METALLICA
Thrash Metal / Hard Rock / Traditional heavy metal / Non-Metal • United States

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Metallica are an American metal band formed in 1981 in Los Angeles when drummer Lars Ulrich posted an advertisement in The Recycler. Metallica’s line-up originally consisted of Ulrich, rhythm guitarist and vocalist James Hetfield, and lead guitarist Dave Mustaine. Mustaine was later fired due to problems with alcoholism and drug addiction - he went on to form the band Megadeth. Exodus guitarist Kirk Hammett took his place. Metallica has been through several bassists, including Ron McGovney, Cliff Burton (who died in a bus crash while the band was on tour), and Jason Newsted. The current bassist is Robert Trujillo, who joined in 2003.

Metallica’s early releases included fast tempos, instrumentals, and aggressive musicianship that placed them as one of the “big four” of the thrash metal sub-genre alongside Slayer, Megadeth, and Anthrax. The band earned a growing fan base in the underground music community and critical acclaim, with the 1986
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MetallicaMetallica
Rhino 2013
Audio CD$4.97
$4.70 (used)
Master of PuppetsMaster of Puppets
Rhino 2013
Audio CD$2.99
$1.50 (used)
...And Justice for All...And Justice for All
Rhino 2013
Audio CD$4.77
$2.80 (used)
Ride the LightningRide the Lightning
Rhino 2013
Audio CD$7.18
$6.50 (used)
Kill 'Em AllKill 'Em All
Rhino 2013
Audio CD$4.95
$2.98 (used)
LoadLoad
13STAR RECORDS 2013
Audio CD$4.59
$3.41 (used)
Garage IncGarage Inc
Rhino 2013
Audio CD$11.80
$9.89 (used)
Re-LoadRe-Load
13STAR RECORDS 2013
Audio CD$4.41
$3.41 (used)
St. Anger (CD/DVD)St. Anger (CD/DVD)
Rhino Blackened 2013
Audio CD$7.19
$5.94 (used)
Death MagneticDeath Magnetic
Rhino Blackened 2013
Audio CD$6.43
$6.16 (used)
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METALLICA Discography

METALLICA albums / top albums

.. Album Cover 3.84 | 137 ratings
Kill 'em All
Thrash Metal 1983
.. Album Cover 4.42 | 168 ratings
Ride the Lightning
Thrash Metal 1984
.. Album Cover 4.60 | 209 ratings
Master of Puppets
Thrash Metal 1986
.. Album Cover 4.32 | 163 ratings
...and Justice for All
Thrash Metal 1988
.. Album Cover 3.47 | 133 ratings
Metallica
Traditional heavy metal 1991
.. Album Cover 2.78 | 98 ratings
Load
Hard Rock 1996
.. Album Cover 2.30 | 90 ratings
ReLoad
Hard Rock 1997
.. Album Cover 3.43 | 73 ratings
Garage Inc.
Traditional heavy metal 1998
.. Album Cover 1.67 | 101 ratings
St. Anger
Thrash Metal 2003
.. Album Cover 3.51 | 104 ratings
Death Magnetic
Thrash Metal 2008
.. Album Cover 1.50 | 52 ratings
Lulu (with Lou Reed)
Traditional heavy metal 2011

METALLICA EPs & splits

.. Album Cover 2.84 | 14 ratings
Creeping Death / Jump in the Fire EP
Thrash Metal 1984
.. Album Cover 3.65 | 32 ratings
The $5.98 E.P.: Garage Days Re-Revisited
Thrash Metal 1987
.. Album Cover 4.00 | 2 ratings
Live at Wembley Stadium EP
Traditional heavy metal 1992
.. Album Cover 4.48 | 2 ratings
Hero of the Day EP
Traditional heavy metal 1996
.. Album Cover 3.50 | 1 ratings
St. Anger EP
Thrash Metal 2003
.. Album Cover 2.17 | 7 ratings
The Unnamed Feeling E.P.
Thrash Metal 2004
.. Album Cover 2.53 | 13 ratings
Some Kind of Monster
Thrash Metal 2004
.. Album Cover 4.00 | 1 ratings
Six Feet Down Under EP
Thrash Metal 2010
.. Album Cover 5.00 | 1 ratings
Six Feet Down Under Part II
Thrash Metal 2010
.. Album Cover 4.50 | 2 ratings
Live at Grimey's
Thrash Metal 2010
.. Album Cover 3.69 | 16 ratings
Beyond Magnetic
Thrash Metal 2011
.. Album Cover 0.00 | 0 ratings
Musicares MAP Fund Benefit Concert
Non-Metal 2014

