seeing this.

I think the sound is very good. Its well mixed, fairly heavy and the songs have bite. It feels ‘live enough’ but it isn’t sloppy. Again, a good balance has been struck, this time between concert-feel and actually good sound.

There was a fair amount of effort put into the stage design too; mic stands made out of chains, skulls on plinths, an impromptu pub made out of amplifiers with beer sat on it, flashing siren lights, BLS banners etc. There’s a professional looking lighting show and the camera work is well done. So in one way, it’s a good looking concert too.

In another way however, the visuals are the only letdown for me as the editing is a bit distracting. A lot of time, especially in the earlier songs, is given over to fancy effects, going black and white momentarily, screen overlays, slow motion, fake film grain etc. which some viewers may find a bit too distracting. Luckily instances of this reduce as the show goes on. It isn’t enough to spoil the concert in my opinion, but if you are picky about that sort of thing I would recommend that you try before you buy it.

I had read negative reviews about this concert stating either that Zack was miming his vocals, that there were very obvious vocal overdubs or that the audio and video were out of synch. Whichever way, if you look at his mouth it doesn’t match the sound of the singing. That would have been a huge letdown for me. I was worried because the same vocal-synching issue had been a fairly big distraction on a Marilyn Manson and a Queensrÿche Blu-Ray I owned and I didn’t want to buy this if it shared the same problem.

I looked on youtube to see footage from the DVD which indeed had the problem, but read reviews that claimed the problem didn’t exist. Luckily when I watch my copy (region 0 Blu-Ray, with the audio set to DTS HD Master Audio) there is no issue at all. All the tom rolls, guitar solos and singing matches what you see on screen. Admittedly, Zack has a lot of effects on his vocals, other members do backing vocals and there are some sections of pre-recorded music like in lots of concerts, that you were never meant to think was live, but that’s about it.

The bonus features include an extra four songs (‘Been A Long Time,’ ‘Suicide Messiah,’ ‘Stillborn’ with massive extended-jam & ‘Genocide Junkies’) from London, three music videos from the Mafia album, a making-of for the ‘Suicide Messiah’ video and a 50-minute documentary feature called ‘Backstage Pass.’

The video is 1080i HD Widescreen 16:9 (1.78:1). The audio options are LPCM Stereo, Dolby Digital 5.1 or DTS HD Master Audio

Overall, this is a fairly enjoyable Blu-Ray with a well performed and sounding concert and some interesting extras. I would recommend it if you like the band, as long as you aren’t very picking about over-edited concerts or only like the early material.

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