Master of puppets

Recording the 1983 Kill 'Em All debut album, Metallica laid the foundation for the nascent thrash metal genre with its aggressive music and bile-rich lyrics. The success of the record revived the American underground scene, the group had followers who began to record material in a similar style ^[2] . The second disc of Metallica, Ride the Lightning , expanded the boundaries of the genre - the lyrics became deeper, and their sound improved due to the increased quality of production. This album attracted the attention of the representative of the major label Elektra Records Michael Alago, who signed with the group a contract for eight albums during the tour in support of Ride the Lightning - in the fall of 1984 ^[3] . On November 19, the disc was reissued on the Elektra label, after which the band began performing at festivals and larger concert venues. The musicians toured the remainder of 1984, as well as three quarters of 1985. During this period, their manager John Zazula took the place of Cliff Bernstein and Peter Mensch from the agency Q Prime. In the summer, the musicians performed at the Monsters of Rock festival with groups Bon Jovi and Ratt . The concert was held in the English county of Leicestershire near Donington Castle Castle in front of 70 thousand spectators ^[4] . The growing popularity has become another reason for the group to record an album that will make an even greater impression on the audience and critics. Musicians began to compose new material in mid-1985, drummer Lars Ulrich and vocalist James Hetfield became the first songwriters of the upcoming album, which at that time had already come up with a name - Master of Puppets ( Russian Puppeteer ). Together, in a garage (the city of El Serrito , California ), they wrote draft versions of two songs, after which they invited the rest of the band - bass player Cliff Burton and guitarist Kirk Hammett to rehearsal ^[5] . According to Hetfield and Ulrich, the process of composing songs began with guitar riffs , which they connected one way or another "until they sound like a song." After that, the group came up with the name of the song and its theme, and Hatfield composed a text corresponding to their content ^[6] . Master of Puppets was Metallica's first album, which did not contain any input from the band's former guitarist - Dave Mustaine . Mustaine himself claimed to be co-author of the song “ Leper Messiah ”, which was based on the old track of the band “The Hills Ran Red”. The group denied this, nevertheless acknowledging that some of the ideas of the former guitarist were used in composing this song ^[7] .

The group was not satisfied with the acoustic capabilities of the American studios proposed by their managers, so the musicians decided to record an album in Ulrich’s homeland, Denmark ^[8] . To make the disc more technical and innovative, the musicians decided to improve their skills - Ulrich took additional drums lessons, and Hammett honed his skills with Joe Satriani , a famous virtuoso guitarist ^[5] . Ulrich wanted to invite Geddy Lee , the bassist and vocalist of the Canadian group Rush , to produce the album, but this idea was not realized due to the inconsistency of work schedules ^[9] . As a result, the group began recording with Fleming Rasmussen in the Copenhagen studio Sweet Silence Studios ^[10] . Sessions were held from September 1 to December 27, 1985, with the final versions of all songs except “Orion” and “The Thing That Should Not Be” being completed before the musicians arrived in Denmark ^[7] . Rasmussen later said that the group had well-prepared material on hand and only minimal corrections were made in the studio ^[11] . The recording took longer than the previous album, as the ambitions of the musicians and their desire for perfect sound increased ^[8] . They were not attracted to sound smoothed by the production and synthesizers characteristic of albums released during this period by their most famous colleagues - Bon Jovi , Iron Maiden and Judas Priest . Despite the reputation of “drinking,” the group did not drink alcohol on work days ^[7] . Hammett later recalled that they “just recorded the next album” and “had no idea that their recording would have such a huge impact.” According to him, however, the group at that time only “reached the peak of [their abilities]”, and the album had “the sound of really grinding in, learning to work well together” ^[12] . In turn, Rasmussen noted that Master of Puppets represents a kind of “evolution” compared to Ride the Lightning : in particular, the new album has improved sound, which began on the band’s previous disc ^{[13] [14]} .