METALLICA live albums

.. Album Cover 3.27 | 48 ratings
S&M
Symphonic Metal 1999
.. Album Cover 5.00 | 1 ratings
Through the Never
Thrash Metal 2013
.. Album Cover 0.00 | 0 ratings
By Request: Bogota, Colombia - March 16, 2014
Thrash Metal 2014
.. Album Cover 0.00 | 0 ratings
By Request: Quito, Equador - March 18, 2014
Thrash Metal 2014
.. Album Cover 0.00 | 0 ratings
By Request: Lima, Peru - March 20, 2014
Thrash Metal 2014
.. Album Cover 0.00 | 0 ratings
By Request: São Paulo, Brazil - March 22, 2014
Thrash Metal 2014
.. Album Cover 0.00 | 0 ratings
By Request: Asunción, Paraguay - March 24, 2014
Thrash Metal 2014
.. Album Cover 0.00 | 0 ratings
By Request: Santiago, Chile - March 27, 2014
Thrash Metal 2014
.. Album Cover 0.00 | 0 ratings
By Request: Buenos Aires, Argentina - March 29, 2014
Thrash Metal 2014
.. Album Cover 0.00 | 0 ratings
By Request: Buenos Aires, Argentina - March 30, 2014
Thrash Metal 2014
.. Album Cover 0.00 | 0 ratings
By Request: Helsinki, Finland - May 28, 2014
Thrash Metal 2014
.. Album Cover 0.00 | 0 ratings
By Request: Stockholm, Sweden - May 30, 2014
Thrash Metal 2014
.. Album Cover 0.00 | 0 ratings
By Request: Oslo, Norway - June 1, 2014
Thrash Metal 2014
.. Album Cover 0.00 | 0 ratings
By Request: Horsens, Denmark - June 3, 2014
Thrash Metal 2014
.. Album Cover 0.00 | 0 ratings
By Request: Hamburg, Germany - June 4, 2014
Thrash Metal 2014
.. Album Cover 0.00 | 0 ratings
By Request: Nuremberg, Germany - June 6, 2014
Thrash Metal 2014
.. Album Cover 0.00 | 0 ratings
By Request: Nürburg, Germany - June 8, 2014
Thrash Metal 2014
.. Album Cover 0.00 | 0 ratings
By Request: Landgraaf, Netherlands - June 9, 2014
Thrash Metal 2014
.. Album Cover 0.00 | 0 ratings
Glastonbury Festival, England - June 28, 2014
Thrash Metal 2014
.. Album Cover 0.00 | 0 ratings
By Request: Rome, Italy - July 1, 2014
Thrash Metal 2014
.. Album Cover 0.00 | 0 ratings
By Request: Werchter, Belgium - July 3, 2014
Thrash Metal 2014
.. Album Cover 0.00 | 0 ratings
By Request: Basel, Switzerland - July 4, 2014
Thrash Metal 2014
.. Album Cover 0.00 | 0 ratings
By Request: Knebworth, England - July 6, 2014
Thrash Metal 2014
.. Album Cover 0.00 | 0 ratings
By Request: Prague, Czech Republic - July 8, 2014
Thrash Metal 2014
.. Album Cover 0.00 | 0 ratings
By Request: Vienna, Austria - July 9, 2014
Thrash Metal 2014
.. Album Cover 0.00 | 0 ratings
By Request: Warsaw, Poland - July 11, 2014
Thrash Metal 2014
.. Album Cover 0.00 | 0 ratings
By Request: Istanbul, Turkey - July 13, 2014
Thrash Metal 2014
.. Album Cover 0.00 | 0 ratings
By Request: Montreal, Canada - August 9, 2014
Thrash Metal 2014

METALLICA demos, promos, fans club and other releases (no bootlegs)

.. Album Cover 2.49 | 3 ratings
'82 Garage Rehearsal Tape
Thrash Metal 1982
.. Album Cover 2.00 | 1 ratings
Power Metal
Thrash Metal 1982
.. Album Cover 4.00 | 3 ratings
No Life 'Til Leather
Thrash Metal 1982
.. Album Cover 3.50 | 2 ratings
Live Metal Up Your Ass
Thrash Metal 1982
.. Album Cover 4.00 | 1 ratings
No Remorse/Whiplash Demo
Thrash Metal 1983
.. Album Cover 0.00 | 0 ratings
Mandatory Metallica
Thrash Metal 1988
.. Album Cover 0.00 | 0 ratings
Fan Can 1
Thrash Metal 1996
.. Album Cover 0.00 | 0 ratings
Fan Can 2
Thrash Metal 1997
.. Album Cover 0.00 | 0 ratings
Fan Can 3
Hard Rock 1998
.. Album Cover 0.00 | 0 ratings
The Garage Remains the Same
Thrash Metal 2000
.. Album Cover 0.00 | 0 ratings
Fan Can 4
Thrash Metal 2001
.. Album Cover 0.00 | 0 ratings
Fan Can 5
Thrash Metal 2005
.. Album Cover 0.00 | 0 ratings
Fan Can 6
Thrash Metal 2010
.. Album Cover 0.00 | 0 ratings
The 30th Anniversary Celebration
Traditional heavy metal 2012

METALLICA boxset & compilations

.. Album Cover 0.00 | 0 ratings
The Good, The Bad & The Live: The 6½ Year Anniversary 12" Collection
Thrash Metal 1990
.. Album Cover 4.52 | 19 ratings
Live Shit: Binge & Purge
Thrash Metal 1993
.. Album Cover 0.00 | 0 ratings
Vinyl Box
Thrash Metal 2004
.. Album Cover 0.00 | 0 ratings
By Request Box Set
Thrash Metal 2014

METALLICA singles (38)

