Kill 'Em All

From Wikipedia, the free encyclopedia

Kill 'Em All is the debut studio album by the American

heavy metal band Metallica, released on July 25, 1983, by Kill 'Em All
the independent record label Megaforce Records. Kill 'Em
All is regarded as a groundbreaking album for thrash metal
because of its precise musicianship, which fuses new wave
of British heavy metal riffs with hardcore punk tempos. The
album's musical approach and lyrics were markedly different
from rock's mainstream of the early 1980s and inspired a
number of bands who followed in similar manner. The album
did not enter the Billboard 200 until 1986, when it peaked at
number 155, following Metallica's commercial success with
its third studio album Master of Puppets; the 1988 Elektra
reissue peaked at number 120. Kill 'Em All was critically
praised at the time of its release and in retrospect, and was
placed on a few publications' best album lists. It was certified Studio album by Metallica
3 Platinum by the Recording Industry Association of Released July 25, 1983
America (RIAA) in 1999 for shipping three million copies in
the United States. The album generated two singles, Recorded May 1027, 1983
"Whiplash" and "Jump in the Fire". Studio Music America Studios in Rochester,
New York
Metallica began by playing shows in local clubs in Los
Angeles. They recorded several demos to gain attention from Genre Thrash metal
club owners, and eventually relocated to San Francisco to Length 51:15
secure the services of bassist Cliff Burton. The group's No
Label Megaforce
Life 'til Leather demo (1982) was noticed by Megaforce
label head Jon Zazula, who signed them and provided a Producer Paul Curcio
small budget of $15,000 for recording. The album was Metallica chronology
recorded in May with producer Paul Curcio at the Music
America Studios in Rochester, New York. It was originally Kill 'Em All Ride the
intended to be titled Metal Up Your Ass, with cover art (1983) Lightning
featuring a hand clutching a dagger emerging from a toilet (1984)
bowl. The band was asked to change the name because Singles from Kill 'Em All
distributors feared releasing an album with such an offensive
title and artwork would diminish its chances of commercial 1. "Whiplash"
success. Metallica promoted the album on the two-month co-
Released: August 8, 1983
headlining Kill 'Em All for One tour with Raven in the US.
Although the initial shipment was 15,000 copies in the US, 2. "Jump in the Fire"
the album sold 60,000 copies worldwide by the end of Released: January 20, 1984
Metallica's Seven Dates of Hell European tour in 1984.

Contents
1 Background and recording
2 Music and lyrics
3 Reception
4 Touring
5 Track listing
6 Personnel
 6.1 Metallica
6.2 Production
7 Charts
8 Certifications
9 References
10 Bibliography
11 External links

Background and recording

Metallica was formed in 1981 in Los Angeles by drummer Lars Ulrich
and vocalist James Hetfield. Before settling on a definitive lineup,
Metal Blade Records owner Brian Slagel asked Metallica to record a
song for the first edition of his Metal Massacre compilation. Hetfield
and Ulrich chose "Hit the Lights" from Hetfield's previous band Leather
Charm, and recorded it with Hetfield's childhood friend Ron McGovney
on bass, and temporary guitarist Lloyd Grant. The band's first lineup
featured Hetfield, Ulrich, McGovney, and guitarist Dave Mustaine, who
was acquired through a newspaper advertisement. The band practiced in Lars Ulrich (pictured) founded
McGovney's garage and inquired to play gigs at local clubs. Metallica's Metallica through an advertisement in
first show was on March 14, 1982, at the Radio City in Anaheim. The The Recycler. He picked the band's
nine-song setlist consisted of two originals ("Hit the Lights" and an name from his friend Ron Quintana's
unfinished version of "Jump in the Fire" from Mustaine's earlier band list of names for his upcoming
Panic) and covers of new wave of British heavy metal (NWOBHM) magazine. Ulrich suggested Metal
bands such as Diamond Head, Blitzkrieg, Savage, and Sweet Savage. Mania, secretly wanting to use
The gig was notorious because Mustaine had problems with the guitar Metallica as the band's name.[1]
distortion pedal and broke a string during a song. Metallica's second gig
was March 27 at Hollywood's Whisky a Go Go, opening for Saxon.
Although Mtley Cre was originally scheduled to open the show, the group canceled because of its growing
popularity. Metallica recorded a three-song demo to persuade the venue's management to allow the band to
open for Saxon. Metallica's third concert was in April, at which was premiered "The Mechanix",[2] written by
Mustaine during his tenure with Panic.[3] Mustaine interacted with the fans at Metallica's earliest shows
because Hetfield was shy.[4]

