Metallica Double Album Review

Metallica - Ride the Lightning (1984)

Members:

James Hetfield – vocals, rhythm guitar

Kirk Hammett – lead guitar, production

Cliff Burton – bass, production

Lars Ulrich – drums, production

Factoid:

Ride the Lightning is the second studio album by American heavy metal band Metallica, released on July 27, 1984, by the independent record label Megaforce Records. The album was recorded in three weeks with producer Flemming Rasmussen at the Sweet Silence Studios in Copenhagen, Denmark. The artwork, based on a concept by the band, depicts an electric chair being struck by lightning flowing from the band logo. The title was taken from a passage in Stephen King's novel The Stand. Although rooted in the thrash metal genre, the album showcased the band's musical growth and lyrical sophistication. This was partly because bassist Cliff Burton introduced the basics of music theory to the rest of the band and had more input in the songwriting. Instead of relying heavily on fast tempos as on its debut Kill 'Em All, Metallica broadened its approach by employing acoustic guitars, extended instrumentals, and more complex harmonies. The overall recording costs were paid by Metallica's European label Music for Nations because Megaforce was unable to cover it. It was the last album to feature songwriting contributions from former lead guitarist Dave Mustaine, and the first to feature contributions from his replacement, Kirk Hammett.

The Review:

Released in 1984, Ride the Lightning is Metallica's second studio effort. Often sandwiched between the mighty Kill Em' All and Master Of Puppets, I feel that the album is the proverbial "middle child" of the Metallica discography, slightly ignored and somewhat under-valued compared to its siblings.

    The album opens with the beautiful classical guitar introduction of "Fight Fire with Fire". After about forty seconds, the band unleashes an all-out metal attack. Like "Children of the Grave" by Black Sabbath, the song is a very "gloom and doom" look at the military-industrial complex that hangs over us in the modern world, very apocalyptic. A classic Metallica song to say the least, with fantastic drumming from Lars, one of his best drum parts in my opinion. The title track "Ride the Lightning" shows Metallica moving away from the break-neck speeds of Kill Em' All and more to a focus on developing melody. A strong condemnation of capital punishment, the song shows Metallica at their most political. Kirk Hammett is a revelation on the song, and you can start to see his solos moving towards a very melodic playing style, more refined than the "in your face" guitar attack on Kill Em' All. The song is one of the first "epic" Metallica songs, preparing us for what will come on the next album. Not as technically complex as the song "Master of Puppets", but a progressive step in that direction. In any case, a fantastic song.

   "For Whom the Bell Tolls" is an absolute beast of a song. I have always loved the lead bass guitar introduction, delivered by arguably one of the best bass players of all time, Cliff Burton. The lyrics are based on the Hemingway novel of the same name, and concern the experience of war, and all of its horrors from the perspective of a soldier. Lars keeps a solid and pounding beat throughout, and Hetfield delivers his best vocal on the album, and one of the best of his career in all honesty. But the highlight for me is the lyrics and bass-work of the very missed Cliff Burton, the heart of Metallica. A great song, and one of my favorites on the album."Fade to Black" is likely the most famous song on the album, and has largely survived in the modern Metallica set-list. Gorgeously classical, the song is a very heart-wrenching tale of hopelessness and suicide. The riffs are crushing and bear the mark of Black Sabbath, very heavy for the band, but somehow softer due to the acoustics throughout. A great song, one of Metallica's best.

     "Trapped Under Ice" is a fan-favorite, a deep album cut. More like something off Kill Em' All, it is the fastest song on the album. I really like the song, but I would not say it's a perfect song, just more thematically and musically in line with their first album, a bit of a "refugee" on this album. Lars' drumming is an obvious highlight, and the lyrics are pretty stark and bleak, but not a classic "Tallica" song for a lot of fans. "Escape" is another deep cut. A classic metal tale of not following the rules, the song feels a bit hollow lyrically, an all-too common theme explored during 80s metal. I honestly don't completely care for the song, sounding positively slow motion compared to most tracks off Kill Em' All. The whole song feel anti-climatic, like a demo fleshed out to fill the length requirements of the album, which in a lot of ways that matter, it really was.