.. Album Cover
3.50 | 1 ratings
Whiplash
Thrash Metal 1983
.. Album Cover
3.00 | 1 ratings
Jump in the Fire
Thrash Metal 1984
.. Album Cover
4.52 | 4 ratings
Creeping Death
Thrash Metal 1984
.. Album Cover
5.00 | 2 ratings
Master of Puppets
Thrash Metal 1985
.. Album Cover
3.99 | 4 ratings
Harvester of Sorrow
Thrash Metal 1988
.. Album Cover
3.77 | 3 ratings
Eye of the Beholder
Thrash Metal 1988
.. Album Cover
4.02 | 3 ratings
One
Thrash Metal 1989
.. Album Cover
3.51 | 4 ratings
Enter Sandman
Thrash Metal 1991
.. Album Cover
3.00 | 3 ratings
The Unforgiven
Thrash Metal 1991
.. Album Cover
0.00 | 0 ratings
Nothing Else Matters
Traditional heavy metal 1992
.. Album Cover
4.88 | 2 ratings
Wherever I May Roam
Thrash Metal 1992
.. Album Cover
4.14 | 4 ratings
Sad but True
Thrash Metal 1993
.. Album Cover
3.76 | 3 ratings
Until It Sleeps
Hard Rock 1996
.. Album Cover
4.93 | 3 ratings
Hero of the Day
Hard Rock 1996
.. Album Cover
0.51 | 3 ratings
Mama Said
Hard Rock 1996
.. Album Cover
4.95 | 3 ratings
King Nothing
Hard Rock 1997
.. Album Cover
1.00 | 1 ratings
The Memory Remains
Hard Rock 1997
.. Album Cover
3.88 | 2 ratings
The Unforgiven II
Hard Rock 1998
.. Album Cover
3.00 | 1 ratings
Fuel
Hard Rock 1998
.. Album Cover
0.00 | 0 ratings
Live in London: Antipodean Tour Edition
Thrash Metal 1998
.. Album Cover
3.50 | 1 ratings
Turn the Page
Hard Rock 1998
.. Album Cover
4.50 | 1 ratings
Whiskey in the Jar
Hard Rock 1999
.. Album Cover
0.00 | 0 ratings
Die, Die My Darling
Hard Rock 1999
.. Album Cover
3.98 | 2 ratings
Nothing Else Matters (S&M version)
Thrash Metal 1999
.. Album Cover
0.00 | 0 ratings
No Leaf Clover
Thrash Metal 2000
.. Album Cover
0.00 | 0 ratings
I Disappear
Thrash Metal 2000
.. Album Cover
3.02 | 2 ratings
St. Anger
Thrash Metal 2003
.. Album Cover
2.40 | 5 ratings
Frantic
Thrash Metal 2003
.. Album Cover
3.38 | 2 ratings
The Unnamed Feeling
Thrash Metal 2004
.. Album Cover
2.71 | 4 ratings
The Day That Never Comes
Thrash Metal 2008
.. Album Cover
1.98 | 3 ratings
My Apocalypse
Thrash Metal 2008
.. Album Cover
3.86 | 2 ratings
Cyanide
Thrash Metal 2008
.. Album Cover
1.00 | 1 ratings
The Judas Kiss
Thrash Metal 2008
.. Album Cover
3.50 | 1 ratings
All Nightmare Long
Thrash Metal 2008
.. Album Cover
3.40 | 2 ratings
Broken, Beat & Scarred
Thrash Metal 2009
.. Album Cover
0.56 | 4 ratings
The View (with Lou Reed)
Traditional heavy metal 2011
.. Album Cover
0.00 | 0 ratings
One (Awards Show Rehearsal Version)
Thrash Metal 2014
.. Album Cover
0.00 | 0 ratings
Lords of Summer (First Pass Version)
Thrash Metal 2014

METALLICA movies (DVD, Blu-Ray or VHS)

.. Album Cover
3.46 | 18 ratings
Cliff 'Em All!
Thrash Metal 1987
.. Album Cover
2.31 | 7 ratings
2 of One
Thrash Metal 1989
.. Album Cover
0.00 | 0 ratings
For Those About To Rock: Monsters In Moscow
Thrash Metal 1992
.. Album Cover
3.70 | 10 ratings
A Year and a Half in the Life of Metallica
Traditional heavy metal 1992
.. Album Cover
4.10 | 12 ratings
Cunning Stunts
Thrash Metal 1998
.. Album Cover
3.88 | 19 ratings
S&M
Symphonic Metal 1999
.. Album Cover
3.75 | 10 ratings
Classic Albums: Metallica - Metallica
Thrash Metal 2001
.. Album Cover
3.92 | 14 ratings
Some Kind of Monster
Thrash Metal 2004
.. Album Cover
3.98 | 8 ratings
The Videos 1989-2004
Thrash Metal 2006
.. Album Cover
3.34 | 6 ratings
Français Pour Une Nuit
Thrash Metal 2009
.. Album Cover
4.35 | 8 ratings
Orgullo, Pasión y Gloria: Tres Noches En La Ciudad de México
Thrash Metal 2009
.. Album Cover
3.98 | 8 ratings
The Big 4: Live from Sofia, Bulgaria
Thrash Metal 2010
.. Album Cover
3.43 | 2 ratings
Quebec Magnetic
Thrash Metal 2012

METALLICA Reviews

METALLICA St. Anger

Album · 2003 · Thrash Metal
Cover art Buy this album from MMA partners
Vim Fuego
If this had been `Re-Re-Load' it would have been easy to write off the album and the band, but it's not. Neither though is it a return to the days of old. The nearest thing Metallica have done to this album is the `Garage Days Re-Revisited' covers EP. It sounds like Metallica playing covers back in the garage again, except Metallica wrote the songs Metallica are covering.

