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Interview conducted August 27 2016
Interview published October 15 2016

"…with me and Eric there was probably built up a little tension, and frustration, and anger, and I wanted to, like, strangle him, like 'Dude! Finish the songs!'…"

Metal Covenant met up with Chuck Billy of thrash metal veterans Testament when he was in Stockholm to talk about the band's October 28th release Brotherhood Of The Snake. Although he was having a cold, he certainly was in a good mood and I can assure you that with this guy you don't have to say much to get him talking about a new album indeed.

Tobbe: So let's start. The new album, of course. Brotherhood Of The Snake, what does that stand for?

Chuck: Well, it's the story, you know. Brotherhood Of The Snake is basically a story about a secret society 6000 years ago. It's one of the first secret societies. It was called The Brotherhood Of The Snake and they were a society that was out basically on a crusade to kind of put down all other religions. You know, their false religions and "Here's our religion.". And basically their religion was that an alien god came, whatever that was, and created mankind, to basically create them to serve as slaves on the planet Earth, at mining their gold and minerals.

And it was kind of a fascinating thing and I gave that to Eric, as the Brotherhood Of The Snake, and he goes "You know, that's actually a good title. I'd like that for the record.". And he wanted us to write… In the past we would write songs that were more personal. Lyrics that were more personal, like losing a parent or being ill and stuff. Lyrics that were more real. He wanted us, like "Let's stop writing so personal about us and life. Let's create something that we could create a concept, a story, to build about.". And that was the start of it. It was like "OK. Brotherhood Of The Snake. Let's see.". We are kind of like a brotherhood. We got Steve and Gene and Alex and everybody, and we are like a brotherhood.

And it made sense at that point, you know, and I was also focused on a TV show I was watching, where it showed, like, aliens. The connection between the aliens and all religions. It pointed how, like in all religions around the world, thousands of years ago, and the writings or scribbling on the wall, or in caves, there was always this long-armed being with a big head. And flying objects across the sky. It made me think "Maybe this is aliens? Maybe there's something to this? That is that connection. What is it?". So it really opened my mind to possibilities that "Maybe there's something to this?". And my mind rolled and that's when the creation of a lot of the songs started, like the topics were right there.

Tobbe: You've had snakes on a couple of other albums too, on the front cover, so what's…

Chuck: It's funny, because Steve DiGiorgio pointed that out to us. He's like "Isn't this weird that, you know, I got in the band on The Gathering [1999], which has a snake on the front, and then I recorded the First Strike Still Deadly record [2001] and now Brotherhood Of The Snake? Man, I got the snakes.".

Tobbe: And then on Dark Roots Of Earth too, so what's your fascination with snakes?

Chuck: I don't know. I mean, it wasn't conscious. I mean, yeah, you're right, you pointed out Dark Roots too. I don't know. [Laughs] You know, I didn't even think about it like that, but yeah, you're right, the Dark Roots had the snakes in the head too. But I don't know.

Tobbe: Besides what you just told me about the concept of the Brotherhood Of The Snake and between you and Eric, did you guys have some kind of other goal before you entered the songwriting process?

Chuck: We're proud of Dark Roots, but we're like "What is missing?" and I think the tempos are like mid-pace. We have Gene Hoglan playing drums and he sounds like we're not pushing him to his full abilities. So when he'd go into this, we said "OK. We definitely wanna write a faster, thrashier record.". I still wanted to be a little more melodic and have some vocal hooks and not just use so much of the death metal voice. And I wanted to make the drums have bigger toms and bigger kick-drums. More real and not so, like, sampled and trigger-sounding. I think we accomplished all the things we had spoke about and wanted to set out to do. We accomplished it.

It was just the songwriting process that was the scary part, because we had worked on this for like a year and a half and with me and Eric there was probably built up a little tension, and frustration, and anger, and I wanted to like strangle him, like "Dude! Finish the songs!", 'cause he had a bunch of riffs and in the beginning he's like "Here's some music.", you know. And I'm like "Oh, what's the verse, what's the chorus, where is the lead section?". And he's like "I don't know. Just write lyrics.". So I did. So I just wrote over everything and it was frustrating me 'cause I felt like I was wasting my time, because some of those lyrics I wrote didn't make it because he's like "No, that's the lead section.", you know. And I just added more frustration and anger and the tension was building. Even up to we went on the Slayer tour in February/March then we figured "OK. We're all gonna be together, we got all this music and these riffs, maybe we can put it all together since we're on tour together?". But that didn't happen. You know, 'cause we just couldn't get it done.