    "Creeping Death" is an obvious favorite of many on the album. Like a cold shower, the song wakes us from the coma that "Escape" put us in. The best song ever written about a plague, I love everything about this song, it is the sound of Metallica beginning to approach their creative peak that would culminate on the next album, part of the symbolism in this track is biblical in nature and references the following [Exodus 12:22 - And ye shall take a bunch of hyssop, and dip [it] in the blood that [is] in the bason, and strike the lintel and the two side posts with the blood that [is] in the bason; and none of you shall go out at the door of his house until the morning.]. Lars is like a freight train running down the tracks, and I can't understand why he has some many detractors, he's a solid drummer. One just need listen to this song to hear his talent. Hammett and Hetfield both deliver killer guitars, one of the best Metallica riffs to ever exist, absolutely punishing. The album closes with the Cliff Burton track "The Call of Ktulu". Inspired by the H.P. Lovecraft story, I like the song, and I especially love the bass leads of Cliff Burton, bringing back the bass sound he explored on "Anesthesia (Pulling Teeth)" from Kill Em' All. Hammett's leads will make you green with envy, and will make you ask the question, how can someone be so proficient in their early 20s? A true showcase of his talent, as well as all of the other members of the band.

   "Ride the Lightning" is a very good album. I prefer the much-lauded "Master of Puppets", but consider this album a close second for my pic of best Metallica album. Despite a couple filler songs, most songs are metal classics, songs that many bands only wish they could write. The sound of a band hitting their stride, ascending to the top of the rock world, and what a sound they made on their way up.

Score: 4/5

Metallica - Master of Puppets (1986)

Members:

James Hetfield – vocals, rhythm guitar, solo on "Master of Puppets" and "Orion"

Kirk Hammett – lead guitar

Cliff Burton – bass

Lars Ulrich – drums

Factoid:

Master of Puppets is the third studio album by American heavy metal band Metallica. It was released on March 3, 1986 by Elektra Records. Recorded at the Sweet Silence Studios with producer Flemming Rasmussen, it was the first Metallica album released on a major record label. Master of Puppets was the band's last album to feature bassist Cliff Burton, who died in a bus accident in Sweden during the album's promotional tour. The album peaked at number 29 on the Billboard 200 and became the first thrash metal album to be certified platinum. It was certified 6× platinum by the Recording Industry Association of America (RIAA) in 2003 for shipping six million copies in the United States. The album was eventually certified 6× platinum by Music Canada and gold by the British Phonographic Industry (BPI).

The Review:

What is there to say about this album that has not already been said? Metallica's highly-praised third album is often considered to be the greatest album ever released. Do I agree? Let's take a look...

    Released in 1986, "Master of Puppets" was released during the golden age of metal. Stepping away from the satanic and demonic lyrics of most metal bands of the day, on Master of Puppets, Metallica showed that metal had something much bigger to say. Basically a sort-of concept album, "Master" concerns the military-industrial complex that churns out soldiers only to see them thrown away like trash after wars are over, if they survive at all. Countless imitators would follow over the years but none have come close, and this album basically set the scene for thrash metal for the next 20+ years.

    The album begins with "Battery". Anyone doubting the drum-pounding skills of Lars "Napster" Ulrich, needs only to listen to this song. An absolutely manic song, it was with Battery that thrash metal perfectly blended speed and melody. Classic song. Next is the titular "Master Of Puppets". What can I say about this monster. The most epic metal song of all time, "Master" is a great majority of Metallic fans favorite song. I have nothing other to say than if you have not heard this song, listen NOW!. "The Thing That Should Not Be" comes next. Never one of my absolute favorite songs but it's not a bad track either, the riff is ultra-heavy and the drums kill, but it lacks the epic progressiveness and time changes of most of the other songs on the album. Next is "Welcome Home (Sanitarium)". One of the best "Tallica" songs ever, it is similar in structure and lyrically content to the more famous "One" from "And Justice For All". I love the solos on this song, and Kirk Hammet lays down easily his best guitar work in my opinion. Bonafide classic.

      "Disposable Heroes" continues the theme of the album. About soldiers heading into the slaughter, the song is brutal and raw.  Much more straightforward musically than other songs on the album, it lacks some of the progressive complexity that most of Master has. Certainly not a bad song, but not a real standout track for me. 

   "Leper Messiah" is a hardcore fan favorite. I find the verse somewhat repetitive and hard to distinguish musically from any other Metallic song. But, the instrumental break-down of the song is what keeps me coming back. Lars is a beast on this song, and I love his "double-bass" drum work at the end of the song. Very good, but not a classic in my opinion, but hey...it is a great way to use a David Bowie lyric as a title.