Rasmussen and Metallica were not able to finish the mixing on schedule. Therefore, the master tapes were sent in January 1986 to Michael Wagener , who completed the mixing of the album on his own ^{[comm. 3] [5]} . The cover design was developed by musicians in collaboration with Peter Mensch and embodied in color by artist Don Brotigam. The picture shows a cemetery filled with white tombstones crosses against a blood-red sky, the crosses are connected by threads with a pair of hands stretched over them. According to Ulrich, this image reflected the contents of the album - the subject of manipulation at the subconscious level ^[15] . In 2008, the original copy of the cover was sold at auction for 28 thousand dollars ^[16] . The musicians spoiled the “ Parental Advisory ” stickers of the PMRC public organization, posting the following warning on the cover: “The only track on this album that you might not need to listen to is“ Damage, Inc. ”, due to the repeated use of the notorious word“ F ” “. In addition, nowhere on the disk are there any “shit”, “dryuchki”, “urine”, “vagina”, “asshole” or “suction” ” ^[8] . During recording, the band used the following musical equipment: Hammett - 1974 black Gibson Flying V , Jackson Randy Rhoads and Fernandes Stratocaster, nicknamed "Edna" ^[17] ; Hatfield - Jackson King V with Mesa Boogie Mark C + Amplifier ^[18] ; Burton - Aria Pro II SB1000 Bass Guitar with amplifier Mesa Boogie ^[19] ; and Ulrich is a Tama drum kit with SLP Black Brass snare drums that he lent to Def Leppard drummer Rick Allen ^[3] .

Master of Puppets is characterized by dynamic music and multi-layered arrangements. The group took the process of recording and composing to a new level, complicating the structure of songs and the technique of their performance compared to the material of their first albums ^[22] . Like Ride the Lightning , Master of Puppets follows a certain sequence of tracks: both open with a quick song with an acoustic introduction, followed by a long title track, and in fourth place in the list of tracks is a ballad ^[7] . However, although these albums have a similar structure, the music of Master of Puppets is deeper and more epic, distinguished by complex rhythms and filigree guitar solos ^[23] . According to writer Joel McIver , Master of Puppets set a new benchmark for the severity and complexity of thrash metal, demonstrating atmospheric, jewelry-filled compositions. Hatfield's vocals evolved from the raucous cry of the first two albums to a deeper, more confident, but still aggressive style ^[8] . The theme of the songs of longplay touches on issues of control and abuse of power. The texts describe the consequences of alienation, oppression, and feelings of helplessness. According to journalist Ryan Moore, these songs describe "the ominous but nameless forces that completely control the helpless people in their power" ^[24] . In turn, the writer Brock Helander considered the texts insightful and soul-taking, praising their honesty and social ideas ^[25] . Speaking about the epic nature of the recording, BBC columnist Eamonn Stack stated that “at this stage of their career, the group not only composed songs, but told stories” ^[26] . During the period of composing music and arrangements, the group was very interested in Burton's classical musical education and his understanding of harmony ^[8] .

• "Battery" is dedicated to human anger, its name refers to the term "assault and battery" ( Russian rifle assault ). According to some critics, the name of the song means an artillery battery , and they interpret it as an epic about military tactics on behalf of the aggressor, personifying destruction. The composition begins with multilayer passages on acoustic guitars in the bass range, to which then the “wall” of distorted electric guitars is added ^[8] . After that, the melody develops into fast, aggressive riffs with a galloping rhythm and power chords turning into distorted minor thirds . Hetfield composed this riff, improvising during a vacation in London ^[17] .
• The Master of Puppets consists of several odd-sized riffs and a clean section in the middle for a melodic guitar solo . Structurally, the composition resembles the track “The Four Horsemen” from the group’s first album: two consecutive verses with a chorus are replaced by a long interlude, passing to yet another couplet / chorus link ^[27] . The initial and pre-duplex sections contain fast descending chromatic riffs at a rate of 220 beats per minute ^[17] . Gradually, a monotonous eight-note riff, sounding in the first couplets becomes more intense, transforming into a size of 5 8 with an emphasis on a fourth beat ^[27] . After the second refrain, a long interlude begins, starting with a pure-sounding arpeggio , against which Hatfield's melodic solo sounds; gradually the riffs become more distorted and heavier, then Hammett enters with a more virtuoso solo, after which the song returns to the main verse ^[27] . At the end of the track, a silent ominous laughter sounds. The song talks about cocaine addiction - a taboo subject at the time ^[28] .
• "The Thing That Should Not Be . " The plot of the song is inspired by the works of G. F. Lovecraft about Cthulhu and, in particular, the story “ Shadow over Innsmouth ”, whose main character fights against otherworldly forces ^[29] . She is considered the heaviest song on the album. According to the plan of the musicians, its main riff is to convey the roar of a monster crawling to the sea. The sound of the song - a lowered guitar system , creating a viscous and depressing atmosphere - reflects the influence of Black Sabbath music ^[17] .