So after the tour we thought "OK. If we want a record this year we have to record it by June 15th, by the time we leave for Europe. If not, this year is out of the question.". So we knew that we had, you know, the rest of March, April, May and part of June to get it done. Like "We have plenty of time. We're not gonna book any more shows. We just gonna focus on the record.". Well, the songs still never developed, so it even built more friction with me and Eric. Usually I'm a little more outspoken with what I wanna sing on, or the riff, or "I don't like that riff." and Eric right away was defensive, saying "You're not gonna like my riffs anyhow!", you know. So it started off like that and I was pushing him "Dude, you gotta get it done. Just finish the songs! Just finish the songs!, so I know where we're at and I can take what I need to write still and have it done.". It didn't happen, and we looked at Gene's schedule and he had a couple of weeks in May open and we're like "You know what? We just have to book the studio, now. Let's just go.". First record we ever did that we didn't rehearse or do a demo for.

We kind of just dove into the studio and built even more frustration probably, and anxiousness, and just being a little scared. For me it was like "Maybe we're jumping the gun and we're getting in too soon just for the fact to have a record this year and what if it fails and we flop?". That doesn't do us any good. The press will eat us up, the fans will eat us up and we gotta start all over again and that'll be a tough hole to climb out of. So when Gene, Alex and Steve went in the studio they hadn't even heard the songs. They hadn't heard any vocals, any leads. There was just riffs. And I know Gene was probably frustrated and a little bit angry tracking, but he kicked ass on it and made a big, solid foundation to start out on. And then everybody else just pulled through, you know, and the songs evolved for me in the studio.

You know, some songs I'd wrote lyrics to like 3 or 4 times, in different melodies, and if this wasn't working I would track some songs. So we were really creating and writing a lot in the studio and it all came together because a lot of it was just riffs in the beginning, but somehow, vocally, they all kind of started working together once the lyrics started pulling together. So yeah, I mean, the whole process was just really tough and it should never take that long to write a record and it has never taken us that long before.

Tobbe: I think a couple of songs, like the real thrash metal songs, have these tempo changes too, you know. They're going from like a regular thrash metal song and then in an instant to really, really fast. So those tempo changes make it very interesting, I think.

Chuck: Well, we didn't get a chance to second-guess how it'd work and I think maybe if we had rehearsed or had done the demo, maybe we would have overpolished the record and maybe lost some of the life and excitement of what we did. I mean, it was a lot going into it, you know.

Tobbe: Still a couple of songs are like, let's say regular heavy metal songs too, so it makes the album kind of diverse in my point of view.

Chuck: Yeah, it does. I mean, there's a little bit of everything on there, but the majority of it is fast and thrashy. That's what we wanted to set out and accomplish, you know. And now listening to the Dark Roots record, which I was really proud of, you know, and I really liked the songs, and compared to this one, thinking "Wow, man, that just sounds slow to me.". It makes it sound so much different now that we've created this.

Tobbe: So would it be hard for you to record an album like The Ritual again? Both for the band personally and in the fans' point of view?

Chuck: No, I mean, I think the uniqueness of Testament is that we don't write 25 songs for a record and pick 10 and have a bunch sitting on a shelf and then the next record cycle we take those 10 or 15 and work 'em, 'cause then the record's gonna sound like something we were doing back then. I think all of our Testament records have a different vibe and the songs all kind of stand on their own. But you would know it's Testament if you heard it. I think it keeps us sounding current a little bit. You know, still modern a little. It doesn't sound like we're a 30 year old band, living in the past, trying to rehash that old style that we were brought up with. We're not trying to live off of that. We're trying to just live for today and write what makes us happy today.

Tobbe: Reliving the past won't do you any good anyways.

Chuck: And, you know, we get to still play those, so we still get to live that. And it's the live performance. In the fans we see the response for those old tracks. From new fans, young kids. There's something about those songs, but that was special and that was then and this is now.

Tobbe: About your vocal performance. I hear parts in your vocals that could be like 30 years old, or 15 years old, so what were you looking to come out with on this record singing-style-wise?