There have been a lot of strange rumours surrounding this album. There were wild eyed, panicked suggestions it would be a nu-metal album, and it sounded just like System Of A Down. After all, there are no solos. It was supposed to contain blast beats and death metal elements, just like Cryptopsy. Hey, Lars has rediscovered double kick drums after more than a decade, and that's what death metal bands use a lot of, right?

Wrong on both counts. True, the trademark Hammett solos are conspicuous by their absence, but nu-metal? Not by even the loosest of definitions. For a start, James Hetfield can actually sing, and Metallica don't have to disguise a lack of musical skill with excessive downtuning. "Invisible Kid" however, is the exception to this generalisation. The song is so shitty it sounds like something Soulfly left in the studio. It is the only real fly in the bowl of cornflakes here though.

Yes, Lars is using both feet again, and the songs are faster than anything the band has written since "...And Justice For All", but putting the odd fast bit into a song doesn't make it death metal by any stretch. Perhaps if Jason Newsted had stayed with the band and lain a death grunt over some of the tracks...? No, it still wouldn't have been halfway brutal enough to be considered death metal. So that's what the album isn't.

What it is though is still a bit confused. The production is strange, with an odd "ping" in the drum sound. The guitars are mostly fat and meaty, as you'd expect, but occasionally drop off to a thin, reedy sound, like some poorly executed mid-80s thrash demo.

Most tracks hit some sort of comfortable groove which get the old headbanging and air guitar reflexes twitching, but then inexplicably, a new riff or a change of pace is thrown in, upsetting the flow somewhat. A couple of tracks, like "Sweet Amber" and "Frantic", hold their groove despite the interruptions.

A lot of the early criticism of the album has been levelled at the lyrical content. Sure, lines like "frantic tick tick tick tick tick tick tock" and "I'm madly in anger with you" are not exactly in the same league as anything off `Master Of Puppets' or `...And Justice For All'. James Hetfield can write songs about the fungi he finds between his toes for all I care. So the lyrics are cheesy. So what? Few bands which have been around as long as Metallica haven't written a few real dogs.

Like the previous two studio efforts though, tracks from `St Anger' make more sense in the live arena than they do on disc. Not Metallica's best, but far from their worst effort (the fucking awful S&M holds that title). Overall, an album full of oddities.

METALLICA S&M

Live album · 1999 · Symphonic Metal
Cover art Buy this album from MMA partners
Vim Fuego
From the lean, mean, thrash machine they once were, Metallica have become fat, bloated rock dinosaurs of the type they once despised. The transformation from velociraptor - speedy, sharp and dangerous - to diplodocus - slow, docile and blundering - has been distressing for long time fans to watch. The biggest problem here is that most of the songs are simply not suited for orchestral accompaniment. Like attempting to mix oil and water, it just doesn't work. The band really would have been better to admit the experiment did not work, cut their losses and release a four song EP of the tracks that actually DID work.

Let's be positive here. The tracks that they do pull off are excellent. The obvious one is "The Call Of The Ktulu". The instrumental from 'Ride The Lightning' is the oldest track here, and definitely the best, which is a shame because it's straight after the intro track, and the next two hours are basically a waste of time. Strangely, the only other song from the first four albums which even approaches "The Call..." is "For Whom The Bell Tolls", which is given a huge, militaristic movie soundtrack feel, like something out of `Ben Hur' or `Gladiator'. "No Leaf Clover" was obviously written with this performance in mind. The band lay off a little, allowing the orchestra to flood through. The strings, woodwind and brass sections weave in and out of the simple melody. Unfortunately, the other new track "-Human" is, for want of a better word, shit. The gentle "Nothing Else Matters" is given added facets by the orchestra, although they are obvious, as the original also has orchestral backing.

"Bleeding Me" almost works, as do a number of other tracks, but they are very patchy. The odd introduction or bridge is good, but it is never consistent enough for a whole song. Thrashers like "Fuel", "Master Of Puppets", "One" and "Battery" are absolutely ridiculous. Violins, horns, and triangles just do not belong in a song where someone is shouting "Gimme fuel, gimme fire, gimme that which I desire!" over them. Nor do Jason Newsted's barked backing vocals fit.

In other places, violins play the counter-guitar lines, which are either multi-tracked or where Kirk Hammett's leads would normally be. A third guitar player would have been better than making some unfortunate violinists who have spent decades mastering their art fill in the gaps around a simple plodding guitar riff. That is when there actually are gaps. Much of the time, the orchestral instruments seem to be straining to be heard, and come off as superficial decoration. Much of Metallica's career has been built around a gargantuan rhythm guitar sound. It simply stomps over the subtleties of the orchestration, like Godzilla let loose in the Louvre. At other times, the orchestra is a nuisance, where just hearing the band on its own would be a classic metal moment.

If Metallica were really considerate to their fans, as they used to claim to be before we all started sending them to the poorhouse by stealing their music off the internet, they would have released a reasonable sized unaccompanied live album (not like the overpriced 'Binge/Purge' box set) with the aforementioned orchestral EP as a bonus. Instead, we get the fat Elvis version of Metallica, a self-parody, the once shiny facade dulled by decadence and overblown egos. If you really want Metallica live, get hold of one of the hundreds of bootlegs made of the band. They do not deserve your money for this album.