• Welcome Home (Sanitarium) . The content of the fourth track is inspired by Ken Kesey ’s novel “ Flying Over the Cuckoo’s Nest ” and talks about the feelings of a patient who was unjustly imprisoned in a ward of a psychiatric hospital ^[29] . The composition is opened with pure single guitar notes and flagolleta . The arpeggio of the main riff is performed alternately in sizes 4 4 and 6 4 ^[17] . The structure of the song is an alternation of pure guitar sound in verses and distorted, heavy riffs in the chorus, with aggressive crescendo in the ending of the song. A similar structure appeared in the song “ Fade to Black ” ( Ride the Lightning ), and later it was used in the composition “ One ” ( ... And Justice for All ) ^[27] .
• “Disposable Heroes” is an anti-war song about a young soldier whose fate is in the hands of superiors. The tempo of the song is 220 beats per minute, which makes it one of the most dynamic compositions of the album ^[32] . Guitar passages at the end of each verse refer, according to Hammett's intention, to music from war films ^[7] .

• "Leper Messiah . " The song, rich in syncopated riffs, was presented by the group as a challenge to the hypocrisy of televangelism , which gained popularity in the 1980s. The song describes how people voluntarily become blind religious fanatics who thoughtlessly carry out any orders ^[21] . The name “Leper Messiah” was taken from the lyrics of David Bowie 's song “ Ziggy Stardust ” ^[7] . В её мелодии звучат среднетемповые (136 ударов в минуту) риффы, которые в припеве сменяются нисходящим хроматическим риффом; мелодия достигает своего апогея в середине песни — её темп возрастает до 184 ударов в минуту. Кульминацией этого динамичного сегмента служит финал в виде восьми выкриков «Lie!» ( рус. «Ложь!» ), последний из которых переходит в искажённый вопль ^[27] .
• «Orion» . Седьмой трек представляет собой многочастную инструментальную композицию, она начинается с басовой секции, пропущенной через эффекты таким образом, чтобы напоминать оркестровое звучание. В центральной части трека звучат среднетемповые гитарные риффы и соло на бас-гитаре. В финале темп композиции ускоряется, после чего музыка плавно затихает ^[19] . Клифф Бёртон играл центральную роль в сочинении этого трека — помимо начальной части и басового соло, он придумал аранжировку в центральной части и гитарные гармонии ^[7] .
• «Damage, Inc.» . Тематика финальной композиции касается проблемы бессмысленного насилия и безадресных репрессий ^[8] . Её мелодия начинается серией обратных аккордов Бёртона ^{[комм. 5]} , основанных на хоральной прелюдии Баха «Приди, сладчайшая смерть» ^[7] . После этого ритм песни ускоряется и начинает звучать басовый гитарный рифф в тональности ми-мажор, по словам Хэмметта вдохновленный музыкой группы Deep Purple ^[17] .

Master of Puppets was released on March 3, 1986. He made his debut on the Billboard 200 chart on March 29th at 128th line ^[45] and lasted 72 weeks, reaching 29th place ^[6] . This record was the first Metallica CD to be awarded gold certification, with 300,000 copies sold within the first three weeks ^[46] . Despite the fact that the group practically did not promote the album on radio and television (only one single was released in support of it, there were no clips at all), the long-run circulation in the first year amounted to more than 500 thousand copies ^[47] . By 2010, its sales in the United States reached six million copies, five of which were sold between 1991 and 2009, in the wake of the group’s popularity ^[48] . In the international arena, the album was less successful, having reached only the Top-40 German and Swiss charts in the year of release. In 2004, he achieved the best international performance - Top-10 of the Finland charts and Top-15 of Sweden. In 2008, longplay was featured in the Top-40 Australian and Norwegian charts ^[49] . Master of Puppets received the status of a six-time “platinum” disc in Canada and “gold” in the UK - 600 thousand and 100 thousand copies, respectively ^{[50] [51]} .