Chuck: I wanted to push myself. I know, typically, if we are writing and working on a song and they gave me a fast thrash song, typically I would probably just sing fast and it's almost like following the bouncing ball to the pace of the music, which to me gets boring when I listen back. Maybe when I'm creating it it's the first instinct to do, but after a while I'm kind of bored with that. So I really wanted to focus on "OK. If we're gonna play something fast, don't do what you would normally do. Reach down, get out of the box and try something different.".

So I was really focused on trying to find my way within the riff and the pattern of the drum, where the vocals stood on its own, and the riff stood on its own, and the drums stood on its own. It didn't sound like we were all stepping on each other and playing over each other. I think that's what I always kind of tried to do. I think I've learned to kind of find my own spot within the music.

Tobbe: So in what way do you think your voice has changed over the years?

Chuck: I think it's gotten better and I think my voice is stronger, but I think that comes with time. Like anything you do in life… For example, if you're a jogger, first day you're probably gonna run a quarter of a mile. Have you done it for 30 years you probably build up your stamina and pace. Anything. Just like vocally, you know. I think I've gotten stronger and I'm more focused than when I was younger. We were young, sex, drugs, rock'n'roll, partying all night, staying up drinking all night, chasing women all night. I mean, it was more of the party. It didn't have "Oh, but people bought tickets and then I gotta perform well.". Even though we were selling a lot of tickets I lost focus on that part of it.

And, you know, as you grow older, I think we're more focused on being a little more healthy and focused on performing and the show. You know, I always hated when I go and see a band, when I love a record, and it doesn't sound close to what I'm used to hear on a record. It really bugs me, and I realize I wanna sound as close as we can to our record. If not better than the record, or have more energy than the record. So I think we've got a grip on it now and I think in the long run it's helped us.

Tobbe: So it easy for you in this day and age to find the right inspiration or the right words lyrically?

Chuck: There's so much to write around the world and there's so much going on, especially in our lifetime. It's easy, but I was writing, like I said, more personal stuff and really wanted to find something to create the story with. I mean, it's easy to find the topic, you know, but the way to write it is always the tough part. You know, and I write Steve Souza, from Exodus, and Del James and with Del we've been working for 20 years. He's wrote some songs for Guns N' Roses. And we have a good formula for writing.

You know, I have an idea or patterns and they help me bring it out. It's nice to have somebody to bounce your idea off of. You know what? That's good, and it gets the creative juices flowing. You know, and some musicians would be like "I don't wanna share my publishing with them. I want it all.". I'd rather deliver strong records and songs and have the fans come to the show, because now it ain't about record sales anymore. It's about trying to do many concerts and sell t-shirts. That's how bands are really surviving, you know.

Tobbe: Depending on what mood you are in, does that affect your lyrics much or do you try to keep to an already determined direction lyrics-wise?

Chuck: Yeah, I'm sure that plays a part in it, you know, mood-wise. Yeah, I mean, that was why I was writing more personal stuff. You know, losing a parent or coming ill with cancer. That's what I felt and I wanted to express myself. Or Native Blood, you know. I had a battle with cancer and used my native American roots and heritage and seeing medicine men. I didn't really push my native roots in a lot of the writing in the past, but for that song it was just the right time to do it and it made sense. I write the topics about what the music makes me feel.

Tobbe: So what songs on the new album mean the most to you, lyrics-wise?

Chuck: They all mean a lot, but personally, Seven Seals is special, because, again, the whole frustration, you know after the record was tracked with Gene. The engineer told me "Hey! Did you get the new song?" and I "What new song? I've never heard of this new song.". So they gave me a song and I had a few days to study it and I went home one night and wrote the whole song and came back the next day and recorded the whole song. And it came out great, and those are the ones that are special. When you know that you can write and create something and it works and clicks like that, then it's a special song. So that one stands out for me, because it wasn't drugged down and overthought and lived with it for a year and a half. It just came alive.

Tobbe: You have involved two well-known guys, Juan [Urteaga] and Andy [Sneap], for producing and mixing and that sort of stuff. So what could those two guys bring to an experienced band like Testament?

Chuck: Well, Andy knows Testament now, just over the years. Like when we first started working with Andy, me and Eric would mix it with him and I'd be on one side and Eric would be on the other and we'd be driving him crazy, just like "Try this! Try that! Do this, and that!" and he's like "Stop! You guys are driving me crazy.", you know. But I think, at the end of the day, he listens and he's a guitar player, so he knows guitars and musicians. He got it, 'cause usually we'd work with older producers, that had been around for a while, and they have a different approach.

