Sting & Darby Allin Arrive At “All In” To Metallica Classic

Sting & Darby Allin Arrive At “All In” To Metallica Classic
Original Photo Credit: twitter.com/AEW/status/1695878265762697605

AEW has been excellent in their use of licensing well-known songs for wrestler entrances including Living Colour’s “Cult of Personality” (CM Punk), the Pixies’  “Where Is My Mind” and Jefferson Starship’s “Jane” (Orange Cassidy) as well as Baltimora’s “Tarzan Boy” (Jungle Boy).

The company also licensed Europe’s “The Final Countdown” for Bryan Danielson’s appearance at Forbidden Door, and late last year upon their return to AEW, Kenny Omega and The Young Bucks took to using the legendary Kansas song “Carry On Wayward Son” to make their entrances. 

Rob Van Dam also recently debuted in AEW to the familiar tune of Pantera’s “Walk.” 

Sunday’s “All In” pay-per-view continued the tradition, as Sting and Darby Allin entered their match against Swerve Strickland and Christian Cage to the metal tones of Metallica and their classic “Seek & Destroy.” Video of their entrance can be seen below.

Sting previously used the tune for a short period of time as his entrance music in WCW. The song comes from Metallica’s 1983 debut album “Kill ‘Em All” and been a setlist staple pretty much ever since it was recorded. The song also marks the first tune Metallica ever recorded in a studio.  

Metallica drummer Lars Ulrich previously revealed that the song was heavily inspired by the Diamond Head song “Dead Reckoning” as well as Mercyful Fate.

“That main riff is a classic Hetfield riff,” Ulrich told Loudersound. “In its demo version, Seek & Destroy was two chords, two versions and a middle bit. But one band you can’t leave out of a conversation about Metallica’s influences are Mercyful Fate. They had long songs that were journeys through all different moods and dynamics and light and shade, and they were responsible for us lengthening our own songs. By the time we’d spent six months listening to Mercyful Fate, we’d added an extra verse, an extra chorus and started making the arrangement longer. It was a matter of trying to better it, I guess.”

B.J. LISKO
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