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When I was nineteen years old and playing the Hammond B-3 organ in a band called the Salvation Navy, we shared the bill with the Yardbirds. A skinny kid in burgundy lame pants and tie-dyed tank top walks onto the stage with his guitar and violin bow. He subsequently went on to blow our minds with his incredible virtuosity and a vision of what was to come. His name was Jimmy Page and he formed a new band the very next year.

Led Zeppelin, with its roots steeped in Rhythm and Blues, was to become the greatest heavy metal band that Rock 'n' Roll had ever known.

One particular guitar solo of Page's, from the song "Heartbreaker," impressed me so much that I was inspired to write the fourth movement of this symphony. It was the forceful way he resolved his ideas in the last four measures that left the impression.

HEAVY METAL, the second part of a trilogy containing SYMPHONY #2-REGGAE and SYMPHONY #4-FUNK, had its compositional beginnings on January 13, 1987. Work continued periodically until its completion on March 13, 1990.

TO: ATTITUDE, MELODRAMA AND PURE, PUBESCENT ENERGY!

I. Allegro non troppo
to: Jeff Geist
Dear friend, fellow musician and master astrologer.

II. Allegro Vivace
to: Dan Merriman
Friend and vocal master.

III. Allegro Moderato
to: Maestro Herbert von Karajan Though a card-carrying member of the Nazi party, in order to aid and abet his artistic rise, his mastery of musical interpretation, as a conductor, is unquestionably one of the finest in music history. My witness of his musical gift, through recordings, film and video, helped forge my education, specifically the excellence that was expected of and possible for an orchestra. Thus, regardless of his sociopathic political affiliations, which are totally repugnant to me, I cannot deny the impact of his musical legacy.

IV. Presto Vivace
to: Yitka Zajac Wayne
My wonderful wife.

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This is serious music, and these are major works. There is nothing here that smacks of populist, commercial art. I would place Wayne very high among the ranks of major American symphonists. Highly recommended.

     —Jerry Dubins , Fanfare Magazine 2004

....'Wayne is a forceful composer.'

     —Variety 1983

....'His work is well wrought and refreshingly original, but at the same time more accessible to the average listener than most new music. Mr. Wayne seems to understand what our age needs at this point.

     —Maurice Edwards Artistic Director Brooklyn Philhar, Artistic Director Brooklyn Philharmonic Orchestra

....'I have been aware of his work for a number of years and have been impressed by his growth as a writer.

     —Bernice Cohen , ASCAP 1989

'He has a lyrical voice mixed with a little wit, plenty of passion and tremendous sense of drama. What Gershwin did with jazz, he does with rock 'n' roll! A truly original voice who should be heard.'

     —Mark J. Petracca , The New Review of Records 1995

' ...lots of fun, serious fun, and very well written.'

     —Lukas Foss Composer 1996

'A pleasant, accessible tonal language (and) the piece is certainly technically very adroit. '

     —Gunther Schuller Composer, Conductor, Performer 19

'If Haydn could use Austrian folk music in his symphonies, if Schubert could indulge the Landler, Ives create congestions of band marches, hymns, anthems & popular songs, then why shouldn't Hayden Wayne write vivacious symphonies REGGAE, HEAVY METAL, FUNK

     —Scott MacClelland , Coast Weekly 1997

Hayden Wayne: Genius is as genius does (relentlessly)

     —John Blenn, November, 2000

Wayne writes well for orchestra, and he knows a certain market.

     —Steve Shaffer , 21ST Century Music 2001