So Andy had that young, fresh approach when we first started working with him and then last time, on the Dark Roots, was the first record we said "He knows. Let him have a shot at it, by himself, without us going over there bugging him.". And the first mixes were like really close and we just had to tweak it. You know, he gets it. On the last record he came in and did all the tracking and then mixed it, where this one we felt confident that we can accomplish the tracking. We had Juan and Andy get together and we talked about what we wanted to do again, tom-wise with the drum sounds, and guitar sounds, and what we wanted to make better for this production. So everybody was on the same page. Juan works really quick and he's local and there was a good team, you know.

Tobbe: Who actually has the final say of you guys when you're recording something in the studio?

Chuck: Um, well, me and Eric. I mean, we basically, you know, produced it ourselves, 'cause there were parts and we hadn't put them together and built the songs. It was so scattered like that and those guys, there is no way they just could have just put it together and produced it, because…it was so incomplete. So I would think if you would came in with finished songs, then, as a producer, you might have suggestions after it's finished, but they weren't to that stage, so we really had to do it ourselves.

And Eric, I'm sure, more than me musically, probably had a vision of the music and the final thing. More so than I did, you know. So, at the end, it came alive because a lot of the songs were riffs and Eric played a lot more solos on this record and there's a lot of him doing filler stuff, which really brought the songs to life. 'Cause to me it was like "Man! That's such a long riff. You should stop and change it there.", but now hearing what he did and Alex's lead it's like "No, no. It's perfect. It's just right.", you know.

Tobbe: It's almost been 30 years since your first record was out and a lot has happened since back then, so besides that you were a little stressed out on the new record, do you generally put more pressure on each other today than what you have done in the past?

Chuck: Not really. I mean, I think we put less, or are less stressed out about it too, especially after me beating cancer, because when I was ill with cancer, you know, I didn't recognize myself in the mirror and I thought I was done with music. I was concerned about living life, surviving, being with my family, 'cause when you get told you have cancer, right away you think the worst. "OK, I'm dead. Better get my life in order. How much time do I have? What's gonna happen?". It's a different feeling, so after I beat cancer and we actually did the reunion with the original band, it was like a new feeling, like "Wow, man! I feel so blessed that I get to jam with the real band Testament.". It was like the team was back together and "We're gonna finish this thing. What we started together, we're gonna finish it together.". It was just that feeling that brought a feeling of confidence within that, you know.

So that's when we stopped worrying about… You know, of course we wanna write good music for the fans, but it wasn't in the back of our mind, thinking "Oh, are they gonna criticize this song or are they gonna think something about that?". It didn't matter anymore. It was just a matter of, for me especially, "Hey! I'm just lucky that I'm here, getting the opportunity to do this.". And since I've had that opportunity, my wife has started working for the band and whenever she travels with the band she takes care of all of the rest of the guys. So I realized that, you know, I was being fortunate enough to travel the world, but I didn't get to see the world. I didn't get to soak it in. I was doing it wrong. I was partying, or being hung-over and sleeping in my bed, or sitting around to the gig all day. To where, after the illness, when getting back on the road, I was like "Let's do it different. Let's just pretend like we're tourists on vacation. Then I just gotta go sing for an hour and a half somewhere tonight.".

That really made it special and different and it was so fun. And then I was taking some friends of mine, that always knew what I did, but they'd just heard about it and that it was fun. So I started taking my friends on tour with me and we would share our experiences in the world and places, and it made it fun, really fun again, and exciting, and it gave me the joy, to show my friends the world as well, 'cause you don't always get an opportunity to travel like that, you know. So it was a whole different thing, being in a band at that point. And then just still be able to create good music and get recognition from our fans and our critics is a bonus on it. It just made it better. And that was the scary thing, going into this record with the uncertainty "Are we gonna blow it, going in too soon? We can hurt ourselves.". Fortunately we didn't and we came through, but it could have went the opposite and went bad for us too.

Tobbe: You know, Testament has had a boost in the last decade, but isn't it a little peculiar that you, as a band of the late 80's, is getting a second chance, 20 years later?