To get attention from club owners, Metallica recorded the Power Metal demo which featured "Motorbreath" in
addition to the already-performed originals. The logo, displaying the band's name with the first and last letter
drawn larger with sharp serifs and italicized, was designed by Hetfield.[5] The No Life 'til Leather demo was
recorded in July 1982, and it created a buzz in the underground tape trading circles.[6] No Life 'til Leather
featured a re-recorded version of "Hit the Lights", which appeared on the second pressing of Metal Massacre,
in addition to new songs such as "Phantom Lord", "Seek & Destroy", and "Metal Militia". The recording and
mastering was financed by Kenny Kane, owner of the punk label High Velocity, and distributed by Ulrich and
his friend Pat Scott.[7] Because of tensions with Mustaine, McGovney left the band in December. Ulrich was
impressed by Cliff Burton's performance with Trauma at The Troubadour and offered to let him join the
group.[8] Burton joined on the condition that Metallica would relocate to the San Francisco area.[9] Moving to
El Cerrito in February 1983, the band stayed and rehearsed at Exodus manager Mark Whitaker's house, which
they called the "Metallica Mansion".[10] Metallica intended to record its debut in Los Angeles on Slagel's
independent label on an $8,000 budget. Slagel could not afford the record, and Ulrich contacted Jon Zazula, a
New Jersey record store owner and promoter of heavy metal bands on the East Coast who had already heard No
Life 'til Leather. Metallica rented a U-Haul truck and drove to New Jersey in late March,[10] and upon arrival,
allowed Zazula to sell copies of No Life 'til Leather to help him found Megaforce Records, because no label
wanted to finance the album's recording.[11]
 Hetfield and Ulrich fired Mustaine on the morning of April 11, after a
gig in New York, because of his drug and alcohol problems, overly
aggressive behavior, and clashes with bandmates.[13] On Whitaker's
recommendation, Metallica recruited Kirk Hammett, who played in
Exodus and was a one-time student of Joe Satriani. Hammett learned
the songs on his flight to New York, and started recording the album
with Metallica barely a month later. Metallica met producer Paul Curcio
at Music America studios in Rochester, New York, and recorded the
Dave Mustaine (pictured) was an album in two weeks.[14] Unable to afford a hotel during the recording
early member of Metallica, and co- sessions, the band members lived in people's houses in Rochester and at
wrote several songs on Kill 'Em All. the Music Factory in Jamaica, Queens, where Anthrax held
His erratic and violent behavior led to rehearsals.[15] Curcio had set the studio equipment as if he were
his expulsion from the band prior to recording an ordinary rock band. He thought the initial tapes sounded
recording the album. [12] very distorted and tried to compensate by turning down the knobs.[12]
Metallica resented Curcio's involvement because he seemed
uninterested and had little impact on the sound.[16] Although Zazula
wanted Hammett to replicate Mustaine's solos, Hammett's guitar solos on the album were partially based on
Mustaine's original solos, with the first four bars of most solos written by Mustaine before his departure.[17]
Despite their differences, Mustaine's contributions to the early years of Metallica were still acknowledged and
he received four co-writing credits on Kill 'Em All.[18] Zazula was not satisfied with the initial mix because he
thought the drums were too loud and the guitars were too low in the mix. The remix was done by sound
engineer Chris Bubacz, according to Zazula's instructions.[12] The final cost for the record was $15,000, which
nearly bankrupted Zazula. "This was mortgage money I'm spending, not something I've got put by I'm going to
invest," he said later.[19] Zazula had a hard time finding a distributor for the record, but he eventually convinced
Relativity Records to distribute the album in the US and Canada, and Music for Nations in Europe.[11]