   Next is one of my favorite Metallica songs. "Orion" is a gem, and showcases not only the band's talent, but the talent of the late "four-string mother-fuc***", Cliff Burton. Instrumental, I believe the lack of lyrics only adds to the greatness of the song. Ominous, brutal, skull-crushing, are just a few of the words I would use to describe this song. Anyone who plays rock bass has surely taken something from this song, even just one note. Amazing. Last up is "Damage, Inc". I have always loved the keyboard sounding intro, very different sounding. After chilling you out, Metallica takes a proverbial baton to your head with a super-tight riff that echoes military marching bands turned up to 11. Insanely fast, manic, and drilling, the song is a perfect closer to Master. Great song.

    "Master of Puppets" is a great album. There is no doubting its genius and impact. But, is it the greatest metal album of all time, I don't think so. A close contender and definitely up there with the greats, but I can think of a list of several of albums that exceed this moderately overrated album. Great, but not the greatest album with the word "Master" in its title.

Score: 4.5/5

GWAR Scumdogs of the Universe Album Review

Gwar - Scumdogs of the Universe (1990)

Members:

Dave Brockie (Oderus Urungus) - lead vocals

Dewey Rowell (Flattus Maximus) - lead guitar, backing vocals

Mike Derks (Balsac the Jaws of Death) - rhythm guitar, backing vocals

Michael Bishop (Beefcake the Mighty) - bass, backing vocals; lead vocals on "Cool Place to Park"

Brad Roberts (Jizmak Da Gusha) - drums

Danielle Stampe (Slymenstra Hymen) - backing vocals

Chuck Varga (Sexecutioner) - vocals on "Sexecutioner"

Don Drakulich (Sleazy P. Martini) - vocals on "Slaughterama"

Factoid:

Scumdogs of the Universe is the second album by satirical shock rock band Gwar. The album is their first album on Metal Blade Records and was released on January 8, 1990. To date, it is the band's best-selling album.

The Review:

“I’m on this planet, I’m running amok, I should give a shit, but I don’t give a fuck!”

Metal, as a genre, is at its best when its bands aren’t taking themselves too seriously. Certainly there is room for topics of gravity; in fact, every musician should be encouraged to explore these for themselves. But in the realm of heavy metal, it is rarely a good idea to completely abandon its less-serious façade, as it is that “fun,” head-banging, beer-drinking element that has united the great majority of metal’s fans the world over. However the reverse is also true. Never should a so-called “joke” band devolve to the point that there isn’t anything to gain from listening to it (see: The Great Kat, a lot of grindcore) other than a brief chuckle. It is for this reason that I usually abstain from the legion of travelling comedy troupes posing as musicians: I want to listen to music, not a slapstick routine. However bands that have a theatrical edge to me are very enjoyable, but that's a different story than this one.

GWAR is a pretty notable exception. With their over-the-top stage antics, elaborate costumes, and filthy, juvenile humor, they demand to be noticed. And with their infectiously catchy riffs and punk-inspired recklessness, the demand to be listened to also. Though their catalogue wavers in quality, their second album, Scumdogs of the Universe, is an essential tableau of one of the most musically proficient shock-metal outfits in all of history.

Scumdogs sees the intergalactic space misfits refining their punky spatter into catchy, coherent heavy metal of all shapes and sizes, delivered in a crude packaging that is as entertaining as it is offensive to the faint of heart. Full disclosure: anyone who knows me knows why Hell-O is not my favorite album of theirs and could tell you that a primary reason I dislike that album (the band’s unsavory sense of humor) is one of the exact reasons that I enjoy Scumdogs. Hypocrisy, perhaps? I'd like to think it's a bit deeper than that, because while Hell-O was a dirty, repulsive punk album, Scumdogs is nothing less than dirty, repulsive HEAVY METAL, where I’m willing to allow a little gimmicky gross-out tomfoolery to occur as long as the band is metal thrashing mad. It’s like hearing the same joke told by two different comedians: the words may be the same, but the delivery makes all the difference.

In this case, the better musical delivery for the GWAR mythos is obviously metal. And in Scumdogs’ case, it’s basically thrash metal, with a side of punk. And not hardcore punk: this is directly descended from the Ramones/Sex Pistols style punk. 

