SLAYER

Thrash Metal / Crossover Thrash • United States
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Slayer is a thrash metal band from US, formed in 1981. The band was founded by guitarists Jeff Hanneman and Kerry King. The band was credited as one of the "Big Four" thrash metal bands, along with Metallica, Anthrax, and Megadeth.

Slayer's musical traits involve fast tremolo picking, guitar solos, double bass drumming, and shouting vocals. The band's lyrics and album art, which cover topics such as death, deviants, suicidal, genocide, necrophilia, insanity, Nazism, religion, Satanism, serial killers, and warfare have generated album bans, delays, lawsuits and strong criticism from religious groups and the general public. Slayer is best known for speaking through perspective without being necessarily sympathetic to the cause of their inspiration.

Since their debut record in 1983, the band has released two live albums, one cover album, one box set, three DVDs, one VHS, two EPs, and nine studio albums, four of which have received gold
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SLAYER Discography

SLAYER albums / top albums

SLAYER Show No Mercy album cover 3.52 | 72 ratings
Show No Mercy
Thrash Metal 1983
SLAYER Hell Awaits album cover 3.77 | 77 ratings
Hell Awaits
Thrash Metal 1985
SLAYER Reign in Blood album cover 4.25 | 177 ratings
Reign in Blood
Thrash Metal 1986
SLAYER South of Heaven album cover 4.21 | 119 ratings
South of Heaven
Thrash Metal 1988
SLAYER Seasons in the Abyss album cover 4.21 | 105 ratings
Seasons in the Abyss
Thrash Metal 1990
SLAYER Divine Intervention album cover 3.39 | 54 ratings
Divine Intervention
Thrash Metal 1994
SLAYER Undisputed Attitude album cover 3.18 | 34 ratings
Undisputed Attitude
Crossover Thrash 1996
SLAYER Diabolus in Musica album cover 3.22 | 46 ratings
Diabolus in Musica
Thrash Metal 1998
SLAYER God Hates Us All album cover 2.43 | 44 ratings
God Hates Us All
Thrash Metal 2001
SLAYER Christ Illusion album cover 3.23 | 48 ratings
Christ Illusion
Thrash Metal 2006
SLAYER World Painted Blood album cover 3.42 | 55 ratings
World Painted Blood
Thrash Metal 2009
SLAYER Repentless album cover 3.91 | 21 ratings
Repentless
Thrash Metal 2015

SLAYER EPs & splits

SLAYER Haunting the Chapel album cover 3.92 | 27 ratings
Haunting the Chapel
Thrash Metal 1984
SLAYER The Tour '95 album cover 0.00 | 0 ratings
The Tour '95
Thrash Metal 1994
SLAYER Serenity in Murder album cover 4.00 | 1 ratings
Serenity in Murder
Thrash Metal 1995
SLAYER Slayer / T.S.O.L. album cover 4.00 | 1 ratings
Slayer / T.S.O.L.
Thrash Metal 1996

SLAYER live albums

SLAYER Live Undead album cover 3.61 | 20 ratings
Live Undead
Thrash Metal 1984
SLAYER Decade of Aggression: Live album cover 4.34 | 22 ratings
Decade of Aggression: Live
Thrash Metal 1991
SLAYER Hell Awaits At Dynamo album cover 4.50 | 2 ratings
Hell Awaits At Dynamo
Thrash Metal 2007
SLAYER The Repentless Killogy (Live at The Forum in Inglewood, Ca.) album cover 4.50 | 1 ratings
The Repentless Killogy (Live at The Forum in Inglewood, Ca.)
Thrash Metal 2019

SLAYER demos, promos, fans club and other releases (no bootlegs)

SLAYER Raining Blood album cover 0.00 | 0 ratings
Raining Blood
Thrash Metal 1986
SLAYER Mandatory Suicide album cover 0.00 | 0 ratings
Mandatory Suicide
Thrash Metal 1988
SLAYER War Ensemble album cover 0.00 | 0 ratings
War Ensemble
Thrash Metal 1990
SLAYER Übernoise album cover 0.00 | 0 ratings
Übernoise
Thrash Metal 1998
SLAYER Exclusive Members Only DVD album cover 0.00 | 0 ratings
Exclusive Members Only DVD
Thrash Metal 2010

