10. Slash Of Guns N' Roses

9. Kerry King of Slayer

8. Zakk Wylde of Black Label Society

7. Kirk Hammett and James Hetfield of Metallica

6. Jimmy Page of Led Zeppelin

5. Eddie Van Halen of Van Halen

4. "Dimebag" Darrell Abbott of Pantera

3. Randy Rhoads of Ozzy

2. Angus and Malcolm Young of AC/DC

1. Tony Iommi of Black Sabbath

That's it.  Tell me what you think of this list and if you agree with it or not

I am currently listening to "Time as Commodity" By Buried Inside its not the best song on the album but then again the album is made up of one song segmented into 11 different tracks, (Introduction, Time as Ideology, Time as Methodology, Time as Surrogate Religion, Time as Imperialism, Reintroduction, Time as Abjection, Time as Automation, Time as Commodity and Time as Resistance). Needless to say the album is about "Time" and whether it exists or not and how it does and doesn't exist in different walks of life. But the point I am trying to make is that Buried Inside have created this album (Chronoclast) with the view of making a point, teaching the world something, expressing themselves; but most of all not being sucked into the trap of being a mainstream bag of dog turd that produces reconstituted, low level, crap that quite frankly, could have created by a monkey with learning disabilities.

The song has now changed and it's a short one so I must therefore make this paragraph snappy! The song that has come on is one by a band called "Unearth" and it's called FALSE IDOLS. The name was not in capitals on the album sleeve and nor was it on my tunes, I just decided to put them in capitals as that is was a lot of the musical "idols" of today are; false. Look at Robbie Williams for example, how many songs do you reckon he as actually written himself? (Reflexive Pronoun according to Spell Check) How many songs has he grafted over, sweated over, cried over? My estimate would be around a nice big 0.

Next song: "System of a Down", Chop Suey', a strange band but a very popular song that made it quite successfully into the mainstream. Now don't get me wrong the mainstream isn't all bad; some of my favourite bands are pretty mass market; the likes of Slipknot, Killswitch Engage and The Arctic Monkeys can hardly say they are underground anymore, but the difference is they have musical credibility. This song currently has a strings part going on which is a nice contrast to that of the rock background; this texture clash is something that I feel that the likes of "Girls Aloud" or "Avenged Sevenfold" would struggle to understand: can't be seen as different now can we?

"Metallica"! Sell outs? Yes! Do I care? NO. They have done enough in the many years of being a band so to be quite honest I don't care about the fact that they have now become a product, a business, a company, a multinational, a "whatever else you want to call them". They created half the bands I listen to, half the bands you listen to and half the bands that everyone listens to so I couldn't care if they came round my house and ate all the food, they gave me enjoyment, I should give them some.

Ahhh, "Blur" part of the Britpop era; a period that produced some brilliant songs, some average ones and some songs that are best of being buried when Phil Collins decides to die. Without doubt Blur, are one of Britain's most iconic bands and personally I can say I prefer them to Oasis. I believe that Noel Gallagher is one of the greatest song writers ever, but being a fan of the world of "interesting" music I prefer "Blur as they are by far and away more… "interesting'.

Killswitch Engage: Brilliant. One of the few bands that continuously grab me by the balls. Their albums are solid, they have epicity (to be epic) of the highest degree and their live show is fantastically funny. I haven't to this day heard a KsE song that makes me want to leave the room. KsE are a band that all should be able to "Inhale" from the moment that Darkness falls to the moment Daylight days, they are for you, for me for everyone. They are mainstream, but they haven't sold out before their time, they haven't started playing Metallica rips offs and they most certainly haven't written songs that have the lyrics "Wooaooahaoo". (Trivium)

Codeseven are a band that I know very little about. After hearing the two songs "Lights" and "How many miles to Babylon" I was very impressed, then I heard "The Rescue" which was less brutal, frantic or loud but was still technically quite good and was very catchy. But then I heard the song I have on now which I like very much (the song in question is "Alt. Wave"), a quiet, Indyesque, quite ambient song that is miles away from the thrash style of the earlier songs. However, although I liked the song, I was not impressed that "Codeseven" had ditched their Hardcore roots and had made a drastic transition to the more mainstream Indy style. Why? I don't know but I have a feeling that it may have something to with either money or record deal. But still if they are producing good music then who cares. Trivium produced some good stuff on "Ascendancy", "Lostprophets" produced some amazing music on "The fake sounds of progress" but then they turned into, well, bollocks really. Give me the option of Listen to the "Wooaooahaoo" song by Trivium (namely the anthem) or pull each of my teeth out with a kipper and I know what I would prefer to do.