Just listen to some of the vocal harmonies and the various “ooh” and “ohs” delivered by Oderus. But otherwise, it’s mostly mid-paced thrash brilliance, riffs like those of “The Salaminizer,” “Horror of Yig,” or “Maggots,” M.O.D. would kill for, and even Exodus would probably be a bit envious of them. For an unserious, marketing experiment, GWAR are surprisingly adept musicians and formidable metalheads. And while their mid-era albums would be marked by experimentation and parodies of other forms of music, here it’s pretty consistently awesome riffage, with the only stylistic variation occurring in some doomy sections, like those of “Love Surgery” or “Sexicutioner” (hilariously sung by Sexicutioner, one of the many characters in the GWAR universe), Oderus even commenting on the mood of the former during one particularly grim moment (“Ooooh scary!”). Another ‘different’ track is “Slaughterama,” sung by the band’s manager Sleazy P. Martini and itself more of a skit than a song in its comically violent lyrical presentation, but it still rules. Unlike most of GWAR’s other albums, there isn’t a weak track in the lot.

“But what good is all the violence in the world, unless it is tempered with limitless sex? Bring on the limitless sex object!”

However, the true brilliance of the album is how, despite the extreme vulgarity in the lyrics, every song is as infectiously catchy as venereal disease. Which, as it happens, is common subject matter throughout the album. Take a sample line like “Your socks they smell, your feet they stink, you never take a bath!” from their anthem “Sick of You.” Could you ever imagine yourself singing along to such a corny lyric? From any other band, probably not, but I assure you, with GWAR you pretty much haven’t a choice. Same goes for raunchier tunes like “Black and Huge”(a track redone from their debut...and done much better by the way)and “King Queen,” so if you’re one of those who absentmindedly find themselves singing in public places, you might want to think twice before listening, lest you belt out “Gay apparel! You put it on, put it on!” in mixed company. And sometimes it’s not even that it’s simply catchy music, sometimes it’s just that it’s freakin’ epic. The bridge bit of “Sexicutioner” has a dramatic slow part with female vocal harmonies which would sound great no matter what band was playing it, but here, with the ridiculous lyrics (“I am from France, and when you are in France, you pull down your pants!”), the result is something so beautifully absurd that it defies all logic. Joke bands aren’t supposed to be this musical. Quality musicians aren’t supposed to be this hilarious. I haven’t heard a band yet that captures this balance in quite the same way GWAR does.

Of course, not everyone has a sense of humor, and there’s a fairly good chance that someone (read: pussies) could be offended by taking the band too seriously (or in this case, even the slightest bit seriously). After all, every GWAR album is a learning experience even for fans and it takes time for the band’s music to really adhere to your tastes. But Scumdogs is the most immediately palatable and the most consistently enjoyable of their albums, as well as one of the most quotable (seriously, read them lyrics). It’s the place to start if you want to know what all the racket is about.

Score: 5/5

Megadeth Peace Sells...But Who's Buying Album Review

Megadeth – Peace Sells… But Who’s Buying? (1986)

Members:

Guitar, Vocals: Dave Mustaine

Guitar: Chris Poland

Bass: David Ellefson

Drums: Gar Samuelson (R.I.P.)

Factoids:

“Peace Sells… But Who’s Buying?” is the 2nd studio album by American thrash metal band, Megadeth. Although, initially handled by Combat Records who released Megadeth’s debut album, “Killing Is My Business… And Business Is Good!” a year prior, the album was released by Capitol Records in November 1986. Produced by Randy Burns and Dave Mustaine, “Peace Sells… But Who’s Buying?” received critical acclaim and praise from fans and critics as well help put Megadeth on the map.

PSBWB has been regarded as a milestone and a masterpiece of the American thrash metal movement and an instant and mandatory metal classic. ”Peace Sells” along with Metallica’s “Master of Puppets” and Slayer’s “Reign in Blood” all of which were released in 1986 are considered pivotal in giving prominence to extreme metal.

This is the 2nd and last album to feature Chris Poland on guitar and Gar Samuelson (R.I.P.) on drums who were both let go not long afterwards for selling megadeth gear for crack money. This was the first incarnation of Megadeth.

Review:

This album is another of those watershed albums for the genre. I feel that by in large it is primarily responsible for the mass recognition of more extreme styles of metal thanks in part to heavy rotation on MTV with the videos for "Wake Up Dead" and the title track "Peace Sells", the later having that famous "This is the news" part that even made its way into a few station ads. Megadeth as a whole are a unique breed of band since they were formed out of Dave's firing from Metallica, and in all honesty, I always preferred Megadeth over Metallica. But we aren't here to compare bands, so let's break this beast out and see what it's made of....Let's Do This!!!

The album kicks off with the mega-classic known as “Wake Up Dead” which is, to this day, a staple in the band’s live performances. An absolute classic piece of thrash featuring some of the best and classic Mustaine riffs to date. It also features blistering solos by Mustaine and Chris Poland.