SLAYER re-issues & compilations

SLAYER Soundtrack to the Apocalypse album cover 4.50 | 3 ratings
Soundtrack to the Apocalypse
Thrash Metal 2003
SLAYER The Vinyl Conflict album cover 5.00 | 1 ratings
The Vinyl Conflict
Thrash Metal 2010
SLAYER B-Sides And Rarities album cover 3.00 | 1 ratings
B-Sides And Rarities
Thrash Metal 2013

SLAYER singles (20)

.. Album Cover
0.00 | 0 ratings
Postmortem
Thrash Metal 1986
.. Album Cover
0.00 | 0 ratings
Angel of Death
Thrash Metal 1986
.. Album Cover
4.00 | 1 ratings
Criminally Insane
Thrash Metal 1987
.. Album Cover
5.00 | 1 ratings
South of Heaven
Thrash Metal 1988
.. Album Cover
4.50 | 1 ratings
Seasons in the Abyss
Thrash Metal 1991
.. Album Cover
3.50 | 1 ratings
Serenity in Murder: Divine Live!
Thrash Metal 1995
.. Album Cover
4.50 | 2 ratings
Live Intrusion
Thrash Metal 1995
.. Album Cover
0.00 | 0 ratings
I Hate You
Thrash Metal 1996
.. Album Cover
3.00 | 1 ratings
Stain of Mind
Thrash Metal 1998
.. Album Cover
1.00 | 1 ratings
God Send Death
Thrash Metal 2001
.. Album Cover
0.00 | 0 ratings
Bloodline
Thrash Metal 2001
.. Album Cover
0.00 | 0 ratings
Eyes of the Insane
Thrash Metal 2006
.. Album Cover
0.00 | 0 ratings
Cult
Thrash Metal 2006
.. Album Cover
0.00 | 0 ratings
Eternal Pyre
Thrash Metal 2006
.. Album Cover
0.00 | 0 ratings
Hate Worldwide
Thrash Metal 2009
.. Album Cover
0.00 | 0 ratings
Psychopathy Red
Thrash Metal 2009
.. Album Cover
0.00 | 0 ratings
World Painted Blood
Thrash Metal 2009
.. Album Cover
0.00 | 0 ratings
World Painted Blood / Atrocity Vendor
Thrash Metal 2010
.. Album Cover
3.42 | 2 ratings
Implode
Thrash Metal 2014
.. Album Cover
0.00 | 0 ratings
When the Stillness Comes / Black Magic
Thrash Metal 2015

SLAYER movies (DVD, Blu-Ray or VHS)

.. Album Cover
4.33 | 3 ratings
Combat Tour Live: The Ultimate Revenge
Thrash Metal 1985
.. Album Cover
4.20 | 5 ratings
Live Intrusion
Thrash Metal 1995
.. Album Cover
4.17 | 3 ratings
War at the Warfield
Thrash Metal 2003
.. Album Cover
3.83 | 3 ratings
Still Reigning
Thrash Metal 2004
.. Album Cover
3.50 | 3 ratings
The Unholy Alliance
Thrash Metal 2007
.. Album Cover
4.83 | 6 ratings
The Big 4: Live from Sofia, Bulgaria
Thrash Metal 2010

SLAYER Reviews

SLAYER Seasons in the Abyss

Album · 1990 · Thrash Metal
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Unitron
The word atmosphere in relation to music is often connected to ambient and an implied quiet and/or lack of hooks. While ambient music is definitely atmospheric, I see all music as atmospheric in a way, as different albums and songs capture different moods and places. The Crystal Method's Vegas, Kool Keith's Black Elvis/Lost in Space, Godflesh's Songs of Love and Hate, Korn's Issues, Slayer's Seasons in the Abyss, this is just a handful of albums that are far from ambient or lacking in hooks yet are some of my favorite albums when it comes to atmosphere.

Seasons in the Abyss continues where South of Heaven left off, but with even more focus on the atmosphere the album sets up. It's bleak and apocalyptic, but far from a miserable dungeon synth album that's no fun to listen to. War Ensemble is one of metal's greatest openers, and fittingly evokes a war march in a stomping thrash format. The album's got such a great flow from track to track, making it one of those albums that's hard to listen to just one song. Blood Red, Spirit in Black, Born of Fire, Skeletons of Society, and the moody title track are all my favorites. Skeletons of Society especially, might be my favorite Slayer song, it's got such an instant headbanging hook. Dead Skin Mask and the title track are definitely the album's atmosphere at its most disturbing but also melodic. Tom Araya is often underrated as both a bassist and his unique way of delivering melody that fits perfectly in Slayer's dark and aggressive world.