METALLICA Live Shit: Binge & Purge

Boxset / Compilation · 1993 · Thrash Metal
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Vim Fuego
One word describes this release — HUGE! It comes in a huge box, shaped like a band's footlocker. There's a huge nine hours of music inside the box, including a huge triple CD live album and three video tapes of live footage, along with an old back stage pass, a book full of hundreds of pictures and Metallica related documents, and a scary guy stencil. Forget the videos and the packaging, let's concentrate on the live album.

Anyone who has ever seen Metallica can attest to how tight the band are as a live unit, and it shows. There's hardly a slip to be detected anywhere in the entire album. It's not a one shot demonstration of the band however, as it was gathered from five nights in Mexico in 1993. The breaks are hard to find though.

And how does Metallica rate live? A fan really could not ask for much more in a live album. A faithful journey through Metallica's first five albums, a few covers, reinterpretations of some older songs, an excellent showcase of the talents of the band members, James Hetfield's corny but friendly stage banter, and a big dose of plain old heavy fucking metal.

Highlights: the insane reaction of audience members Hetfield grabs to help with singing Seek And Destroy; the addition of the unlisted So What?; Jason Newsted's vocals and the extra gear of Whiplash; Kirk Hammett hitting the solo to One almost note perfect; the near on religious rapture of the entire audience at hearing Metallica live.

One small criticism: the bass and guitar solos by Jason and Kirk both show their utter mastery of their respective instruments, and hold your attention throughout the almost 19 minute break, but why so long? Perhaps cut it back to 10 minutes and throw in another song, like "Fight Fire With Fire" or "Disposable Heroes" or "Leper Messiah".

The three videos are actually two concerts. The Seattle 1989 concert is far more intense than the San Diego 1992 concert. The difference comes because the Seattle show is shorter, and has none of the excesses of the songs from the mostly plodding Black album. As you’d expect though, the band gives it all in both concerts, doesn’t go in for huge, elaborate stage shows a la Alice Cooper, and their performances are everything Metallica are famous for. There’s really not much more to say about them, because if you’re anything like me, you’ll find yourself revisiting the live CDs more than the videos anyway.

Every fan of Metallica needs to hear this. It puts the stodgy, overblown orchestral theatrics of S&M firmly in its place. This is THE definitive Metallica live album.

METALLICA ...and Justice for All

Album · 1988 · Thrash Metal
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Vim Fuego
‘...And Justice For All’ was the end of an evolutionary line for Metallica, begun in 1983 with ‘Kill ‘Em All’. It drained Metallica of ideas so thoroughly that the 1991 self-titled follow up saw only a hollow shell of the band which had created four of thrash’s essential foundation stones. This album was a catharsis for the band still coming to terms with the loss of a member. It was also the band’s logical musical destination, as indicated on previous releases.

The effect of Cliff Burton’s death on the band and the final direction of this album can never be underrated. While many songs on ‘Ride The Lightning’ and ‘Master Of Puppets’ explored dark themes, those songs were nowhere near as sombre or personal as ‘...And Justice For All’. Every song has some link to death, whether it be literal or metaphoric, but instead of being detached, as an observer looking on in “Disposable Heroes” or attempting to empathise as in “Ride The Lightning”, it is real, and it is still raw. The shallower, more obvious theme of corruption skirts closer to the surface, and is Hetfield’s re-examination of the demons of his childhood, also explored on the previous two albums.

Jason Newsted had been brought into the band to replace Burton, but he had very little input into this album. He had only the one writing credit, for “Blackened”, as did Burton, for “To Live Is To Die”. James Hetfield wrote the lyrics for the entire album. This might seem a minor point, but looking at Flotsam and Jetsam’s back catalogue, Newsted was the main songwriter and lyricist. He was still suffering the “Newkid” jibes from fans and media, and was apparently suffering severe hazing from inside the band as well. However, he’d proved himself a more than capable player on the ‘Garage Days Re-Revisited’ EP, slotting into the band neatly, but being a covers EP it left him little space to prove himself. Not having the shared experience of the Hetfield/Ulrich/Hammett team may well have put him on the outer for this album.

When it came to the recording process, the drums and rhythm guitar were laid down before the bass, whereas the bass is normally the second instrument added to the mix. For much of the album, Newsted has little to do but follow Hetfield’s lead. This is perhaps the reason it seems Newsted’s bass has gone missing in action. There are bass frequencies there, fucking big ones at times (cheap stereos and speakers often bottom out during the introduction to “Eye Of The Beholder”), but it’s hard to determine which instrument is creating them. Hetfield’s monstrous rhythm guitar is the focus of almost the entire album. The riffs on the album were the sharpest and most focused he’d ever created, but the problem was, there were just far too many. Some of the songs suffer from a few too many ideas, as if there was too much good material to leave any out.

“One” escapes the tyranny of the rhythm guitar for a couple of reasons. First, Kirk Hammett produced the most stunning lead guitar work of his entire career on this song. Hetfield takes a back seat right from the first few notes he plucks. Hammett starts with a blues tinged opening passage, in total contrast to the scorching finale which any lead guitarist would have been proud to write. Best of all though, it all fits the song. Often, leads are afterthoughts, added because a song is supposed to have one. Without the solos, “One” simply wouldn’t have been “One”. The lead guitar adds the feel of beauty and lightness of life, contrasting the darkness of death and war.

