When it comes to thrash metal, few names carry as much weight as Gary Holt. As one of the originals and powerhouse guitarist of Exodus, Holt has been at the forefront of one of music’s most electrifying and enduring genres, shaping its raw energy and uncompromising spirit for over four decades. Now, with his much-anticipated book, A Fabulous Disaster, on the horizon, Holt pulls back the curtain on a career that’s been as relentless as the riffs he’s built his name upon.
From the sweat-soaked clubs of the Bay Area to global stages, he’s seen it all—and lived to tell the tale. But Holt’s passion isn’t confined to just the fretboard. He’s also a devoted advocate for vinyl, sharing candid insights on how its resurgence is reshaping how we experience music in a digital world. Join us as we sit down with a true metal legend to explore the intersection of history, sound, and analog revival in a conversation that’s as electrifying as the music itself.
Over the span of your career, you’ve been a powerful force in both Exodus and Slayer. How has playing with these two iconic bands influenced your approach to creating and performing music?
I’ve only written for my band, Exodus. I contributed to one Slayer album, 2015’s Repentless, but Kerry King wrote that one himself. As for Exodus, we have always written music for ourselves, and never did it to please anyone else. We believe in creating music we enjoy, which translates to thrash standards that deeply resonate with our fans.
Can you take us back to your earliest musical influences. Were there any specific guitarists or bands that initially sparked your passion for music?
I grew up as the youngest of six kids, with five older brothers who were all into hard rock. I was introduced to amazing music early on, listening to bands like Black Sabbath, Montrose, Lynyrd Skynyrd, and Mahogany Rush. This influence shaped my tastes, leading me to discover bands crucial to Exodus, such as Judas Priest, Iron Maiden, and the Scorpions. Guitar legends like Michael Schenker, Richie Blackmore, and my hero Ted Nugent really inspired me. Seeing Nugent live made me want to play guitar, and I always felt he looked 10 feet tall when I saw him playing live on stage. I remember thinking, “I wanna do that!”
Who would be on your Mt. Rushmore of guitarists?
That would be Richie Blackmore, Michael Schenker, Angus Young, and of course the Motor-City Madman, Ted Nugent.
Are there any moments from the road—wild or heartfelt—that have stuck with you over the years?
The band has experienced so many memorable moments and significant challenges while touring over the decades. The passing of Paul Baloff in 2002 was an especially difficult period for Exodus, including the responsibility of planning his final arrangements. At that time, we collectively were not in the best condition—both physically and mentally—which compounded the difficulty of the situation. The pain from Paul’s loss remains with us to this day.
Collaboration has played a role throughout your career, especially through guest appearances and working with other artists. Which collaboration has challenged or inspired you the most? Anyone currently you might want to collaborate with?
Having Kirk Hammett play on “Salt the Wound” from 2014’s Blood In, Blood Out was significant as it marked our first proper recording together since the initial two Exodus demos. We enjoyed the experience, and it represented a full-circle moment for all involved. Regarding future collaborations, I do not have any particular ones in mind. I find that the trend of collaborations within the music industry today a bit overused and it’s unappealing to me.
Looking back at your playing style from the early Exodus days to now, how would you say it has evolved?
My approach to playing has evolved as I have gotten older. At sixty, I deal with arthritis and repetitive motion issues, so I have to adjust my techniques accordingly. Watching a video of Exodus from 1987, I realized I was performing solos back then that I just recently started working on again. It’s surprising how much I have forgotten over time. My experience has been that aging brings both new learning experiences as well as a resurgence of forgotten skills that I can revisit.
Your new book, A Fabulous Disaster, dives into your life and career. What inspired you to share your story in this way, and what themes or messages do you hope readers will take away from it?
A Fabulous Disaster is a fitting title, given my experiences and its reference to our third studio album in 1989. I thought about writing for a long time before deciding to proceed. Adem Tepedelen, who wrote a cover article on us for Decibel magazine, reached out and his involvement was important because one must be comfortable revealing personal stories. I felt at ease with Adem, as we are close friends.