I often have a hard time choosing between South of Heaven or Seasons in the Abyss as my favorite Slayer album, but I think Abyss wins just by a bit. It takes South of Heaven's already more atmospheric approach and expands upon it with just as strong songwriting.

SLAYER The Repentless Killogy (Live at The Forum in Inglewood, Ca.)

Live album · 2019 · Thrash Metal
Cover art Buy this album from MMA partners
Kev Rowland
This double disc set contains Slayer's entire set of their August 5th, 2017, show at The Forum in Los Angeles. For most of their career, the three guys at the front of the stage have been the same (they have been through a few drummers, most notably currently incumbent Paul Bostaph and Dave Lombardo have swapped seats a few times), with Tom Araya standing firm between Kerry King and Jeff Hanneman. Hanneman of course passed away in 2013 from liver problems, but the guys were fortunate in that they had access to Exodus guitarist Gary Holt who had previously deputised for Hanneman when he contracted necrotizing fasciitis in 2011. By the time of this recording in 2017 he and King were locked in due to countless hours of playing together, and while he could never fully replace the 30+ years that King had with his previous partner, he had certainly sipped in well.

On November 30th, 2019, Slayer played what they have said will be their last ever live show. Now, we all know that farewell concerts are rarely that, but given that Slayer have refused to conform throughout their existence I would not be surprised if this is indeed the case. So, if you want to capture the incredible experience which is Slayer in action then it may well be that you will have to turn to this set which is also available as a full in-concert film as well. When it comes to the Big Four, I have personally always put Megadeth at #1, with Anthrax and Slayer moving between #2 and #3 depending on my mood (Metallica are firmly rooted at the bottom due to their seeming inability to record anything worthwhile for the past 20+ years). My favourite Anthrax album from recent years is their last live album, ‘Kings Among Scotland’, and it is interestingly to direct compare the two. Each play music from their latest album (‘For All Kings’ and ‘Repentless’), and the new songs sit in well with the older ones. They also each play all their “hits”, the production is superb, and the audiences definitely up for the night.

But where Slayer step is the sheer uncompromising brutality of their approach. Scott Ian may be stomping around the stage with a massive smile on his face having a blast, but these guys are rooted, dark and evil. “South Of Heaven” is still as awe-inspiring and crushing as it is was when I first heard it more than 30 years ago, and this is immediately followed by “Raining Blood”. This is thrash, real thrash, with production which makes the ears bleed when played at the right volume. The band may have decided they do not want to tour anymore but that has nothing to do with their ability to deliver, or from fans willing to lap it up. More than twenty songs, eighty minutes of solid metal, this is music which is uncompromising and essential to all metalheads. This is Slayer. We all know who they are, we all know what they do, and here is the proof.

SLAYER Live Undead

Live album · 1984 · Thrash Metal
Cover art Buy this album from MMA partners
martindavey87
Slayer’s ‘Live Undead’... Another 80’s metal live release with poorly overdubbed crowd noises! While I like Slayer, I’ve never really been a fan of their first few albums. With each release only garnering one or two tracks that I enjoy, it’s no surprise that I’m not massively keen on this 1984 EP either.

Featuring seven tracks, five of these are from Slayer’s debut album, which I’m not really into. Sure, the “live” feel of this release gives you an idea of the energy Slayer exuberate at their shows, but ultimately the repetitive and lifeless crowd noises that seemingly refuse to stop shouting during the songs don’t do anything to further my listening experience.

It’s well-produced though (minus the plugged in crowd noises), with the band sounding clear, and the performances are pretty solid, but... that’s about it. Supposedly this was recorded in a studio in front of a small crowd, but there’s no doubt in my mind that there was some kind of tomfoolery going on here. And even if there wasn’t, and it turns out this is, in fact, 100% live, unedited and un-tampered, then well done to Slayer for being able to rile up such a raucous crowd so early in their careers. But ultimately I’m still just not into these songs, and therefore just not into this EP.

SLAYER South of Heaven

Album · 1988 · Thrash Metal
Cover art Buy this album from MMA partners
martindavey87
When it comes to the “big four” of thrash metal, I’ve always been a huge fan of Metallica, Megadeth and Anthrax, yet, for reasons unexplainable, I’ve never been able to get into Slayer. 1986’s ‘Reign in Blood’ is often hailed as one of the all-time greatest metal albums, though, other than it’s absolutely killer opening and closing tracks, I find the record to be mindless drivel (ooh, controversial...).