Chuck: Well, I think maybe it's a little bit of everything. Just our attitude and, like I said, we're writing it for ourselves and not taking it so serious. We're making a living out of it, you know, and that's an accomplishment too. We're having fun, we're writing good records and we can make a living out of this. When we did the [The] Gathering record, we had such an unstable lineup, with different lineup changes all the time. We called ourselves, basically, weekend warriors, because we'd go off on a weekend and play 2 or 3 shows and come home and work during the week. Because we didn't know who was coming in the band, or going. And so once we got back together, we all said "Are we all in this together? A hundred percent?". Everybody was into it and that's when "OK, Mr. Booking agent. We're here for you. Book some shows. Let's work guys. We're ready.". And we've been working hard since then, and touring hard since then. And, again, since we've been together working, the creation of music's come along with it as well.

Tobbe: The first 5 records had the exact same lineup of Testament, but since then you haven't had 2 records in a row that has the exact same lineup. So do you think that you can start a solid group with you 5 guys now and continue this?

Chuck: Well, this is. We're solid now. I think everybody is pretty solid. And we're at that stage in our life, that nobody wants to change it and I mean, I can't predict the future, but I think we all get along and we're all mature enough to respect each other's face and wishes and make it work together. You know, I don't see it changing. I mean, I don't know why it would, unless, like all the past guys that have moved on… a better opportunity came or something.

So I don't think so. I think we're pretty comfortable and happy. You know, Gene has expressed it, and even other musicians, and even our crew, they like our organization, they like how we treat our people that work for us and we have a fun time on the road together. Right now is a really good time for the band or, like you said, over the last 10 years. But especially since the Dark Roots record it's been really good. You know, Greg [Christian, bass] left unfortunately, but that was his choice, but maybe that happened for a reason and Steve coming back into the group was a new breath of fresh air and he brings camaraderie and he and Gene have been playing together before. And Eric, when he gets on the road he's more of a hermit.

You know, he doesn't do much and stays on the bus and we don't see him 'til showtime or something. When now Steve's in the group, he goes out, sees the town, has lunch, goes out with the band with dinner. He's out more, so I'm like "That's good.". Steve's getting Eric more out of his shell and I'm like "I wish you can experience it like I am, going away, and seeing the town and soaking in what we're doing.", you know.

Tobbe: About Greg. Just one question. He has a new band now, Trinity Fallen, and they will release a couple of songs, and will you take the time to listen to it, since he's been with you for so long?

Chuck: I mean, if it comes across, I will. I think I've heard some of it. He was working on that while he was in Testament too. I mean, I'd probably hear it if it comes across.

Tobbe: Your touring itinerary shows dates in Europe from late October to the last day of November, with Amon Amarth and Grand Magus, and a couple of headliner shows as well, but what's coming up after that?

Chuck: Right after that we'll go to Australia, Japan and Indonesia in January/February and then April/May we'll do an American headline tour. And in the U.S. there's some festivals that have been popping up. You know, a good handful of festivals. So we're gonna try to hit all those, and the European festivals next summer. And then plan a headline run here in Europe. Hopefully a very extensive one across Europe, after the summer touring.

Tobbe: And then back to the next album cycle.

Chuck: Then right back in the next album, you know. And that's what we've talked about. We can't wait 4 years. I don't wanna take 2 years to write a record. Let's get a jump and let's just start writing now and I pointed out to Eric, I said "Look at when we started this band, Eric. How we got momentum going.". We put a record out every year. I mean, you wouldn't wanna do that now, but then we didn't know any better. We had so much time on our hands, so we were just writing and creating music. So we put the first 4 records out, every year, and I go "Look how much momentum we got off of that and the buzz we got off of that. We got to kind of go back to that mentality and keep putting out records and keep the momentum going and keep the buzz going and especially if we can keep creating music. It's gonna pay off.".

Tobbe: So how do you look at the future in, like, 10 years?

Chuck: Oh, 10 years. That's a long way out there. I mean, I would love to keep doing this and I've always said "As long as I'm having fun I'll keep doing it.". As long as my voice holds up I'll keep doing it, but on the other hand, I'm aware of that I don't know the future. I don't know what will happen and maybe I'll lose my voice. So I've been expanding my horizons. You know, I've got vaporizers out and I'm supporting an energy drink and we've started a management company, Breaking Bands. Me, Johnny Z [Jon Zazula] and Maria Ferraro. So I'm kind of looking for the future. I mean, right now I'm doing it all, but if something will ever happen to Testament, you know, and that was done, hopefully I've created and built something else to kind of continue on in this industry.

