Venom Welcome To Hell Remastered Rarest

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Venom Welcome To Hell Remastered Rarest Rating: 5,5/10 5902 reviews
1.Sons of Satan03:38Show lyrics
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2.Welcome to Hell03:15Show lyrics
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3.Schizo03:34Show lyrics
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4.Mayhem with Mercy00:58instrumental
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5.Poison04:33Show lyrics
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6.Live like an Angel (Die like a Devil)03:59Show lyrics
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7.Witching Hour03:40Show lyrics
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8.One Thousand Days in Sodom04:36Show lyrics
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9.Angel Dust02:43Show lyrics
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10.In League with Satan03:35Show lyrics
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11.Red Light Fever05:14Show lyrics
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12.Angel Dust (Lead Weight v/a version)03:03Show lyrics
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13.In League with Satan (7' version)03:31Show lyrics
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14.Live like an Angel (7' version)03:54Show lyrics
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15.Bloodlust (7' version)02:59Show lyrics
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16.In Nomine Satanas (7' version)03:29Show lyrics
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17.Angel Dust (demo)03:10Show lyrics
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18.Raise the Dead (demo)03:29Show lyrics
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19.Red Light Fever (demo)04:51Show lyrics
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20.Welcome to Hell (demo)04:57Show lyrics
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21.Bitch Witch (outtake)03:08Show lyrics
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22.Snots Shit (outtake)02:06Show lyrics
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METALLICA are this generation’s Led Zeppelin, but a lot of people don’t get it. Joel McIver explains why YOU should take your hat off to them - and seek out their rarities

Kill 'Em All is the debut studio album by the American heavy metal band Metallica, released on. Although McIver credits Venom's Welcome to Hell (1981) as the first thrash metal album, he. 'Your Guide to Our Rare Metallica Posters'. British 'extreme metal' band Venom celebrate 40 years with a new super. In Nomine Satanas features remastered audio, unreleased demos. A bonus 2LP set – 'Son of Satan: Rare and Unreleased' offers early 1979.

There are several ways of describing the general vastness of the Metallica phenomenon. Those of an accountant’s mindset would be interested in the numbers: close to 100 million album sales, tours that gross a similar number of dollars, a warehouseful of platinum awards, shows in hundreds of cities. The more musically-minded would be keener on the band’s huge back catalogue, which has oscillated wildly over the last three decades from grisly thrash metal to radio rock, and then to a slick combination of both. Finally, musicologists would point out how widely Metallica’s music has influenced two generations of rock bands: the groups who accompanied them on their initial rise to prominence, and then the kids who followed 20 years later.

Despite those frames of reference, the best way to get Metallica into perspective is the same as it was 25 years ago: go and see them live. You can namecheck Pink Floyd, U2 and Iron Maiden all you like, but there is no more gobsmacking concert experience in 2011 than a Metallica show. Sceptics would counter this claim with the justifiable response that it’s easy to make your band sound good when you can spend a hundred grand on pyrotechnics and a stage set, but that isn’t actually what Metallica do. There’s a bit of pyro, of course, and the occasional clever stunt, but the core of any of their gigs is the music: huge, bludgeoning slabs of it (and the odd ballad). If you wanted to bottle the secret of Metallica’s success and flog it at your local market, the ingredients would be simple: write songs that make you ponder the human condition, others that make you want to cuddle your spouse/ significant other/pet, and still others that make you want to punch yourself (or, more logically, someone else) in the face. That’s what Metallica have been doing since 1981, and it’s why they’re so massive.

Yet it all started so humbly. Formed in 1981 when drummer Lars Ulrich met guitarist James Hetfield in a Los Angeles rehearsal room… no, we’re not taking the standard biographical route here. Metallica’s story has been told such an agonising number of times (there are at least a dozen books on the band, about half of which aren’t cobblers) that you might as well just visit Wikipedia if you want to know how they got to where they are today.

Instead, let’s look at some convincing reasons why you should care about Metallica. Yes, you. For all we know, you’re a fan of Elvis or Radiohead or Howlin’ Wolf and don’t give a toss about heavy metal – in which case, the following words are aimed directly at you…

Why you should care about Metallica 1: they made everyone else look like clowns.