The band initially intended to title the album Metal Up Your Ass with the cover featuring a hand clutching a
dagger emerging from a toilet bowl. However, Zazula convinced them to change this as he thought distributors
would not stock it. The final cover featured the shadow of a hand letting go of a bloodied hammer.[20] Burton
was credited with coming up with the name Kill 'Em Allreferring to timid record distributors, saying, "Those
record company fuckers ... kill 'em all!"as a response to the situation.[16] Ulrich thought Kill 'Em All was a
good name, and Zazula agreed.[19] Burton suggested to Gary L. Heard, also responsible for the Metallica
photograph in the back cover, to feature a bloodied hammer on the album art. According to Hammett, "Cliff
carried a hammer with him everywhere he went. He always had a hammer in his luggage, and he would take it
out occasionally and start destroying things."[21] Even though the original title was unused, the band did later
release a "Metal Up Your Ass" T-shirt with the proposed artwork.[20] A live bootleg recording of a 1982
performance at the Old Waldorf, titled Metal Up Your Ass (Live), featured the original cover artwork.[10]
Original pressings of the album came with an inner sleeve that included pictures and lyrics as well as a silver
label on the vinyl. Subsequent pressings had a blank white sleeve and standard album label. The 1988 reissue
re-introduced the lyrics and photos. The original release can be distinguished by the words "Bang That Head
That Doesn't Bang" at the top of the back cover. This was dropped from the reissue.[18] The phrase "Bang That
Head That Doesn't Bang" was dedicated to San Francisco fan Ray Burch, known for his headbanging at the
band's early shows.[19]

Music and lyrics

Kill 'Em All features intricate riffing reminiscent
of the NWOBHM bands played at high velocity.
The album is considered crucial in the thrash
metal genesis because it introduced fast
"Kill 'Em All's lyrics created as much excitement as the band's
music. Taken together, the words of the songs on the album
form a single theme. It is a concept album that heralds the
breakthrough of a new subgenre of metal, its fans, and its
percussion, low-register chords, and shredding leader, Metallica. It is a celebration of metal. It is a call to
arms to a new generation of metalheads, many of whom were
leads to the genre.[22] Hammett played some
already armed and ready."
pentatonic patterns in addition to his breakneck
Deena Weinstein, Essays on Debut Albums[5]
solos.[23] Ulrich adopted a double time snare
pattern that would become a mainstay on
Metallica's subsequent albums. Hetfield's vocals evolved from the melodic wail on No Life 'til Leather to a
rough-edged bark and the entire band played faster and more accurately on Kill 'Em All.[24] Music writer Joel
McIver said Burton's and Hetfield's performances were nearly virtuosic, because of the smooth-sounding bass
of the former and the precise picking skills of the latter.[25] According to journalist Chuck Eddy, the juvenile
lyrical approach to topics such as warfare, violence and life on the road gives the album a "naive charm".[26]
The musical approach on Kill 'Em All was in contrast to the glam metal bands who dominated the charts in the
early Eighties.[27] Because of its rebellious nature and Metallica's street appearance, it appealed to fans who
were not into the mainstream of hard rock.[28]