“The Conjuring” follows and it’s ultra-heavy, furiously dark, and devilishly evil. Another song that showcases Mustaine’s brilliance of writing fast, extremely heavy, intricate thrash metal riffs.

It’s then followed by one of Megadeth’s most famous songs “Peace Sells,” a fan favourite and an all time metal classic.  The song begins with a thumping bass line from David Ellefson, which was part of MTV News broadcasts for many years. Not the fastest song of the bunch but nonetheless intelligent, thoughtful, heavy, and catchy as hell – a headbanger’s delight.

“Devil’s Island” opens with a monstrous dark banging riff that is soon accompanied by a ripping guitar lead from Dave Mustaine. Right before the song kicks into its verses, Ellefson delivers a short bass interlude. The song rips hard, the song rips fast, the song makes you want to bang your head hard and furiously. You can’t help but scream along to the choruses. More fast, intricate, headbanging, mouth-watering Mustaine riffs in this one with great guitar leads from Mustaine and Poland.

Then what follows is the fan favourite “Good Mourning/Black Friday” which in my opinion really showcases the talents of both Chris Poland and Gar Samuelson. The album is known for its “twists and turns” as Anthrax’s Scott Ian put it. The song starts off with the “Good Mourning” portion of the song, slow and soft but still really dark. This part showcases the guitar chops of the talented Chris Poland. “Good Mourning” ends and goes right into a maniacal thrash assault with “Black Friday,” once again the intricate rhythms written by Mustaine on full display. What also is on full display is the phenomenal drum work by Gar Samuelson and his brutality laced jazzy drum fills.

Then the listener is hit with “Bad Omen,” another banger. The song slowly but surely builds into a thrash bombardment of epic proportions. David Ellefson’s pounding bass line combined with the brilliantly talented drum work of Gar Samuelson and the ferocious complexed guitar work of Mustaine and Poland gives way to a lesson in technical musical theatre. And before you know it, the band is going mach 10 and the listener is doing some serious damage to his or her’s neck.

Next is a cover of Willie Dixon’s “I Ain’t Superstitious” which is a blues song but done the ‘Megadeth’ way. Considering that Megadeth were “a jazz band that played metal” to a lot of people and that guitarist Chris Poland and drummer Gar Samuelson both were jazz musicians, the cover really isn’t that much of a shock. It actually makes a lot of sense. All of the solos in the song were performed by Chris Poland who definitely felt a lot more in his comfort zone I would imagine. And the same for the Gar too. For much of the song it is what is, a blues song done by Megadeth… and I am not saying that in a bad way either.  The final minute of the song goes into a speed metal frenzy, a frantic rush to the finish.

And the last song on this epic masterpiece is “My Last Words,” which in my opinion is one of the most underrated Megadeth songs. The fabulous bass playing from David Ellefson really shines through in this song as does the work of Samuelson behind the drum kit, the rhythm section really on full display. The song near the end really picks up its intensity and before you know it, Dave Mustaine unleashes one of his all time best face-melting, blistering guitar solos over a side-splitting speed metal riff.

This is a masterwork of (thrash) metal. Indeed, an all-time classic and one of the all time greatest records to ever see the light of day. Influential beyond belief, a timeless and unforgettable work of utter brilliance. And it was an album written and recorded by heroin junkies, go figure huh? They managed to craft a technical masterpiece that has influenced an entire generation and a lot of metal acts today. The album ended the way it started – guns blazing. The album without a doubt stands at the top of essential metal albums and to this day, over 30 years after its release, still has an impact on its listeners. The album is timeless, the album is classic, the album is a must listen, the album is a must have, the album simply will never get old.

This was the first Megadeth album that I ever got and looking back I would have never thought it would have had such a major influence on me as it does and has. “Peace Sells”  not only was it one of the reasons why I picked up the guitar myself but it’s one of the reasons why I dove into the whole Megadeth catalog. This album changed my life, it really did. Megadeth is one of my favorite bands. I own all of their albums and I have listened to all of them countless times over the years. I can recite practically any lyrics from any song and that’s not an exaggeration either. In retrospect, if I didn’t receive “Peace Sells… But Who’s Buying?” when I was 16 years old, Megadeth wouldn’t even be in discussion for my favorite band list. PSBWB changed my life… I probably would be a completely different person without this album and the band.

You’re not a fan of metal or thrash metal if you haven’t listen to this album. If you wanna start getting into metal, “Peace Sells… But Who’s Buying?” should be one of the first places to start.

Score: 5/5