Heavy metal has always been funny. The silly clothes. The silly hair. The lyrics. The pointy guitars. Even people like me who love metal still laugh at it quite a lot, which is fine because life is short, pointless and painful, and because humour is an excellent way of forgetting that for a while. There does come a point, however, when heavy metal gets a bit too stupid for its own good. This happened in the late 70s, when any band with more than a two-to-one mullet ratio and a Flying V guitar was labelled by the idiot media of the day as metal. In merrie England this situation was remedied in 1979 by Iron Maiden and the New Wave Of Heavy Metal (NWOBHM), but apart from a few metalheads in California and New York, no one in America gave a fig for Maiden and the country was doomed to listen to a slew of pop and rock bands effectively masquerading as metal groups.

Metallica changed all that. They heard Maiden, Venom, Diamond Head, Saxon, Motörhead and the rest of the British acts, and added those bands’ best bits (speed, melody and lyrics about beer and fighting) to their own influences. The blue-collar guitarist James Hetfield, a troubled loner plagued by an eccentric religious upbringing, brought his Ted Nugent and Aerosmith-sized stadium ambitions to the table. Drummer Lars Ulrich – a super-privileged import to California from Denmark, who enjoyed all the cultural accoutrements of the upper-middle-class lifestyle – brought a business brain and an ability to hum riffs for Hetfield to play. After several stops and starts, this epically unmatched twosome came up with a musical direction that was fast, violent and boisterous, but too clever to fall into the punk category. This was the first American thrash metal, and while Geordie Satanists Venom pioneered the genre, Metallica took the music to the masses. Compared to Metallica’s early stuff, all earlier metal acts looked tame.

Why you should care about Metallica 2: they earned respect.

A lot of the early tunes composed by Hetfield and Ulrich – some completed with future Megadeth star Dave Mustaine on lead guitar – were truly cheesy. This is to be expected: they were teens. By the time they were in their early 20s, however, they were writing songs with lyrical profundity, world-class musical dexterity and a glistening production that complemented the tunes’ huge, amped-up aggression.

Take a listen to any of the 80s classics, from Creeping Death and Fight Fire With Fire via Disposable Heroes and Orion to Blackened and One: these songs scared you, snared you and made you a Metallica fan for life because they were deeply serious. Not funny, not theatrical, not extravagant: serious.

A lot of people think heavy metal, and in particular extreme genres like the thrash style which Metallica pioneered, is produced by people who can’t play. This is understandable but wrong: high volume and aggressive song dynamics shouldn’t be confused with simple music. Metallica’s first three albums – Kill ’Em All (1983), Ride The Lightning (’84) and Master Of Puppets (’86) – were masterpieces of musicianship. To play as fast as James Hetfield does requires a picking-hand precision of machine-like ability, and to this day guitarists of all genres point to Hetfield as the man who not only inspired them to work harder on a cleaner, sharp-edged playing style, but also as the guitarist who changed the shape of metal itself. If you think metal is a racket, think how much more of a racket it would have been had Metallica not been around to polish it up.

And we haven’t even mentioned the insane talent of bassist Cliff Burton, who incorporated classical scales and a revolutionary, effects-driven sound to his approach. Sadly, we never got to see where he would have developed because he died in a coach crash in Sweden in 1986. Successors Jason Newsted and Robert Trujillo have had a tougher job on their hands because Cliff was so good. And people still think metal musicians can’t play?

Why you should care about Metallica 3: they redefined music, not just metal.

1991 was rock music’s Year Zero – a year in which new albums by Metallica (Metallica), Nirvana (Nevermind) and the Red Hot Chili Peppers (Blood Sugar Sex Magik) reshaped the mainstream guitar songs. Metallica took metal to MTV, Nirvana took grunge to the middle classes and the Chilis broke away entirely to push funk-metal towards alt-metal and eventually nu-metal. Of these milestone albums, Metallica – “The Black Album”, as it was called for obvious reasons – has the largest dimensions, selling over 30 million copies in the US alone and scooping no fewer than 15 platinum awards. The songs were slower, more anthemic and less macho than their previous work, causing thousands of fans to gnash their teeth in despair. However, the world came to worship at the altar of Metallica after The Black Album despite the complaints of the old-school faithful, and as the years have passed it’s obvious what the album ultimately represented. It was a turning point for Hetfield and his band: a paradigm shift where they sensed the whiff of big business, when all around them lesser, weaker bands were dying by the roadside. Without that earth-shattering record, it’s probable that Metallica wouldn’t be around today.