Tobbe: So back to the festivals. Are you already booked to some festivals next summer, as we speak?

Chuck: We've booked a few and, you know, matter of fact Sweden Rock, I think, made us an offer. I don't know if we confirmed it yet, but we haven't done that for a few years, so I know if it comes across the table we're probably gonna do it.

Tobbe: About your microphone stand. When did you start playing air guitar on your microphone stand?

Chuck: That was from day one. But I think I'd seen Anthrax, with Joey, with a stand, and I thought "You know what? I wanna have my stand too.", 'cause it was comfortable. And I was a guitar player when I started, so when I was not singing I didn't know what to do. It was like "What do I do?". I didn't just wanna stand there and I just banged my head. So the air guitar just started out like something to keep me busy when I wasn't singing. I don't know, but maybe it became like a security blanket, you know, over the time now.

Tobbe: So how good are you as a guitar player?

Chuck: Oh, I'm terrible now. I mean, I started as a player and as I was introduced to trying to be a singer, that's when I kind of shifted my focus and learning to sing. I still strummed the guitar and played, but I didn't keep pursuing the learning part of it. I went back to school and took some vocal lessons and theories and guitar classes and then I was taking private lessons for a few years in San Francisco and out in Berkeley. When I first became a singer, for my younger brother's band, I'd never sang before, ever. They kind of threw me some lyrics at the rehearsals and "Here. Sing today." and I did and they said "All right! You're the new singer.". And I was like "Oh, shit. OK, but how do I do that? I never sang before, so I'd better learn.".

So I learned real quick, went right back and took some courses in college and private lessons until my teacher after 2 years said "OK, you can keep paying me. I'm just gonna keep showing you the same stuff.". So I felt like, you know: the karate teacher "OK, master. I'm ready to find the next battle.". So that's when I kind of was like ready to go out into the world and find a band and fortunate for me, Zet [Steve Souza], who was friends with my youngest brother, left Legacy [Testament's original name] to join Exodus and he's like "Here's Alex Skolnick's number. Why don't you give him a call and see if you can audition for these guys? They're looking for a singer.". So I listened to the music, and they were much younger than me, but I was really blown away how mature the writing was and the songs were. So I said "Yeah. This is really good!". So I auditioned. First audition ever, got the gig, and I've been here ever since.

And it was funny, 'cause I kind of walked right into the record deal, because Zet had a record deal with Megaforce, and he left, so Megaforce said "Well, send their demo with the new singer and we'll talk.". So we did, and they liked it and they came out to see us and we did the audition and we got signed. It was kind of: school, audition, got the gig, writing the record deal. It just happened so quick, and then we just kept knocking records out. I was older than those guys and I came from a different kind of a background of style, where I was listening to more like Thin Lizzy, UFO, Ratt and Dokken. Singers have to be more melodic and the thrash thing with Metallica and that kind of heavy metal was really new to me.

I probably really didn't understand it, so that first year Eric just kind of coached me along the whole way, like "Here's how you do it.". And for that next year I think I finally figured out how to do it and by the end of that year we wrote Do Or Die, before we went to the studio to do the record [The Legacy] and that was my first attempt at, you know, putting my 2 cents and creating a song and I think I got it at that point.

Tobbe: About the first record. Will there be any celebration to it, to its 30 year anniversary?

Chuck: Yeah, we're talking about it. Unfortunately the master recordings are lost, so we can't remix it. And I don't think we'll just remaster it. That's a little cheesy to me, just to release it with a remaster. But we'll probably still remaster it, but that ain't gonna be the focus on it. The good thing to do would probably be maybe do a narration of those songs, what they meant, how they were created, that time period.

And even possibly just maybe only put it out on vinyl, and maybe repackage it, and put some cool photos of the band and some cool stories in there, and make it just a collector piece and something cool vinyl-wise. I wanted to remix it 'cause those techniques we used to record it were terrible and it's so little and tiny. When I hear it, compared on radio, when it's our song and then somebody's modern song comes next, it's just like "Man, it sounds so small.".

See also: review of the album Brotherhood Of The Snake


Chuck Billy - vocals
Eric Peterson - guitars
Alex Skolnick - guitars
Steve DiGiorgio - bass
Gene Hoglan - drums

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