Secondly, “One” was the best vocal performance James Hetfield had given to that point of the band’s career. The story of the disembodied soldier was not new, but it was a powerful anti-war message because of the unusual lyrical approach to the song. The despairing first person account is harrowing, a powerful piece of empathic imagination. The final passage simply lists the pathetic remains of a life: “Landmine has taken my sight/Taken my speech/Taken my hearing/Taken my arms/Taken my legs/Taken my soul/Left me with life in Hell”.

The other song which escaped drowning in riffs was album closer “Dyer’s Eve”. Basically, it’s Lars’ song. The guitar takes a back seat as he thrashes about like a man possessed, driving the fastest tempo song the band ever created. There have been many unkind jibes about Ulrich’s percussive abilities over the years, some of them undeserved. Rumour had it that he’d had problems with the rapid fire drumming on this song, so he played it slower and it was sped up in the studio. Adding further weight to the rumour, Metallica didn’t play the song live until 2004. However it was recorded, and whatever the reasons for not playing it live, it crashes out of the fading moments of “To Live Is To Die” like a meteorite. Hetfield’s biting lyrics take childhood angst far beyond mere melancholy into the realm of scorn and rejection. And Ulrich simply beats his drumkit into submission, like a stick wielding whirling dervish, in total contrast to the controlled aggression of the remainder of the album.

There is almost a progressive feel to some of the longer tracks, minus the indulgent excesses normally associated with prog rock. It’s more down to experimentation with song construction and dynamics than multi-instrumentalism or adding outside influences. The band thoroughly explored the furthest reaches of the guitar/bass/drums/vocal combination. Songs like “Blackened” are cut into a number of differing passages, each different from the last, using a range of tempos and feels. Title track “...And Justice For All” builds and builds upon itself, an enormous tower of Babel which never falls. The opening few riffs could very well have ended up sounding stilted and awkward if performed by a lesser band, yet they twist neatly around Ulrich’s floor tom drums, with a Hammett guitar line woven in. Where many bands of the time would have seen a need to add faster sections to the song, Metallica were content to power along at a constant pace, adding fills, cutting the song up, and sticking to the original theme of the song.

“To Live Is To Die” is the last Metallica song to have a writing credit for Cliff Burton. The lengthy instrumental could possibly have gone the same trippy, dreamy path of “Orion” from ‘Master Of Puppets’. Instead, it’s a bleak, harsh sounding song spread over almost ten desolate minutes. It is a decimated landscape, destroyed by humanity’s darkest sins. The heavy pathos is deepened by a short spoken passage, seen by many as a final tribute to Burton.

“The Shortest Straw” is total Hetfield. Sure, the rest of the band is still there, but he dominates the song completely, with wrist snapping riffing and gruff vocals. “Harvester Of Sorrow” is a huge sounding song, with a mechanised military march feel to it. The powerful lyrics are a great example of Hetfield’s writing technique where he removed any reference which made the meaning of the song too obvious, leaving it open to the listener’s interpretation. “The Frayed Ends Of Sanity” also starts with a march, but it’s more like a laboured slave driven procession, which gives way to the swaggering main riff of the song. The lyrics to this song leave no room for ambiguity at all- it’s about psychosis.

As a band, Metallica were somewhat dissatisfied with ‘...And Justice For All’. Ulrich has commented more than once that it is too dry and the band were unhappy with the way their songs were becoming unwieldy nine-minute-plus monsters. Whether subconsciously or entirely by design, this was their last true thrash album. The genre Metallica had helped found and mould had become at once too restrictive and too complex for the band to progress any further, so they regressed instead. When ‘...And Justice For All’ was released in 1988, no one could have foreseen what was coming three years down the track, and fans of this album often still can’t reconcile themselves with the self-titled album which came next.

As it stands, ‘...And Justice For All’ is a masterpiece beyond its flaws. It is a metallic Venus De Milo. There are major blemishes, but what remains is still a work of art.

METALLICA Load

Album · 1996 · Hard Rock
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aglasshouse
"Load" is the sixth studio album released by Metallica in 1996. "Load" is the runner-up to the million-dollar making "Black Album/Metallica". Many people were dissapointed by Load, but honestly, I can say that this is easily my favorite Metallica album. Like "RELoad", "Load" I feel is bashed way too much for being different. That is why I am here to share my own opinion.

1. Ain't My Bitch

'Aint My Bitch' is a more fast paced song compared to the other songs on the album, and is honestly very catchy. The vocals easily run along-side the riffs and the drums. The song slows every once in a while, until it quickly regains it's speed. The song is very fun to listen to, yet not one of my favorites. (8/10)

2. 2x4

After 'Ain't My Bitch', '2x4' is a much slower song compared to the former. The riffs and drums still have that sort of groovy feel, which is not bad. In fact, it makes songs like these just absolutely fun to listen to. Unlike 'AMB', this track doesn't have as much groove or overall change. However, it does still have a great bouncy feel to it. The vocals sound much more ominous when paired with other deeper voices. Not as great as 'AMB', but still fun to listen to. (8/10)

3. The House Jack Built 'The House Jack Built' starts off with slow heavy guitar notes, but eventually gains speed after Hetfield cries "Let the show begin..." and the song gets extremely heavy and awesome. Another fun listen, but not as great as other songs from the album. Just a little slow for my taste. (7/10)

4. Until It Sleeps

'Until It Sleeps' is probably the weakest track on the album. The song is very slow throughout, and overall has not much change. When the song gets slightly faster, it gets decent. However, when jumping from slow to fast isn't a great experience all the time. (6/10)