"Hit the Lights" was based on an unfinished Leather Charm

"The Four Horsemen"
song written by Hetfield and Hugh Tanner. Hetfield had
0:00 brought the majority of the song to Ulrich and the two
"The Four Horsemen" is based on a
worked out different arrangements. Performed at 160 beats
galloping tremolo picked riff and per minute, "Hit the Lights" opens with fade-in distorted
double bass drum triplets. Its multipart guitars and a short shriek by Hetfield. The song is driven by
concept preceded the more complex the 16th note repeated main riff and the continuous eighth
song structures Metallica applied on
note snare drum hits. The lyrics celebrate heavy metal itself
subsequent albums.[29]
and are sung with short and high pitched vocals.[30] The song
Problems playing this file? See media help. ends with several lengthy guitar solos by Hammett, who
performed cleaner and more melodic version of Mustaine's
leads. "The Four Horsemen" is a revamp of the Mustaine-penned "The Mechanix", which originally had lyrics
about having sex at a gas station.[3][31] A modified version of his composition with the original lyrics appeared
on Megadeth's debut Killing Is My Business... and Business Is Good! (1985). Although Mustaine told Metallica
not to use any of his music, Hetfield wrote lyrics about the Four Horsemen of the Apocalypse and added a
bridge and cleanly picked guitar solo in the middle.[31] Mustaine said the bridge was inspired by the main riff
in Lynyrd Skynyrd's "Sweet Home Alabama".[7]

"Motorbreath" was written by Hetfield during his time in Leather Charm and tells about life on the road. The
song is based on a four-chord verse and a stop-and-start chorus.[7] The most recognizable parts are Ulrich's
drum rolls in each chorus and the riff that accompanies Hammett's solos. Because of its speed, the song
requires fast picking by the bassist.[32] "Jump in the Fire" was originally written by Mustaine, with lyrics about
teenage sexual experience.[2] Hetfield's revised lyrics for the album were written from Satan's point of view,
describing how the devil watches people killing each other, and is sure they will go to hell for their actions.[33]
"Jump in the Fire" was released as a single in the UK in February 1984 to promote a UK tour with Venom.[34]
The single featured "Phantom Lord" and "Seek & Destroy" as live tracks, although they are actually studio
recordings with fake crowd noise dubbed over them.[35] The single's cover art features an oil painting titled The
Devils of D-Day, created by artist Les Edwards in 1978.[36]

"(Anesthesia) - Pulling Teeth" is a bass solo by Burton, accompanied on drums by Ulrich. A staple of Burton's
live performances since his high school days in the band Agents of Misfortune,[37] the instrumental track
featured Burton's distinctive "lead-bass" style of playing, incorporating heavy distortion, use of wah-wah pedal
and tapping.[38] Bubacz introduces the track as "Bass solo, take one",[19] informing listeners that the song was
recorded in one take.[39] "(Anesthesia) - Pulling Teeth" was the bass solo that Burton was playing when
Hetfield and Ulrich first saw him at a gig.[40] Hetfield stated: "We heard this wild solo going on and thought, 'I
don't see any guitar player up there.' We were both counting the strings and I finally turned to Lars and said,
'Dude, that's a bass!' Cliff was up there on stage with his band Trauma with a wah-wah pedal and his huge mop
of red hair. He didn't care whether people were there. He was looking down at his bass, playing."[41]
"Whiplash" was the album's first single, issued on August 8, 1983.[42] It features a swift rhythm line of straight
16th notes played at about 200 beats per minute. Hetfield and Burton performed with palm muted technique
and precise metronomic control.[43] The lyrics celebrate crowd energy and headbanging.[44] Rock journalist
Mick Wall wrote that "Whiplash" signified the birth of thrash metal, stating: "If one wishes to identify the very
moment thrash metal arrived spitting and snarling into the world, 'Whiplash' is indisputably it."[19]