Master of Puppets received rave reviews from the music press ^[52] . Critics, including those not specializing in metal genres, recognized the longplay as a masterpiece, and some of them even called it the greatest heavy metal album ^[22] . Tim Holmes of Rolling Stone claimed that, having recorded this disc with its technical prowess and filigree performance (which he calls “the sound of universal paranoia”), the group rethought the entire genre ^[53] . In Kerrang Magazine ! they wrote that Master of Puppets “finally brought Metallica to the big leagues, where they belong” ^[5] . On the other hand, Spin columnist Judge Aj-Rankin was disappointed with the recording, complaining that although the quality of the production is high and the group’s experiments are beyond praise, the creators of the album refuse the less “intelligent” approach demonstrated in Kill 'Em All . in favor of the style of the politicized group MDC , but are not able to do this consistently ^[32] . Cliff Burton's contribution was especially noted; Thus, according to the publicist Tom King, Metallica reached “incredible” heights in songwriting, including due to the contribution of the bass player in this process ^[28] .

Retrospective estimates are sustained in similar enthusiastic tones. For example, AllMusic columnist Steve Huey regarded Master of Puppets as the best Metallica CD, noting that although he was not as breakthrough as Ride the Lightning , the new album looked more solid musically and thematically ^[22] . Greg Cote of the Chicago Tribune stated that the album included the band’s toughest songs by then, despite some deviation from Rush’s progressive style ^[35] . Adrien Begran of PopMatters complimented the disc, calling it a “metal version of the sound wall of Phil Spector ” and lamenting that none of the band’s subsequent albums could achieve the same passion and depth ^[29] . BBC columnist Ayman Stack called longplay “hard, fast, smart rock,” comparing his songs with stories of “biblical proportions.” In turn, Jerry Ewing from Classic Rock magazine put the record 5/5 (the only highest score, along with The Black Album ), writing: “Another collection of flawless rock songs like“ Disposable Heroes ”,“ Damage Inc. ”, “The Thing That Should Not Be,” but they fade before the loud “Battery,” the ominous “Welcome Home (Sanitarium),” and the deafening title track. ” ^[36] Canadian journalist Martin Popoff said that Master of Puppets should not be regarded as a rethinking or development of the ideas of Ride the Lightning , although both albums have a similar effect ^[37] . According to a more restrained assessment by Robert Kristgau , despite the fact that the group’s energy and political views are worthy of respect, the revolutionary hero in the understanding of its members is nothing more than a cliché, essentially representing “a sexist too inexperienced to be careful” ^{[39 ]} .

Instead of shooting a video or releasing singles, the group decided to bet on a tight tour ^[7] . Between March and August 1986, the musicians toured with the opening act of Ozzy Osbourne . For Metallica, this was the first tour in which they performed at stadiums ^[4] . During the tour, the group liked to “warm up” with Black Sabbath riffs on soundchecks , but Osborne took it as a mockery of him. Nevertheless, Ulrich later declared that it was an honor for them to perform with such a renowned musician and Osborne treated them well ^[1] . Some media coverage of the tour reproached the group for alcohol abuse during the tour, rewarding them with the nickname "Alcoholica" ^[3] . In response to this, the musicians began to wear T-shirts with the inscription “Alcoholica / Drank 'Em All” ^[1] . Typically, the group performed a 45-minute program, often also encore. According to Ulrich, the audience from megacities at that time was already familiar with their work, in contrast to the audience in small cities: “In the province, people did not know who we were or what we were. But after a 45-50 minute set, we could claim to have won their hearts. People who came to listen to Ozzy were returning home by Metallica fans. ” ^[54] Having conquered Osborne fans, the group began creating its army of fans among the mainstream audience ^[55] .

However, the tour was overshadowed first by trauma, and then by tragedy. In the middle of the tour, Hatfield broke a brush while riding a skateboard. In this regard, several concerts were instead played by his guitar technician, John Marshall (himself a future thrash metal guitarist for Metal Church ) ^[56] . Stage Two of Damage, Inc. European Tour Tour began with concerts in the UK and Ireland, where Anthrax performed at the opening act of Metallica, then continued in Scandinavia. On the morning of September 27, the group traveled from Stockholm to Copenhagen on a tour bus, which overturned due to severe icing of the road. Burton flew out the window and died instantly. The driver claimed that the bus overturned on a strip of ice, which is difficult to see, but Hatfield never recognized this version ^[52] . The driver was put on trial on charges of manslaughter, but was not convicted ^[7] . Upon returning to San Francisco to replace Burton, it was decided to invite Jason Newsted - bass player Flotsam and Jetsam ^[57] . Many of the songs on the band’s next album were composed with Burton ^[19] .