5. King Nothing

This is where the going gets good. The band gets their old feel back with this song and gives you a good shot of the old Metallica feel. You are treated with a long intro which is just leading you to something awesome, and you are treated with it. "Aren't you satisfied?" The lyrical value and vocals themselves sound like the real Hetfield, however the guitar is combined with slower and heavier to make a very enjoyable song. Definitely my favorite song on the album, and probably my favorite in all of Metallica's history. (10/10)

6. Hero Of The Day

After the more heavy 'King Nothing', the power ballad 'Hero Of The Day' comes in to sweep you off your feet with slow and calmer guitar. Slightly retaining the old Metallica feel, the song still is able to use a mix of calm and heavy to make something amazing. The lyrics flow amazingly well alongside the chords and riffs. You are eventually treated to the climax of the ballad and are just absolutely blown away. (10/10)

7. Bleeding Me The slightly shorter of the two epics on the album, 'Bleeding Me' comes out to be one of my favorite epics of all time. The calm ambience combined with Hetfield's voice along side the constant rhythm of the song gets you into a mood of slowness, but you are instead greated with heavy chords and angry lyrics. The song is never the same, constantly and smoothly changing to create one great song. (10/10)

8. Cure

Coming back with "Load"'s jazzy feel, 'Cure' is brining you again back into the original rhythm of the album. Not as much work was put into the song, which gives it that classic Metallica feel alongside the groove of "Load"'s style. (9/10)

9. Poor Twisted Me

'Poor Twisted Me' is another weak track on the album. There are more guitar breaks and more drumming, however the vocals just get more annoying in this song. Not going anywhere, 'Poor Twisted Me' is probably the weakest track on the album. (5/10)

10. Wasted My Hate

Again, 'Wasted My Hate' gets you in the more jazzy tempo different from other Metallica songs. Probably the fasted song from the album, 'Wasted My Hate' uses great vocals, percussion, and guitar throughout the song. Enjoyable to say the least. (8/10)

11. Mama Said Now here is the only horrible song on the album. 'Mama Said' takes Metallica's sound and combines it with some country lunacy. Pretty obvious already, but those two should not be mixed. Enough said. (0/10)

12. Thorn Within Not much to say about 'Thorn Within', besides that it has nice heavy chords and slow drums to go along side eachother, other than that however, the song is pretty generic. (8/10)

13. Ronnie

Here is a good song to headbang to. Very nice beat and tempo. Constant guitar in the backround alongside nice double vocals from Hetfield and Newsted. (7/10)

14. The Outlaw Torn The longer of the two epics, 'The Outlaw Torn' takes the spot as last song on the album. 'The Outlaw Torn', unlike 'Bleeding Me', however, does not share the same cheeriness and charm as the latter. In fact, the song is pretty boring in the area of guitar, vocals and percussion. (6/10)

Overall, we shouldn't hate on "Load" just because it's different. Not all Metallica albums have to blast the flesh from your face with every note, and this album is a good example of that. Just listen to it with an open mind and enjoy!

------------------

Thanks for reading, and be sure to comment and tell me your opinion on the album! Salutations, and have a nice day! -V.U-

METALLICA Movies Reviews

METALLICA The Big 4: Live from Sofia, Bulgaria

Movie · 2010 · Thrash Metal
Cover art Buy this album from MMA partners
progshine
I'm reviewing this as a Metallica release cause, well, it seems like one Metallica release with 3 good guests (not trying to bash the other bands, not at all, you'll see on the review).

Anthrax: Great show full of energy, you can see the joy on the band members faces, also, Joey Belladonna vocals are pretty in shape, specially for a 50 years old man. The fact all of them are using the same t-shirt is very nice, shows the unity of the band, no egos involved, one for all, all for one and a good metal show. Rate: 4

Megadeth: Dave gathered great musicians, they're not really new (but sounds as a one man band with guests). Guitars and bass (David Ellefson is one of the great metal bassists ever) are great. But what the f**k is his voice here? What Dave's trying to do with all that falsettos? Is a pain to watch him singing. And he seems worried and nervous the whole show. I never really watched Megadeth live, so I can't say if he's always been like that. Rate: 3

Slayer: The band hit the stage and their hardcore/thrash/metal fast sound comes right to your face. Kerry King accessories (braces and chains) are a little too much on my opinion, but so are the Jeff Hanneman boots xD But their guitars models are very cool. I do like Slayer and they were the one I wanted to see most, but on stage they look like a prog/hardcore/thrash act, cause it looks like the same song over and over. But still, they have great energy, still 'angry' after all this time and Tom Araya's voice still great. Rate: 4

Before Metallica hit the stage a couple of interviews about the Dio death, all of those guys are fans, for sure.

