GUNS AND ROSES - “Appetite For Destruction”, 1987 – This one probably ain’t even fair. I mean, let’s face it, how many bands who know the difference between a male & female electrical connection in the last 20 years haven't been in some way touched by this record. Yet, the SEVENFOLD boys really gleaned a lot from this one and interviews with M. Shadows aren’t the only way to tell his appreciation for the Mad Axl & Co. Just listen to the bridge in “Seize The Day” from “City Of Evil.” Holy shit, if anything on “Chinese Democracy” erupts into the kind of cacophony this one does at the end of that section, we’ll have a keeper on our hands (in about 100 years). In the meantime, huge influence, end of story.

PANTERA – “Far Beyond Driven”, 1994 –Sure, maybe Shadows has a less aggressive, more melodic vocal style than Phil A. but all you have to do is listen to some of Dimebag’s nasty riffs from the pit of hell ,& see why A7X namechecks these guys so much on the old “influence” question. Listen to Synyster Gates & Zacky Vengeance administering the down-tuned beating on a track like “Scream” from the latest eponymous disc and the answer is clear.

FAITH NO MORE – “The Real Thing” 1989 – It used to piss me off in the old days when straight-ahead metal people ragged on these guys, saying they had hip-hop influences, all that shit. You ever listen to this shit? You ever see ‘em live & see Jim Martin leaning against his Marshalls with his V laying down Iommi-heavy riffs in “Epic?” I did, so I know. So, apparently did the A7X guys. Dig some of the demented rhythm shifts in “Brompton Cocktail” & “The Wicked End,” not to mention the distinct Mike Patton feel in Shadows’ voice in “Trashed & Scattered” off “City…” Hell, this even breaks through on the otherwise country-tinged “Dear God” from the new album. As Dickie V would say, awesome, baby!

HELLOWEEN – “Walls Of Jericho” ’86 – I don’t know if they ever mentioned this band directly in an interview but I’ll tell you this much: “Bat Country” was the first song I ever heard by SEVENFOLD and with the whole back catalog of music that litters my brain & prevents me from remembering to pick my kids up from school…HELLOWEEN was the first thing I thought of. The chugging ‘80’s metal riffing, the unexpected melody, the scintillating harmony leads, and yeah, that opening cut by Kai and the boys, “Starlight” was going through my mind. As far as I’m concerned, A7X also pisses on, blows away and terminally injures the mothers of later HELLOWEEN pussilanimous clones like BLAND GUARDIAN, PENAL FEAR, etc.

QUEENSRYCHE – “Rage For Order” ’86 – What, you’re saying? The forgotten QR album? The one nobody liked when it came out because it was too fucking weird and that got lost in the shuffle before “Mindcrime…?” That was some kind of driving force behind a current big-time, big-lights band like AVENGED SEVENFOLD? Yes. Listen to the vocal choruses in “The Whisper” & “The Killing Words,” where Geoff Tate employs a choral effect, the deceptively peaceful nature of which lends riveting dynamics to the visceral subject matter. And, after you get out your thesaurus for that one, listen to the chorus in A7X’s “Almost Easy.” Uh-huh.

SANTANA – “Santana” (III) 1971 – He’s crazy! He’s crazy! Send for the freaking men in the white coats! Again…shut up. I am not crazy, and no, this album was not called “III.” It was called “Santana” but people came to know it as “III” to avoid confusion with the equally eponymously christened first record by Carlos & Crew. Stop yourself. Put in “City Of Evil.” Press the track selector to # 7 or shall I say “Sidewinder.” Dig the Latin percussion & guitar. Listen to “Guajira,” “Jungle Strut” or “Para Los Rumberos.” AVENGED SEVENFOLD is from California. Carlos Santana moved to California in the ‘60’s, even going to high school there. What more do you need?