Yet here we are; 1988’s ‘South of Heaven’, the album where the band infamously “slowed down”. Admittedly, the songs are a bit more polished here, and the riffs are more than just open-string chugging away. Although the album as a whole is still pretty repetitive, and doesn’t sound any different than anything the band have done before.

Still, I’ll give Slayer their due. ‘South of Heaven’ is better than anything they had released beforehand, and if vocalist Tom Ayara could somehow implement just a little bit of melody in his singing, they could really be onto something. Instead, as always, while the musicianship is of a high standard, I find the vocals tend to just sit on top of the riffs, without really fitting in too well.

If I had to pick any highlights out, I’d say the title track, as well as ‘Silent Scream’, ‘Live Undead’ and ‘Mandatory Suicide’ are all decent enough, and there’s ‘Behind the Crooked Cross’, which I instantly recognized due to its use in 8-bit midi glory in the video game ‘Doom’ (a game I played religiously in my childhood, years before I should have been allowed to). But as is always the case with Slayer, I’m just not that big a fan, and would much rather listen to any other member of the big four.

SLAYER Seasons in the Abyss

Album · 1990 · Thrash Metal
Cover art Buy this album from MMA partners
Vim Fuego
Sometimes what makes an album great is the memories it encapsulates. When you hear it, or think of it, it takes you back to a different time. “Seasons In The Abyss” holds such a memory for me.

The 1990 follow up to “South Of Heaven” was a difficult album for Slayer, because every single album after the universally lauded “Reign In Blood” is by definition a difficult album. How do you carry on from an album often declared the greatest in thrash metal? Do you try for a “Reign In Blood II”, or do you follow a different path? Slayer chose a different path. “South of Heaven” was the result, which copped equal parts criticism and praise because of a perceived radical shift in direction. All Slayer did was slow down a bit. How to follow that without copping further criticism? “Seasons in the Abyss” is the obvious answer. “Seasons In The Abyss” drew on the best of the previous two albums, and refined it into one of the greatest metal albums of 1990.

And here’s the memory time. Early in 1993, I departed on a road trip with my best mate Harry.[1] January in New Zealand is mid-summer, and a great time to go on holiday, so we planned to cruise around the bottom half of the South Island. Harry couldn’t drive (he still can’t despite what his licence says!) so we’d go in my car, and crash with his extended family wherever possible. Preparing for the trip, choosing the appropriate tunes was an important mission. Harry and I share very different musical tastes. He claims to be a metal fan, and in fact, I got my first few metal albums off him (Iron Maiden’s “Somewhere In Time”, Motley Crue’s “Girls, Girls, Girls”, and the K-Tel “Masters of Metal” compilation). However, Harry doesn’t have a musical bullshit filter. Yes, he could listen to Maiden and Metallica, but he’d also listen to whatever crap was currently popular, just because it was popular. As far as I know, he still does to this day. This is a person who thought Milli Vanilli should keep their Grammys because even if they hadn’t done any singing, people still loved them. He thought Vanilla Ice should get away with blatantly plagiarising Queen’s “Under Pressure” because “Queen wasn’t using that song at the moment”. For him, popular meant good.

At the time of this road trip, Billy Ray Cyrus’ “Achy Breaky Heart” was popular, so guess what he picked for roadie music… Yep. “Some Gave All”. Not only that, his nieces who we would see on the trip were right into New Kids On The Block, so along came “Step By Step” and “Hangin’ Tough”. That the boyband was aimed at 13 year old girls (we were both 20), and had just been accused of lip syncing live didn’t seem to matter. Just to round out the crapfest, he decided “Pornograffitti” and “III Sides To Every Story” by Extreme would also be good choices, because they were metal, and he was convinced I didn’t like them simply because I hadn’t listened to them enough.

To counter, I grabbed a few albums we could both tolerate, like AC/DC’s “The Razor’s Edge”, a couple of Iron Maidens, in the form of “No Prayer For The Dying” and “Fear Of The Dark”, Bruce Dickinson’s “Tattooed Millionaire”, and Alice Cooper’s “Welcome To My Nightmare”. I also threw in Nirvana’s “Nevermind” and “Incesticide”, which Harry was just discovering, and a couple of purely defensive albums, in the form of Exodus’ “Force Of Habit” and the subject of this little review, Slayer’s “Seasons In The Abyss”. I’m sure I took others along too, because I think we had about 30 tapes between us, but that’s all I can remember.