Years later, Lars Ulrich spoke of the contribution of the bass player:

Concert Performances

Subsequently, all the songs of the album were performed at the concerts of the group, some of them on a regular basis ^[58] . Four songs were included in the set-list of the tour in support of the album: “Battery” (as an opening one), “Master of Puppets”, “Welcome Home (Sanitarium)” and “Damage, Inc.” ^[8] Metallica was rare in the 1990s performed material from Master of Puppets , but by the end of the decade, after a series of successful concerts of 1998-1999, the compositions “Battery”, “Welcome Home (Sanitarium)”, “Damage, Inc.” and “Master of Puppets” began to appear again often in the set lists ^[27] . The title song, which was released as a single in France ^[59] , became one of the main tracks in Metallica's repertoire - musicians performed it more than any other. During concert sessions, the public often re-sing the main vocal segments of the song on their own. Loudwire Internet columnist Chad Childers called the performance of “Master of Puppets” by the group “Furious,” and the song itself was the highlight of the show ^[60] . In Rolling Stone magazine, the concert performance of this song was called “classics in all its eight-minute beauty” ^[61] . In the film “ Metallica: Through the Impossible ” a special effect was invented for her - white crosses rose over the stage, reminiscent of the image on the album cover ^[62] .

“Welcome Home (Sanitarium)” is the second track of the album in terms of frequency of performance at concerts ^[63] . Often during its execution, lasers and pyrotechnics are used ^[62] . The composition “Battery” usually appears as an opening track or is performed during encore calls ^[64] . “Disposable Heroes” was played by musicians in a series of shows in Mexico City, filmed among other things on video and included in a film entitled “Orgullo, Pasión, y Gloria: Tres Noches en la Ciudad de México” (“Pride, Passion and Glory: Three Nights in Mexico City ”) ^[65] . “Orion” - the least used composition of the record - one of the main reasons was that it sounded at Burton's funeral, in connection with which the musicians avoided performing it at concerts ^[63] . The first concert performance took place during the Escape from the Studio '06 tour, when Robert Trujillo was already playing in the group, and was associated with the anniversary of the album ^[66] , which on this occasion was played in the middle of the show ^[67] .

Master of Puppets regularly appears on lists of the best albums in modern history. So, Rolling Stone magazine put this record on the 167th place in the list of “ 500 greatest albums of all time ” ^[69] , and Time magazine included it in the similar rating of “100 best albums”. According to Time journalist Josh Tirengil, Master of Puppets made pop a fast virtuoso game in heavy metal, while at the same time avoiding some of its cliches ^[70] . The editors of Slant magazine awarded the album 90th place in the list of “100 best albums of the 1980s”, noting that Master of Puppets is not only the best record of Metallica, but also the most sincere ^[71] . In turn, the IGN portal named Master of Puppets the best heavy metal record of all time; according to the authors of the IGN charts, this album became the best among the group because it “brought to perfection everything that it experimented with on the early recordings”, and in it “all the elements came together with amazing coherence” ^[72] . Another journalist who called Master of Puppets the best heavy metal album was Canadian Martin Popoff ^[73] . In 2006, longplay took fourth place in the vote of Guitar World magazine ^[74] , and its title song was ranked 61st in the ranking of “100 Best Guitar Solos” of the same publication ^[75] . Total Guitar awarded Master of Puppets the 7th place in the twenty best guitar riffs of all time ^[76] . In 2017, the longplay was ranked 2nd in the list of “100 Greatest Metal Albums of All Time” according to Rolling Stone , losing to Black Sabbath's Paranoid CD ^[77] . Kerrang Magazine ! dedicated one of his numbers to this album, a bonus to which was a disk with covers of Master of Puppets: Remastered ^[78] . In addition, the album was included in the almanacs “ One Thousand and One Musical Album, which is worth listening to before you die ” ^[79] .

Master of Puppets was the first thrash metal record to receive platinum status. In the early 1990s, the growing popularity of this genre allowed him to compete with the more mainstream heavy metal. The Big Four of thrash metal (which included Anthrax , Megadeth, and Slayer ^[8] along with Metallica) regularly gathered stadiums and occupied a significant place in MTV rotation, but still showed modest performance on mainstream radio ^[80] . Subsequently, critics often called Master of Puppets the most successful album of the genre, paving the way for its later representatives ^[81] . According to journalist Christopher Knowles, this disc “pulled Metallica out of the underground and lifted it to the top of the metal” ^[82] . Guitar Planet magazine David Hayter regarded the album as one of the most influential records in the history of music and the standard by which subsequent albums of the genre will be evaluated ^[23] . MTV spokesman Kyle Anderson expressed a similar view, saying that 25 years after the release, the album remained “absolute classics” ^[83] . Carlos Ramirez of Noisecreep echoed his colleagues, describing the record as one of the most influential albums in heavy metal history ^[84] .