But this wasn’t just some CD. Metallica changed everything, at least in the 1990s. Bigselling, mid-tempo metal anthems became the goal of many a group in those far-off days, a trend that has continued until today. Thrash metal, the speedy, snotty style which Metallica helped to invent, is still alive and well – but it’s not as it was in the 80s. Perhaps Metallica themselves are responsible for that.

Why you should care about Metallica 4: they made mistakes, and admitted to them.

It’s been a tough 15 years for Metallica. After the Black Album they became the biggest metal band in the world, outdoing even their heroes Iron Maiden, and approached U2 and the Stones as the biggest touring act. Times changed, though, and after a three-year tour and some time off, Metallica shocked the hell out of all of us by returning in 1996 with an alternative rock album, Load. The outcry was immense, especially as the band had cut their hair and were wearing curious designer clothes – two gold-plated blasphemies in the eyes of ye olde metal legions. Reload (1997) was even weaker, and within a couple of years the debate about old Metallica versus new Metallica had reached biblical proportions.

The band seemed to enjoy the notoriety the change in style caused and added to the confusion by releasing a covers album and an orchestral record near the end of the decade. The fans’ felt that all these albums combined didn’t add up to one of Metallica’s 80s records, and Ulrich’s fight against the filesharing website Napster (in which he named thousands of Metallica fans) didn’t do the band any favours.

All this paled into insignificance compared to the storm that accompanied the 2003 set, St Anger. Now a byword for underachievement, the record was intentionally underproduced and unintentionally low in good songwriting, with the songs generally too long, too boring and too bad. Every band has their nadir, and St Anger was Metallica’s, with the group fighting a retreating battle in the press to defend it against a tide of hostility. An accompanying feature-length documentary, Some Kind Of Monster, revealed that the music was created against a backdrop of intra-band tension and Hetfield’s struggles with addiction – all of which made this frankly dismal album more understandable, if no easier to digest.

Now, here’s the thing. Despite all their screw-ups, Metallica put everything on film – everything. The petty squabbles; the revelling in their wealth; the terrible creative decisions; the meanness and bickering that caused them to hire a counsellor for constant group therapy. It’s all on screen in Some Kind Of Monster. Would you or I have the balls to do the same?

Why you should care about Metallica 5: they’re still going, and they’re playing to bigger crowds than your favourite band.

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Amazingly, Metallica came back from their early-Noughties nightmare recharged, sober and wiser. Much was made of their 2008 album Death Magnetic being a return to their 1980s form, although it really wasn’t. Some of the old energy and creativity was there, for sure, but it doesn’t come close to a Lightning or Puppets. Still, that’s not the point any more: as we saw at the beginning of this feature, Metallica are best taken live these days. They’ve been touring in the Big Four Of Thrash package, which also includes Anthrax, Megadeth and Slayer, but with or without those bands Metallica are a hugely vital phenomenon. See them live while you still can.

You may still think that Metallica are just a bunch of middle-aged millionaires making a noise for too much money. There’s some truth there. But no band, no matter how big the production budget or how slick the marketing machine, gets far for very long without good, well-written songs and a show that uplifts souls. This far into their careers, Metallica would be playing clubs or off the radar altogether if their music wasn’t so compelling.

Take a listen: deep in their catalogue, there will be a song or two that will grab you by the throat or gently twang your heartstrings, willingly or not. Metallica are the metal band everyone is allowed to like. Even you.

Joel McIver is the author of Justice For All: The Truth About Metallica (Omnibus, 2004) and To Live Is To Die: The Life And Death Of Metallica’s Cliff Burton (Jawbone, 2008)


Scoop up these 51 Metallica collectables, headbanger, or you won’t be worth the sweat from Sgt Hetfield’s wristbands…

One/Seek And Destroy (Live) £20.00
(Vertigo METPD 510), 10”, picture disc with card, 1989

Ten inches of pictorial pleasure await those who invest a score in this late-80s single. It looks great on the wall if you can get past the artwork, which features the band dressed all in black and not smiling.