Mastodon are a strange band, on strange label; Relapse Records, are famous for signing bands that are weird, wacky and wonderful. Some of my favourite bands come from Relapse; "The Dillinger Escape Plan" is just on of them, an extremely violent mix of hardcore, thrash, ambience and jazz. Without doubt the two aforementioned bands are the most mainstream on Relapse. (Bands such as "RUMPELSTILTSKIN GRINDER" and "Agoraphobic Nosebleed")Mastodon is definitely part of the musical genre "interesting" but they most certainly are not alone. The song has now changed to another Relapse records band called "Dysrhythmia" who (if you didn't know) are a "progressive, instrumental, jazz, funk metal band". Again they are without doubt one of my favourite bands. Another great sign that the underground produces some amazing, if strange music that doesn't get the attention it deserves.

For the first time in this music influenced article I have selected the song. This song (Elegy) and this band is one of my favourite pieces of art and one of my favourite groups of artists, ever. It really does "grab me by the balls", it sounds like Jesus, Allah, Buddha, Vishnu and Leonardo Da Vinci have got together, had sex and nine months later out popped "Becoming the Archetype". Managing to merge, classical, guitar, black metal, thrash metal, piano, church organs and a ridiculous amount of blast beats, they have created something that sounds like…god.

The song is still going, but has now gone from the ferocious blast beats and roaring of "War is the path that leads to destruction" to the quite celestial piano. I struggle to type this as I am so overwhelmed by what I am hearing. Becoming the Archetype is a band that very little people have heard of. They are underground; a Christian Metalcore band that shouldn't be underground. This is one band that I don't want to be left downstairs, I don't want them to be heard only be the weirdoes like myself who traipse around the internet and shops to find good music that no one has ever heard of before. It is for the good of the world that Becoming the Archetype are heard by all so that everyone can have the opportunity to experience the godliness of this great band.

"Elegy" has just finished, it was eleven minutes and 14 seconds of pure brilliance…in a bag. The album "Terminate Damnation" is also of this fantastical calibre. Varying from classical guitar to pure thrash, this album has something for everyone who has half a brain. Becoming the Archetype are without doubt, the Archetypical band that really could shape the music of the future just like Led Zeppelin, Muddy Waters, The Beatles, Johnny Cash, Black Sabbath, Metallica, Radiohead, Nirvana, Slipknot, and One True Voice did before them. (Ha! One true voice, showing that manufactured bands DO work).

I feel now that I can no longer put another song on that will match the brilliance of "Elegy". There are very few songs in my opinion that can match the ferocity, the subtleness, the kind evilness, the quiet loudness and the progressive simplicity of "Elegy" so for this "creative session" I will cease. Unless a new song comes on that is everything that "Elegy" is and more. Let's see (He clicks on iTunes, he presses next (current song is "4th Grade Dropout" by "The Dillinger Escape Plan") the next song is Enya, 'The Celts'). It's not an incredible song, but I like it and will listen to it. You see? I may like my death metal and all that, but I can still listen to some great cheese when I'm in the mood, just don't show me Phil Collins, or I may commit murder and that's just not good.

The music itself was of course more fun than I could have imagined it would be, but what I was more taken with in the twelve hours I spent in Camden was the amazing culture surrounding heavy metal music. The amazingly caring and friendly culture apparent in heavy music was in stark contrast to what I believed would be true before I went on that 100+ degree day in August.

Before heading out to Camden I had no idea what I was getting myself into going to Ozzfest. All I knew about the festival was that scary metal people who wanted to kill everything went there, and I certainly wasn't one of those people. The stereotype surrounding this genre of music was really all I had to go by. Thus, I was tremendously nervous that I would end up leaving the shows with a broken limb, a bleeding cranium, and bloody nose. I had no clue how wrong I was.

When I got to Camden I started to realize that beneath all of the black, metal chains, and spiked bracelets there was something so forgiving about this culture. In a subculture where the word “unforgiving” is as common as national debt in modern politics it seemed like everyone was there together. Not once did I feel out of place, threatened, or unsafe. I'm sure my parents would have … but I certainly didn't. It was almost a communal experience where everyone was at the festival with each other; there were no social divisions, everyone loved metal. Not once did someone tell me I wasn't “metal enough” nor did they even mutter anything negative about my admittedly “un-metal” appearance. The reason for this, I've come to find, is because it really didn't matter how I looked that day or what other music I listened to because I was there. The only proof these people needed to realize I was like them was that I was at Ozzfest. If all communities were like the metal community there would not be the massive social divisions present in modern society.

It's interesting to me how many of these people who are devoted to heavy music are subject to grossly unjust stereotypes. They are often looked down on by popular culture and other music cultures. But what I can't understand is how elitism is so prevalent in other music societies and pop-culture overall while metal enjoys a decidedly communal atmosphere. Why then do people criticize metal for being barbaric and purely noise while it's bringing people together more than many other styles of music? Metal people may look different than mainstream society, but they are certainly more understanding people than they are given credit for.

Modern society needs to wake up and realize that the metal subculture, while a little darker, initially scarier, and heavier than mainstream society is more than a positive model for the mainstream. If society were even a little less elitist and a little more communal we would be better off as a culture. Metal is not detrimental to society, it's a misunderstood model for the perfect communal atmosphere.