"Phantom Lord" is a lyrical nod to devilry. The song begins

"Seek & Destroy"
with synthesized bass drone and contains a middle section
with clean, arpeggiated guitar chords. Written by Mustaine, 0:00
its central riff is in NWOBHM fashion. [43] "No Remorse" is The song opens with thin, mid-register
a mid-tempo song which suddenly accelerates its tempo in guitars. The last two sections (5:50
the fifth minute. [46] The song is about not feeling any onward) feature palm muted riff in low
E. Since 2004, "Seek & Destroy"
remorse or sense of repentance during battle. "Seek & serves as the closer on Metallica's live
Destroy" was inspired by Diamond Head's "Dead set.[45]
[3]
Reckoning" and is the first song Metallica recorded
during the Kill 'Em All sessions.[28] Hetfield wrote the main Problems playing this file? See media help.
riff in his truck outside a Los Angeles sticker factory where
he was working.[3] Because of its simple, one-line chorus, the song became a permanent setlist fixture and a
crowd singalong.[11] "Metal Militia", one of the fastest songs on the album, is about heavy metal's way of life
and nonconformity. Mustaine composed the main riff, which emulates a marching army. The song ends with
tramping feet and bullet ricochet in a fade-out.[47]

Reception
Kill 'Em All has received mostly positive reviews. Bernard
Professional ratings
Doe of Metal Forces described Kill 'Em All as one of the
fastest and heaviest albums ever recorded, and remarked that Review scores
the album is not for the faint-hearted. [54] Greg Kot of the Source Rating
Chicago Tribune acknowledged it as the "speed metal AllMusic [48]
prototype", but felt the lyrical replication of Judas Priest and
Billboard 95/100 [28]
the Misfits kept the album short from becoming a classic.[49]
In a retrospective review, Billboard praised Kill 'Em All for Chicago Tribune [49]
changing the face of popular music with its unique
Collector's Guide to Heavy Metal 9/10[50]
combination of punk and metal.[28] AllMusic's Steve Huey
called it "the true birth of thrash". He praised Hetfield's Encyclopedia of Popular Music [51]

highly technical rhythm guitar style and said that the band
The Guardian [52]
was "playing with tightly controlled fury even at the most
ridiculously fast tempos".[48] Rob Kemp, writing in The Kerrang! [53]

Rolling Stone Album Guide, credited the album for Metal Forces 10/10 [54]
consolidating the punk rock and heavy metal scenes, but felt
that apart from "Seek & Destroy" and "(Anesthesia) - Pulling Q [55]

Teeth", most of the album had the band "trying to look The Rolling Stone Album Guide [56]
tough" over enthusiastic but unfinished riff-based songs. [56]
Journalist Martin Popoff said Kill 'Em All differentiated from the debuts by Metallica's Bay Area
contemporaries because the fans could identify with Hetfield's lyrics and the band's appearance.[23] Spin's
Chuck Eddy considered Kill 'Em All the inception of the "extreme metal mania" of the early 1980s. He noted
the album did not receive much critical praise at the time of its release, but said it aged well and opened the
doors for the less commercially successful bands.[26] Although McIver credits Venom's Welcome to Hell (1981)
as the first thrash metal album, he acknowledged Kill 'Em All as a major influence on the flourishing American
heavy metal scene.[57] Despite its "less-than-perfect" production, Loudwire's Jon Wiederhorn said that Kill 'Em
All sounds like an "influential slice of history" and stands on the same level as classic albums by Black
Sabbath, Iron Maiden, and Judas Priest.[58]

Kill 'Em All was released on July 25, 1983 by Megaforce with an initial pressing of 15,000 copies.[59] Because
of the label's financial restrictions, the album was pressed in batches of 500 copies.[60] Kill 'Em All had sold
17,000 copies in the US by the end of the year.[22] Similarly to punk rock acts, Metallica promoted its material
through the tape trading network and independent music magazines such as Metal Forces in the UK and Metal
Mania in the US.[61] The album did not enter the Billboard 200 chart until 1986, when it peaked at number 155
following Metallica's commercial success with its third studio album Master of Puppets.[62] The 1988 re-issue
on Elektra Records also charted on the Billboard 200, peaking at number 120.[62] It was certified 3 Platinum
by the Recording Industry Association of America (RIAA) in 1999 for shipping three million copies in the
United States.[63] Despite being the lowest selling Metallica studio album, it helped the band establish its image
and build a fanbase in its inaugural years.[5]