Our mode of transport was my 1965 Austin 1100[2]. It was a fine example of the shit turned out by the worst of Britain’s automotive industry. In the summer, I had to turn the heater on full blast while driving on the open road to stop it from overheating. In 30°C summer heat, this necessitated driving with the windows open most of the time. It also didn’t have a radio of any sort, so our sounds went through my Walkman with a pair of tiny external speakers, with a total output of about 4 watts. It had to be turned up full blast to hear even the faintest strain of music.

So off we went! Tootling down State Highway 1 at somewhere near the speed limit of 100 km/h (it was slightly uphill, there were two of us in the car, and it was a bit windy. That crappy car saved me a fucking fortune in speeding tickets though!), we decided turnabouts with the music was the fairest way to do things. I started with Nirvana’s “Nevermind”. All well and good, both of us found it tolerable. Next though, Harry put on fucking Billy Ray, the man who made the mullet uncool again. The twanging, moaning, and complaining was unbearable. And it got worse when I had to shut up and he put on the tape! It was fucking excruciating! It was 35 minutes of sheer torture. So you can guess what I picked next...

Slayer fans will remember the first time they heard “War Ensemble”. Like “Angel Of Death”, it crashes straight into the guts of the song, with no room for an introduction. King And Hanneman in full flight, Dave Lombardo smashing it with snare and his legendary double kicks. We got to the end of the first double kick barrage, about 30 seconds into the song, and Harry turned it off! A bit of a tense confrontation followed, made a little difficult by me needing to drive while we argued. It went something like this:

Me: Turn it back on!

Harry: No! That’s not music! It’s noise! (reaches for the Walkman, intending to remove the tape)

Me: It’s more music than that shit you just subjected me to! Turn it back on. You’ve had your turn, now it’s mine!

Harry: Billy Ray Cyrus isn’t crap. He’s sold millions!

Me: He’s crap, and that Achy Breaky Fart is shit! You picked that, and now I picked Slayer.

Harry: But I don’t like it.

Me: And I don’t like country music, but I put up with it!

We came to something of a compromise, and on went Alice Cooper I think, but the line in the sand had been drawn. There was little conversation on the rest of the drive to Timaru, our destination for the night.

Harry’s step-sister and her family gave us a bed for the night. After a couple of beers, tensions eased, and we discussed the music situation for the next day’s journey to Dunedin. I pointed out to Harry I hadn’t brought any death metal with me on this trip, which I already knew he hated. Harry conceded I could listen to Slayer on the way to Dunedin, on the proviso he got to listen to something else first. It wasn’t Billy Ray this time. It was the New Kids On The fucking Block. I hatched secret plans to lose that “Step By Step” tape out the window, but kept the idea to myself in case of retaliation.

So, “Seasons In The Abyss” attempt 2. “War Ensemble” passed without incident. Then into the abrasive intro to “Blood Red”, and Harry was looking quite irritated. Once the intro passed, so did the irritation. It isn’t near as fast a song as “War Ensemble”. Slayer had begun to explore slower tempos on “South Of Heaven” and it was starting to come to fruition with songs like this, pounding along at a double time march. Harry started to get into the groove. He hated the solos though.

He didn’t pick the transition to “Spirit In Black” due to Rick Rubin’s habit of not leaving a gap between songs. It fits this album perfectly, so no momentum is lost between songs. The higher tempo didn’t impress Harry, nor did the solos once again. He was starting to think this was one fucking long song.

The transition to “Expendable Youth” is more obvious, as the song slows a little, and is heavier for it. Harry commented that the singing wasn’t very good. I told him it was still better than Billy Ray Cyrus, and there was another uncomfortable silence for a bit as we continued to chug south, sweating our nuts off with the heater blasting full bore.

The first sustained notes to “Dead Skin Mask” saw Harry’s expression change from irritation to interest, and then the deep spoken voice brought on genuine surprise. Tom Araya’s chant on the “Dance with the dead in my dreams...” refrain saw him sit right up and take notice. I told him it was a song about a serial killer. He’d previously only encountered serial killers in music in Alice Cooper’s fantasies, and I think this genuinely interested him. And then came the child’s voice at the end, pleading with Ed Gein, and I think it may have actually disturbed my friend!