Jump In The Fire/ Phantom Lord £20.00
(Live) (Music For Nations PKUT 105), 7”, shaped picture disc, without barcode, 1986 001f001f001f

Even if you donâ

Sad But True/ Nothing Else Matters £20.00
(Elevator Version)/ Creeping Death (Live)/Sad But True (Demo) (Vertigo METAL 1112), 12” picture disc with insert, 1993 001f001f001f001f


Nothing Else Matters £20.00
(Live At Wembley 20/4/92)/Enter Sandman/ Sad But True/Nothing Else Matters (Vertigo METCL 10), CD

Old-school fans shuddered the first time they heard Metallicaâ

KILL ’EM ALL £22.00
(Music For Nations MFN 7P), LP, picture disc, some lacking picture on one side, lacking barcode, 1986

001f001f001f001f The first American thrash metal album sounds pretty scratchy these days, but that doesnâ

(Music For Nations MFN 27P) LP, picture disc, lacking barcode, 1986 001f001f001f001f

RTL also benefited from this 1986 reissue as a picture disc, although once more barcodes appear to have been a mere distraction to the designer that day. Does that mean you could steal it from record shops without the buzzer thing going off?

(Music For Nations MFN 60P), LP, picture disc, lacking barcode, 1986 001f001f001f001f001f


(Music For Nations MFNCD60), CD, 1986 001f001f001f001f001f

If you had a CD player in 1986 you were waaaaay ahead of the curve, but the rest of us can console ourselves with the thought that it probably cost you £800 and operated rather like a toaster. This original pressing probably didnâ

(Music For Nations MFN 27DM), 2-LP, Direct Metal Master reissue, gatefold sleeve with insert, 1987 001f001f001f001f

This so-called Direct Metal Master thing was never fully explained â

(Music For Nations MFN 60DM) 2-LP, Direct Metal Master reissue, gatefold sleeve with poster, 1987 001f001f001f001f001f

More metal fans than you might imagine got into Metallica by accidentally playing the Direct Metal master version of Puppets at 33rpm and being blown away by the ultra-heavy doomy sound. Disposable Heroes was huge that way. This press with a poster was doubly yummy.

Jump In The Fire/Seek And Destroy £22.00
(Live)/Phantom Lord (Live) (Music For Nations 12 KUT 105XP), 12”, stickered sleeve with sew-on patch, 1984 001f001f001f

Picture of demon? Check. Added swearing in the live version of Seek And Destroy? Check. And most essentially, a patch that you could sew on to your sleeveless denim tunic alongside your Manowar and Slayer badges. Eighties metal fashion didnâ

KILL ’EM ALL £25.00
(Music For Nations MFN 7), LP, first issue with beige labels, 1983

If you picked up the first press Kill â

(Music For Nations MFN 27P), CD, 1984 001f001f001f001f

Heavy metal CDs were unusual in 1984, let alone ones from indie labels like Music For Nations, so the first CD issue of â

KILL ’EM ALL £25.00
(Music For Nations MFNCD 7), CD, 1984 001f001f001f001f

The dust had barely settled on the 1983 KEA LP before a CD version was out in the UK, not that anybody noticed because a) it was far too early to care about CDs and b) you were too busy waiting for that bit where Hetfield shrieks â

Enter Sandman/Stone Cold Crazy/ Enter Sandman (Demo) £30.00
(Vertigo METCD 7CD), picture disc in box with room for three more CDs, 1991 001f001f001f

As well as tailoring their music for the masses in 1990 or thereabouts, Metallica got clever with the fan-friendly stuff. A cunning move was this none-more-black box, which begged you to buy more CD singles to put in it. Including the demo version of the title song was then a Metallica trademark: hear Hetfield â

(Mercury MM CJ-1), promo CD, seven-track sampler, 1996 001f001f

Although Metallica have never released a best-of compilation to the public, this dinky collection served to remind the grunge generation that there had once been a thing called thrash metal. The second Mandatory Metallica (see below) was bigger and more comprehensive.

Creeping Death/Am I Evil?/Blitzkrieg £35.00
(Music For Nations P12 KUT 112), 12”, picture disc, initially without barcode, 1984 001f001f001f001f


THE $5.98 EP: GARAGE DAYS RE-REVISITED: Helpless/Crash Course In Brain Surgery/The Small Hours/Last Caress/Green Hell £35.00
(Vertigo METAL 112), 12”, p/s, later copies add The Wait, 1987 001f001f001f001f001f

Bakemonogatari episodes. After Cliff Burtonâ

Jump In The Fire/Seek And Destroy (Live)/ Phantom Lord (Live) £35.00
(Music For Nations CV12 KUT 105), 12”, red vinyl, p/s, 1984 001f001f001f

Red vinyl is metal. Just accept it. Why, if you drank enough coffee back in 1984 and stared at it for long enough, you could almost convince yourself that you were a creature of shadow and flame like the devil on the sleeve, rather than a virgin with acne and a mullet.