Kill 'Em All, as the first thrash metal album released in the US, had substantial impact on the emerging scene
and inspired numerous bands with its aggression and austere seriousness.[64] Guitarist Kerry King
acknowledged Slayer was still finding its sound while Metallica had already determined its image and musical
identity. Anthrax guitarist Scott Ian was impressed by the album's heaviness and songwriting, and said it
influenced him as much as the albums by Iron Maiden. Dream Theater's drummer Mike Portnoy observed that
Kill 'Em All surpassed the NWOBHM bands in terms of sheer velocity and cited Burton's bass solo as the
album's peak.[27] Guitarist Ulf Cederlund of Swedish black metal band Morbid cited "Motorbreath" and "Metal
Militia" as songs that influenced him as a young musician.[65] Kill 'Em All was ranked at number 35 on Rolling
Stone's list of The 100 Greatest Albums of the '80s.[66] Additionally, the album placed at number 54 on "The
100 Best Debut Albums of All Time"[67] and again at number 35 on "100 Greatest Metal Albums of All
Time",[68] two lists compiled by the same magazine. Kerrang! listed the album at number 29 among the "100
Greatest Heavy Metal Albums of All Time".[69] In 2010, Consequence of Sound ranked it number 94 among its
"Top 100 Albums Ever".[70]

Touring
In late June 1983, Metallica embarked on the two-month Kill 'Em All for One tour with British co-headliners
Raven. The tour name melded the titles of the albums the two bands were promoting: Metallica's Kill 'Em All
and Raven's All for One, both released on Megaforce. The two groups met in Zazula's home two days before
the tour began, and traveled in the same vehicle throughout the tour with five roadies and sound engineer
Whitaker. The tour was set to conclude with three shows in San Francisco, thus Hetfield painted "No Life 'til
Frisco" on the Winnebago tour bus. The tour had a few poorly attended gigs, such as a performance at the
Cheers club in Babylon, New York, attended by some 50 people. After the conclusion of Kill 'Em All for One
in early September, Metallica returned to El Cerrito to work on new material. Seven weeks after the tour ended,
Metallica booked a number of performances at Bay Area clubs, the first a Halloween gig at the Keystone in
Palo Alto. At the Country Club in Reseda, the group debuted "Fight Fire with Fire" and "Creeping Death",
along with an early version of "The Call of Ktulu", then titled "When Hell Freezes Over". Three days later, at a
gig at The Stone in San Francisco, Metallica premiered "Ride the Lightning", the title track from the upcoming
album. In December, Metallica went on a short tour in the Midwest and eastern United States with a three-man
road crew: Whitaker, guitar technician John Marshall, and drum technician Dave Marrs. The January 14, 1984
concert in Boston was canceled because the band's equipment was stolen the night before.[71]
In February, Metallica embarked on its first European trek with Twisted Sister, supporting Venom's Seven
Dates Of Hell tour.[72] The tour was sponsored by Metallica's UK distributor, Music For Nations, who released
the "Jump in the Fire" EP for that occasion. The first show was at the Volkshaus in Zurich on February 3.[73] At
the Aardschok Festival in Zwolle on February 11, Metallica played in front of 7,000 people, its largest audience
at the time. The tour stretched through countries such as Italy, Germany, France, and Belgium, culminating in
two sold-out shows at the Marquee Club in London.[74] After concluding the Seven Dates Of Hell tour,
Metallica headed to Sweet Silence Studios in Copenhagen to record its sophomore album Ride the
Lightning.[75] By the end of the tour, Kill 'Em All had sold 60,000 copies worldwide and Metallica began to
gain international recognition.[60]

Track listing
All lyrics written by James Hetfield.