Metallica: Of course they are the 'big brother' here, playing doubled amount of time than the other bands. And you can say whatever you want to say, but few bands can put up a show like these guys do. They made every penny worth. And James Hetfield is singing better than ever, and in a crooner kinda of microphone xD Trujillo is always a fun scene, walking like a 10 pound Gorilla on stage. And I'm sure I'll never like Lars drumming. And every days that passes one idea comes to my mind stronger and stronger, I really would like to see a James solo album, he would do some serious good thing alone, for sure. But, they'll not have a bigger rate for me, cause of one thing, the show IT IS great, but it's the same show over and over the past 2 tours, same songs, same sequence and even James using the same words with the audience. Rate: 4

All in all, it's worth to watch, with a beer on your side will be even better, even if you do not drink (like myself) xD

METALLICA S&M

Movie · 1999 · Symphonic Metal
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AtomicCrimsonRush
"Let's hear it for Michael Kamen yeah!" He was the only one who had the guts to do this. This is the ultimate exercise in excess, to marry Metallica with a Symphony orchestra. The DVD is a crystal clear well edited package onthe ultimate event of the year. It is great to watch the orchestra getting into the music and then to see Metallica banging along. The crowd are as raucous as any Metallicrowd and of course it is as heavy as it always is. There are some fantastic surprises such as Call Of Cthulu sounding very Gothic and powerful with the violins and brass. The concert shows in equal measure the band and orchestra trading off seamlessly. It has been done before of course with Deep Purple and other metal acts. It is almost becoming a cliche of late with many bands taking up the idea including Kiss, Within Temptation, Dream Theater and Therion, all of which are captured on DVD. Non metal acts have done it such as Camel, Yes and ELP. The weird thing about it is these orchestral and rock marriages always work for me. I love to hear that massive orchestral sound with the crunching distortion of guitars. To hear a violin sweep across when you expect a guitar solo is bliss to my ears.

There are so many highlights on this DVD including Master of Puppets, more dramatic than ever, the darkness of super heavy The Thing That Should Not Be, The Memory Remains, iconic with audience participation, Nothing Else Matters, a definitive highlight and the crowd are in raptures when this is played. For Whom the Bell Tolls sounds very Gothic with the sweeping violins, and the song One is a masterpiece with the orchestral accompaniment.

The footage is professionally shot and edited as you would expect and it is nice to see the orhestra mamebrs having fun with this. None of the songs are less heavy, they are augmented to majestic heights. Watching this concert live is the best experience which is perhaps a pinnacle of the group's existence. Soon after it all turned sour as we know, captured on the astonishing Some Kind of Monster doco, but it is so great to see Metallica at the height of their powers as we do in S & M. Check out this DVD to see metal at its grandest.

METALLICA Some Kind of Monster

Movie · 2004 · Thrash Metal
Cover art Buy this album from MMA partners
AtomicCrimsonRush
St Clanger, I'm madly in anger with you... but I love the documentary!

The best thing about the much maligned St Anger is the documentary behind it, Some Kind of Monster.

The band went through immense turmoil during the making of this album. Hetfield left the band for rehab and to clear the cobwebs in his head. With lyrics about his lifestyle and his 'deathstyle', the content of 'St Anger' is bitter, morbid and twisted, and there is no heart in it. Hetfield sounds like he has vocal diarrhea, a word incidentally, from the Greek word meaning 'flowing through'. The only thing flowing on this monstrosity is the cash from the fans who unfortunately were blind sided into buying an expensive beer coaster.

The documentary is a fly on the wall look at how St Wanger was created and it is not a pretty sight. Nothing is left to the imagination as we witness the personal trauma suffered by all concerned. Hefield in particular comes across as breaking down in fornt of us all and it truly sad and as emotionally raw as you will see in a doco, even more so than Anvil. The best thing as far as for the band that occurs is the introduction of bassist Robert Trujillo, who jumped on board the Metallica Machine and he looks stunned when they say it is him they want. Bob Rock on the other hand annoys and fascinates at intervals, making his presence felt but he is no where near as annoying as the counsellor who just jumps in every chance he gets. Some of the things he says are profound and some are just plain frustrating.

When Hetfield leaves it is a compelling movie and you really feel for the band and crew. Lars is especially vocal and very hurt it seems but he is intelligent to know that Hetfield will return; deep down he knows it. Of course the result of this personal chaos is the album stinks. The lyrics were written on toilet paper so that the music industry could wipe their bums on them. Ulrich is most worried about this release but it is out of their hands and we see on the doco how a band is treated when they are at their lowest and it is not for the faint hearted. To see Metallica falling apart is distressing for the fan but as we know they have a triumphant return with the incredible Death Magnetic. I also loved Megadeth's intervention to help out in places, and the scene where Mustaine expresses his pain at being second best in Megadeth is apowerfully moving moment; one of the most unforgettable parts of the doco.

We hear some of the inane lyrics being rehearsed such as the infamous unforgiveable crapola of Frantic; "tick tick tick tick tick tick tock, Frantic tick tick tick tick tick tick tock, Treading water full of worry, This frantic tick tick talk goes hurry... my lifestyle determines my deathstyle" or "This is the face that you hide from, This is the mask that comes undone, Ominous, I am in us, Ominous, I am in us..." or "No compromise, My heart won't pump the other way, Wake the sleeping giant, Wake the beast, Wake the sleeping dog, No, let him sleep..." or "Tear it down, Strip my layers off, My turpentine, Old paint, old looks, Cover up the past, White heat, white light, Super whity, bones, Bones of you and I, Pure if I ... Can't you help me?" and finally "Who's in charge of my head today, Dancin' devils in angels way, It's my time now, Look out motherf***ers here I come, Gonna make my head my home..." Of course we all know the lyrics are a result of how disturbed the band were at the time; nothing was going right and as you see in the doco the band are just going through the motions simply to continue.

The whole background on this album is compelling viewing and the documentary is one of the best 'warts and all' fly- on-the-wall docos in history. Avoid the album, watch the movie.

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