Creeping Death/Am I Evil?/ Blitzkrieg £35.00
(Music For Nations CV 12), 12”, p/s, blue vinyl with red, yellow or KUT 112 “Special Anniversary Edition” labels, 1984 001f001f001f001f

There are reasons why so many entries on this list are versions of the Creeping Death or Jump In The Fire EPs. They came in tons of different variants, especially if you take mispressings into account, and â

KILL ’EM ALL £35.00
(Music For Nations MFN 7DM), 2-LP, Direct Metal Master, gatefold sleeve, 1987 001f001f001f001f

Of the first three Metallica albums, the one that most benefits from the DMM treatment is this one, which still sounds like it was recorded on a budget of a groat. If only â

(Vertigo MMCJ-2) promo 2-CD, 17-track sampler, 1997 001f001f

This sequel to the weeny compilation mentioned above was useful in the 1990s, when ripping and burning CDs would have been viewed as witchcraft and when filesharing and broadband were some years away. Nowadays, itâ

Harvester Of Sorrow/Harvester Of Sorrow £40.00
(Vertigo METDJ 2), 7”, promo, unique p/s, 1988 001f001f001f001f

You had to admire Metallica back in 1988: they had smarts aplenty by issuing this hummable single ahead of the generally less accessible Justice album. Hooking you in with its loping, almost funky core riff, Harvesterâ

..And Justice For All Metallipromo £60.00
(Vertigo METDJ 212), 12”, approx 450 numbered copies, 1988

Issued to promote Metallicaâ

(Vertigo METCD 100), promo CD, 1988

Each Metallica album had its thrashfest, and Whiplash was the choice of the adrenalinised fan in 1988, even though subtler and faster songs such as Fight Fire With Fire, Disposable Heroes and Dyerâ

Creeping Death/Am I Evil?/ Blitzkrieg/Jump In The Fire/Seek And Destroy (Live)/Phantom Lord (Live) £60.00
(Music For Nations CD12 KUT 112), CD, 1984

Rumours that Metallicaâ

Load — The Interview £65.00
(Vertigo MET INT 1), promo CD, with cue booklet, 1996

By the mid- 90s Metallica were more popular than anything on earth apart from maybe sex, and to make the fourth estateâ

One (Demo Version)/For Whom The Bell Tolls (Live)/Welcome Home (Sanitarium) (Live) £65.00
(Vertigo METDJ 512), 12”, unissued, promo-only p/s, 1989

A great, great song that broke barriers to the mainstream for this then-most uncommercial band. Why was this 12â

One £70.00
(Vertigo XDSP-93114), 7”, promo, Japan, 1989


Creeping Death/Am I Evil?/Blitzkrieg £70.00
(Music For Nations GV12 KUT 112), 12”, no p/s, Anniversary Gold Edition, gold vinyl, 3,000 only, mispressed with one side gold and one side black, 1984

The most collectable version of the early Metallica EPs is a strange, Ferrero Rocher-style affair in black and gold. Maybe someone in the pressing plant had chosen the wrong day to quit sniffing glue, but more likely, it was an evil ploy to excite collectorsâ

The $5.98 EP: Garage Days Re-Revisited: Helpless/The Small Hours/The Wait/Crash Course In Brain Surgery/Last Caress/Green Hell £70.00
(Vertigo 20AP3391) 12”, Japan, p/s with obi strip, 1987

The UK Garage Days EP (ha ha! We said â

One/One (Edit) £70.00
(Vertigo METDJ 5), 7” promo, unique blue cover, plus insert, 1989

This rarely-seen promo for One gave the Smashey and Niceys of 1989 the choice of the long version (better intro, longer solos) or the edited cut (less risk of them dozing off). Odd to think of record companies sending out vinyl promos for non-dance music as late as 1989.