That was the end of the side, and I thought he was going to turn the tape over, but no, he took the fucking thing out, and went to put something else in! Another heated (and heatered) discussion followed.

Me: Put it back in. That was only one side!

Harry: I thought we could just have one side each.

Me: But you made me listen to the whole New Kids On The Block tape!

Harry: I thought we could start doing it now.

Me: But that’s not fair! You got a whole album and I only got a half a one!

He wouldn’t budge. I think “Dead Skin Mask” had really upset him!

Instead, we got “Pornograffitti”. As well as being unable to drive, Harry also can’t sing. It doesn’t stop him. I had to put up with him tunelessly harmonising through the ever excruciating “More Than Words”, and then singing flat as a fart through “Hole Hearted”. The only good thing about it was that “Hole Hearted” was the last song, and I knew the album was over. I wanted to carry on with Slayer. Harry didn’t. He wanted Billy Ray Cyrus again! Another discussion...

Me: Put on side two of my Slayer tape. We just listened to a whole tape of yours, and it was only meant to be one side!

Harry: No, it’s my turn again. You liked that last one.

Me: No I didn’t, and that’s got nothing to do with it! You chose that one!

Harry: Yes you do. You gave me the tape.

Me: No I don’t. Why do you think I gave you the fucking thing? I didn’t like it.

Eventually, a sense of fair play prevailed, due in no small part to me threatening to stop and make Harry walk, and we got the second half of “Seasons In The Abyss”. “Hallowed Point” blasted straight in, with its tempo lifted straight from the “Reign In Blood” album. Harry still didn’t like the speed, but he was starting to appreciate the Hanneman/King solos a bit more. They were a bit more frenetic than the Murray/Smith Maiden solos he was used to, and even more chaotic than Kirk Hammett’s from “...And Justice For All”, which he was becoming to enjoy. Once again, I think he must have missed the transition to the chuggier “Skeletons of Society”. The dual whispered vocals put the shits up him again, but there were no more complaints. I think Harry was just trying to get the ordeal over with.

The intro to “Temptation” was too much for him again, but he seemed to like Lombardo’s impressive drum fills, and the groove the song hits before the solos. “Born Of Fire”’s rapid, almost hardcore, feel didn’t seem to be to his liking, but I was loving it, growling “Born of fire” along with Tom and playing air drums on the steering wheel.

Slayer fans will know what comes next... Yep, the atmospheric horror show that is the title track. Like “Dead Skin Mask”, Harry seemed interested from the intro, with the acoustic guitars and gong, but was also a little on edge, as if expecting something terrible to happen. There were no more ethereal voices, and he seemed genuinely impressed with the chorus. I started singing along with it. The menace and atmosphere of the song was somewhat lost because of the tinny little speakers, but the essence of impending doom was still there. The song’s insistent groove actually got both heads in that little car banging, or at least nodding in time with the music. By the end of it, Harry was actually singing along too.

As we climbed the car-destroying Kilmog Hill into Dunedin, and I was rapidly running out of gears to change down to, the final notes of the song faded away. Harry and I were both quiet for a moment, reflecting. We had both started out as clueless but enthusiastic teens five years earlier, tentatively dipping our toes into the unknown waters of metal. Harry had done little more than splash about in the shallows. I had dived right in the deep end. Between us now, there was an abyss. It took this fittingly titled album to finally bring it out in the open. For the next week, we holidayed quite happily. The rest of the music we listened to was stuff we both agreed on. I got no more achy breaky earworms, and Harry got no more dead skin nightmares. It stayed that way until the final day of our tour, as we headed back north for home. We were both getting on each other’s nerves by then. As we cruised across the parched McKenzie Basin, a certain achy breaky melody emanated from our still open car windows. We both knew what was coming next...[3]

1. Not his real name, but if he ever reads this he’ll know it’s him, and he can go and get fucked for subjecting me to Billy Ray fucking Cyrus!

2. Austin 1100: https://en.wikipedia.org/wiki/BMC_ADO16

3. Harry and I remain friends to this day, although he still hasn't read this... If you are reading this and recognise yourself in this little story, IT'S CALLED POETIC LICENCE! IT DOESN'T HAVE TO BE TRUE!!

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