A number of critics regard 1986 as the peak of thrash metal - for a short period, several records that became classics of the genre were released at once: this year, in addition to Master of Puppets , Peace Sells saw the light ... but Who's Buying? ( Megadeth ) and Reign in Blood ( Slayer ), and a year later, another classic album, Anthrax's album Among the Living . In the same year, journalists dubbed these groups the Big Four of thrash metal. ^[8] Many publicists regard Master of Puppets as the pinnacle of Metallica's work; in polls among fans of the genre and music critics, this disc most often competes for leadership with Reign in Blood . Part of the rivalry stems from the contrast in the approaches to the production of these albums - the sophistication of Metallica versus Slayer speed. Historians of the group often consider the albums Ride the Lightning , Master of Puppets , and ... And Justice for All as a trilogy, during which the band's music progressed and became more sophisticated ^[27] . In 2016, the album was included in the list of “Culturally, Historically, or Aesthetically Important” by the Library of Congress and entered into the Russian Register of Sound Recordings becoming the first metal record to be awarded this choice ^[85] .

Many musicians recorded cover versions of songs from this album. A number of songs from Master of Puppets were performed by the Finnish quartet Apocalyptica , playing metal on cello ^{[86] [87] [88]} . The American progressive group Dream Theater played the entire album at several of their concerts, and the song “Damage Inc.” was performed with the participation of Napalm Death vocalist Mark (Barney) Greenaway ^[89] .

All lyrics written by James Hetfield. Bonus tracks for the digital re-release were recorded at a concert in Seattle Coliseum , Seattle on August 29 and 30, 1989, and were subsequently released as part of the Live Shit: Binge & Purge (1993) box set.

On November 10, 2017, the release of the reissue of Master of Puppets in three different formats took place. In addition to standard editions on CDs and vinyl ( 180 gram records ), which contain the original version of the record that has undergone remastering , a gift version of the album has also been released ( English deluxe edition ). This version contains three phonograph records, ten CDs, two DVDs, a hardcover book containing many previously unpublished photographs, a mini-book with lyrics written by James Hetfield, one audio cassette , as well as six metal badges with the theme of the album and lithography "Damage, Inc.". The original audio material (an album in versions on CD and LP) can also be downloaded digitally using special mp3 cards ^[91] . Unreleased material includes vinyl recording Live At The Aragon Ballroom (Chicago, May 26, 1986); various interviews with a group of that period (on two CDs); demos and draft songs of the album from the Ulrich collection (10 tracks); a collection of riffs and rare material recorded during studio sessions; previously unpublished recordings of the band's concerts at The Meadowlands ( East Rutherford , April 21, 1986) and Live At Hampton Coliseum ( Hampton , August 3, 1986); a previously unreleased Jason's Audition & Live At The Country Club (Reseda, California, November 8, 1986); a CD with an unpublished Live At Grugahalle concert ( Essen , January 25, 1987); audio cassette with a fan recording of the concert Live At Solnahallen ( Stockholm , September 26, 1986); as well as a DVD with the materials - Live At Joe Louis Arena ( Detroit , April 4, 1986), Live At Roskilde Festival, Festivalpladsen ( Roskilde , July 6, 1986); MTV Heavy Metal Mania (TV show recording); Live At Aichi Kinro Kaikan ( Nagoya , November 17, 1986); Masa Ito Interview (interview for Japanese television); MTV News Interviews ^[92] .

Содержание подарочного издания

Первый и второй диски — оригинальный альбом на CD и LP ( ремастеринговая версия), также содержат код для цифровой загрузки лонгплея в этих версиях.

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Источники

• Правосудие на виниле (рус.) // Classic Rock : magazine. — Арс Лонга, 2001. — Вып. 6 . - No. 6 . - S. 77 . - ISSN 1997-7646 . Archived January 14, 2018.

• Lyrics on the official website
• Translation of lyrics into Russian (unofficially)