The main message I’d like readers to take from this book is hope and redemption. Many musicians struggle with drugs but continue their careers. In my case, I left music entirely, worked an unrelated job, and fell into serious drug addiction. My life turned around when I started making quality music again with my band, and we all collectively improved our lives. The key takeaway throughout the book is to never give up. I have always tried to maintain a positive outlook on life despite often writing about darker themes, but I’ve always treated people with respect and kindness, and I hope that message comes through in the book.
Writing a book is such a different medium for storytelling compared to music. Was the writing process cathartic for you, and did it bring up any memories that might have otherwise been buried?
It’s much easier in many ways because I had most of my life to write the book. It was written based on my own actions and the actions of others. When writing a song, you have to sit down and think, “I need to create something new today.” While writing the book was the straightforward part, it required gaining enough confidence to retell these stories to others and ensure they were conveyed as intended.
I believe the book turned out exceptionally well, and although I recognize my bias, I’ve read numerous rock biographies and wanted this one to stand out. In A Fabulous Disaster, I wanted people to laugh, I wanted them to cry, and I wanted their fucking skin to crawl. With Adem’s support, I believe we were able to achieve this on all counts.
Vinyl has seen a huge resurgence in recent years. What does vinyl mean to you personally, both as a fan of music and as a creator?
Many people are showing great interest in vinyl records nowadays. Although I have most of my old vinyl from years ago, I still receive new records frequently. That said, I may need to purchase a new turntable soon with all the vinyl I have. As a young music fan, there was nothing better than opening a record, examining the large format artwork, and reading the lyric sheets. Over time, physical formats became smaller; even CDs that initially came in eliminated packaging altogether. Metal and rock fans particularly enjoy having a physical, large format product in their hands again. As you might be able to tell, I’m a huge fan of vinyl. There’s just nothing like it.
Is there a particular record that influenced you or carries a special significance?
I possess a very rare pressing of Bonded by Blood, of which there are only two in existence—my producer has the other one. Additionally, I have the initial test pressing for the second Exodus record, Pleasures of the Flesh. These items are highly valued and super important to me. I also have my old Venom records and similar within the genre in my extensive collection.
Does the sound of vinyl sound different vs other mediums?
There may not be a huge sound difference to me, but putting on a record, cranking it up, and hearing the hiss from the vinyl is an experience all to its own. It’s like you know something exciting is about to happen. No other musical format can offer that sound—it’s a true derivative only found by dropping the needle on vinyl. You don’t get that warmth on digital formats, it’s just not possible.
Metal continues to evolve with new subgenres and artists emerging all the time. How do you view the current state of the metal scene, and are there any newer bands that have caught your attention?
Most of the bands I could mention, like Gojira or Municipal Waste, aren’t new anymore; they are seasoned veterans. As for new bands, none come to mind right now because when I’m in writing mode, I don’t listen to much music. However, there are a ton of young guitar players today doing things I can’t even imagine attempting back when I started.
It looks like Slayer will be partaking in Black Sabbath’s final show, “Back to The Beginning.” Tell us how this came to be and what does being included mean to you personally?
I realize how fortunate I am to be part of Sabbath’s “Back to the Beginning” show in England. It will be a significant moment in musical history that I am sure will always have a special place in my heart. Although I often feel like a musical outsider, my brothers in Slayer have always treated me like family and this performance will be just that, family. However, sometimes the fan in me overshadows the musician in me, and I am amazed by the opportunity to be part of this incredible historical event.
Finally, as someone who has left an indelible mark on heavy music, what advice would you give to young musicians looking to carve out their own path in the metal world?
Seriously, it’s tough to make a living in music now because people can easily download your work online, and costs have skyrocketed. My advice is to be true to yourself, play the music you want, and write for yourself. Don’t worry about what others think; hopefully, they’ll appreciate what you do. Outside of that, learn a trade and find a job that you love in the midst of all the musical madness.