The Good , The Bad And The Live : THE 61/2 YEARS ANN IVERSARY COLLECTION £70.00
(Vertigo 875 4871), 6x12” singles, with live four-track EP, 1990

Metallica have never issued a standard best-of, unlike almost every band of their generation. Instead theyâ

(Mercury PASTMAGCJ 113), promo CD, digipak, 2008


Live At Grimey ’s £80.00
(Warners 526267- 1), 2x10” LPs, clear vinyl, 2010

This live EP was recorded in summer 2008 in Nashville, just before Metallicaâ

(Warners 524602-1), 6xLPs, white 180gm vinyl in luxury box, 2008

While this collection of covers is hardly Metallicaâ

(Vertigo 518-725-0), box set with three CDs, three VHS tapes, book and laminates, 1993

No-one understood why Metallica called this box by that curious title. A later version held two DVDs instead of three VHS tapes â

(Vertigo MECAN), gold CD in metal paint can with video and T-shirt, 1991

This fanclub-only item was snapped up by Metclub members in no time: the fact that it was labelled as a limited edition, despite being manufactured in a run of 35,000 copies, shows how vast the band was by the 1990s.

(Universal 602517804609), coffin-shaped box, includes CD, bonus CD, DVD, T-shirt, guitar picks, poster, credit card with code for live download, 2008 001f001f001f

Pushing the death theme to the limit, the band issued their most recent album in a coffin carton. They sold out in a microsecond and as the album is regarded as a partial return to form, will retain a premium price.

The $5.98 EP: Garage Days Re-Revisited: Helpless/The Small Hours/The Wait/Crash Course In Brain Surgery/Last Caress/Green Hell £100.00
(Elektra no catalogue number), test pressing by Allied Record Company, white label with handwritten details, 1987 001f001f001f001f


Enter Sandman £100.00
(Vertigo no cat no), 3” CD, promo, Japan 001f001f001f

Ah, the 3â

KILL ’EM ALL £100.00
(Nexus K 25P438), LP, Japan, with lyric sheet and bloodspattered obi strip, 1984 001f001f001f001f

As weâ

(Vertigo 28AP3169), LP, with fold-out lyric insert featuring English text on the front and Japanese on the inside, plus two colour posters and an original Master Of Puppets obi strip, 1986 001f001f001f001f001f

Despite the wacky exterior, this is basically a straight version of Puppets â

S&M £100.00
(Warners 093624961956), 6x12”, yellow vinyl, luxury box, 2006 001f001f001f


UNTITLED £120.00
(Vertigo NUMBER 4641120) box set, 4x2-LPs, 2x12” EPs in embossed, individually numbered and stickered picture box, 2004 001f001f001f001f

Limited to 5,000 copies, it was damn well impossible to get one of these box sets in 2004 because they sold out liek a shot, but keep online they pop up â

(Elektra 60439 1 120), LP, USA, promo with white label, gold stamp promo sticker, insert and inner sleeve, 1986 001f001f001f001f001f

The original promo of Metallicaâ

(DCC DCC 1133), CD, gold, promo, separate disc, slipcase, booklet and tray card, 2002 001f001f001f001f001f

The DCC label went bankrupt in 2002, with its catalogue now being sold off online by a private dealer. This version of Puppets would be of interest to any 1980s Metallica collector, although current prices seem a shade steep.

(Warners no cat no), 4-LP, green 180gm vinyl, 1000 only, 2011 001f001f001f001f

This new reissue of AJFA serves this excellent albumâ

(Universal, no catalogue number), 2-LP, 180gm vinyl, test pressing, white label, plain white inner sleeves with handwritten details, 2008 001f001f001f001f001f

This unique item was pressed in the Czech Republic, judging by the matrix details, and assembled in the UK in preparation for an audiophile reissue of Puppets three years ago. At this end of the list, weâ

Jump In The Fire/Phantom Lord (Live) £150.00
(Music For Nations PKUT 105), 7”, uncut picture disc, 1986 001f001f001f001f

Now, where could uncut picture discs possibly come from? We reckon a factory worker saw one of these future collectables and filched it for his grandmother, omitting to run it through the cutting press first and inadvertently doubling its value.

53rd & 3rd/GREEN DAY: Outsider/ THE OFFSPRING: I Wanna Be Sedated £300.00
(Columbia GABBA 1), 7”, white label, white p/s, test pressing, two known copies only, 2003 001f001f

Recorded for a Ramones tribute album, Weâ

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