Side one
No. Title Music Length
1. "Hit the Lights" Hetfield, Lars Ulrich 4:16
2. "The Four Horsemen" Hetfield, Ulrich, Dave Mustaine 7:13
3. "Motorbreath" Hetfield 3:08
4. "Jump in the Fire" Hetfield, Ulrich, Mustaine 4:41
5. "(Anesthesia) - Pulling Teeth" (instrumental) Cliff Burton 4:15
6. "Whiplash" Hetfield, Ulrich 4:10
Side two
No. Title Music Length
7. "Phantom Lord" Hetfield, Ulrich, Mustaine 5:02
8. "No Remorse" Hetfield, Ulrich 6:26
9. "Seek & Destroy" Hetfield, Ulrich 6:55
10. "Metal Militia" Hetfield, Ulrich, Mustaine 5:09
Total length: 51:15

Bonus tracks (1988 Elektra reissue)[76]

No. Title Writer(s) Length
11. "Am I Evil?" (Originally performed by Diamond Head ) Sean Harris, Brian Tatler 7:49
12. "Blitzkrieg" (Originally performed by Blitzkrieg ) Ian Jones, Jim Sirotto, Brian Ross 3:35
Total length: 62:39

Digital reissue bonus tracks[77]

No. Title Length
11. "The Four Horsemen" (Live in Seattle 1989; Jason Newsted on bass) 5:31
12. "Whiplash" (Live in Seattle 1989; Newsted on bass) 4:19
Total length: 61:05

Personnel
Credits are adapted from the album's liner notes.[18]

Metallica

James Hetfield vocals, rhythm guitar

Kirk Hammett lead guitar
 Cliff Burton bass guitar
Lars Ulrich drums

Production
Jon Zazula executive producer
Paul Curcio producer
Chris Bubacz engineer
Alex Perialas, Bob Ludwig mastering
George Marino remastering
Andy Wroblewski assistant engineer

Charts
Peak
Chart
position
Australian Albums Chart[78] 55
Finnish Albums Chart[79] 12
French Albums Chart[79] 149
German Albums Chart[80] 58
Spanish Albums Chart[79] 65
Swedish Albums Chart[79] 28
Swiss Albums Chart[79] 65
UK Albums Chart[81] 142
US Billboard 200[82] 66

Certifications
Region Certification Certified units/Sales
Canada (Music Canada)[83] Platinum 100,000^
United Kingdom (BPI)[84] Gold 100,000^
United States (RIAA)[85] 3 Platinum 3,000,000^

^shipments figures based on certification alone

References
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5. Weinstein 2013.
6. Popoff 2013, p. 20.
7. McIver 2014, Chapter 6: 1982.
8. Popoff 2013, p. 22.
9. Popoff 2013, p. 21.
10. Winwood & Brannigan 2013, Chapter 2: Hit the Lights.
11. Dome & Wall 2011, Chapter 1: Kill 'Em All.
12. Winwood & Brannigan 2013, Chapter 3: Jump in the Fire.
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14. McIver 2009, p. 88.
15. Popoff 2013, p. 30.
16. McIver 2009, p. 89.
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tars/metallica-week-kirk-hammett-interview-173297) . MusicRadar. Retrieved June 7, 2015.
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19. Wall 2010, Chapter 5: Long-Haired Punks.
20. Popoff 2013, p. 34.
21. Uhelszki, Jaan (September 11, 2008). "Kirk Hammett on Metallica's Kill 'Em All"(http://www.musicradar.com/news/gu
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External links
Kill 'Em All at Discogs (list of releases)
Metal Up Your Ass at Discogs (bootleg release featuring the original cover concept for Kill 'Em All)

Retrieved from "https://en.wikipedia.org/w/index.php?title=Kill_%27Em_All&oldid=792246264"

Categories: 1983 debut albums Megaforce Records albums Elektra Records albums Metallica albums
Vertigo Records albums English-language albums

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