Making its journey through thrash, Metallica follow their brilliant first album Kill 'em All with another masterful entry to the timeline of Thrash Metal, Ride the Lightning. So the Metallica logo proselytizes from a blood clad musical marauder to an electrifying blue with lightning streaks and an electric chair to add to the vibe (A similar cover, although in green, was printed. But that being a mistake, was revoked, and those became limited editions of the album). A definitive transition from the initial debut album is evident with as much as a glance of the cover art. The album speaks of the essence of Thrash Metal with songs with a pace of the Four Horsemen fame, and of transition to music layered in technique and fluctuations between soft and heavy. With bold statements made by Burton, Hetfield, Hammett and Ulrich, not in that order ofcourse, with a musical maturity and mastery that elevates them to Godly proportions.
Starting off with Fight Fire With Fire, a proverbial narration of the effects of war with interlacing musical brilliance. It builds up on a few bars of acoustic arpeggios and loyal to the song notes, to what follows of heavy metal and fast riffing, notes slightly difficult to discern in the race across the fretboard, impelling the listener to headbang in earnest. The vocals reflect the same trend as in Kill 'em All, with the disctinctive Hetfield growl and power, making you feel at home with the declarative Metallica music.
The fighting with fire opening notes are a humble preamble to the power withheld in those give away lightning bolts on the cover. Ride the Lightning, a song speaking for the infringed justice of an alleged criminal facing execution by electrocution, starts off with a very distinctive and immaculately planned and conceived riff, which plays with the mind conjuring electifying imagery, and all you need is a mental preset. The song proceeds, getting heavier by the bar, and reaches the rhythm with very apt chords and strumming. It's almost like Metallica single handedly takes the obligation to put "Power" in the term "Power Chords". The lyrics are well spaced throughout and go with the song and never refute it. The solo involves a meticulous tapping and hammering and is of course melodious, coming from Kirk's guitar. The song is simply lightning-fast speed, electrifying power and Thrash Metal. Epic. Heavy. Metal.
Often deified Cliff Burton writes what will go on to feature in most Metallica concerts as a much performed, grieved over for the loss of its procreator, and headbanged-to song - For Whom The Bell Tolls. Most listeners were deceived by how the song kicks off, and considered the bass as electric guitars. Cliff uses distortion and the wah pedal in addition to his divine gift of musical conception and execution and testifies to the talent associated to his name. The guitars join in with the bass line and the song proceeds in a coordinated manner with precise riffing and distortion levels, and build up for the vocals for around 2 minutes. The words speak of the dishonour brought forth by modern warfare techniques. The solo is a sumptuous Hammett special with his trademark wah wah pedal. The song is still performed a lot, after the demise of Burton, and both Jason Newsted and Robert Trujillo have played the bass, but despite their brilliant performances, public opinion holds that Burton was and is irreplaceable. It is not a question of Jason and Rob's talent, but the greatness of Cliff. The song played live with Burton and a young Hetfield is a treat to watch, and as is the difference between a studio recording and a concert, the concert is always better to indulge in.
Fade to Black is among the top ranking and most beloved Metallica songs. It is appreciated, respected and indulged in by generic fans of music, rather than the seasoned metalhead alone as happens to a lot of Metal songs. Because with this composition, Metallica transcends boundaries. Written in a state of emotional dejection, for their equipment was stolen, they wrote a song thematically depicting a man contemplating and committing suicide, reflective of their mournful state. The song starts off with an acoustic prelude along with a melodic solo, building up to a verse of arpeggios and vocals. The song is acclivitously heavy, and soon the power chords take over. The song becomes heavier and faster in pace, too, as the theme goes from morose to morbid, and gives way to what gets featured among the best ever metal solos. This song has come a long way, from being just a composition, to being a saviour, having given life to those who were on the verge of falling to the clutches of solitude and dismay. Metallica received a lot of fan mail, accolades and encores for Fade to black, and for all one can say, still does. A favourite among live performances, everyone does have something to say about this song. And whenever you play it, wherever you play it, it will take away all banality, in a musical sanctum and universe that could come straight from the hearts only of the very divine and intuitive. Amongst the very first Thrash ballads, Metallica broke new ground with Fade to Black.
Trapped Under Ice, the next number from the record is another interesting track. It starts off fast, and maintains the pace with Kirk flirting with notes, Hetfield with the vocals and of course, Lars and Burton (R.I.P.) with their fortes. Depicting a theme of being trapped in a cryogenic chamber, the song is a thoughtful account, backed by overall apt and supportive instrumentals. It has a very well conceived part with backing vocals (rather shouts), followed by a racing solo, in Kirk's trademark style. Although it has not been performed too many times live, the song lives up to the record, and doesn't seem detached in any way, being among a setlist of masterpieces.
Escape, a song about freedom, has melodic vocals in the chorus, unlike the otherwise powerful Hetfield growl. The background is an almost continuous overdriven guitar, palm muted and chugging that makes you feel every note. The drums are mildly subdued, as opposed to other tracks, and goes about a more humble accompaniment. A very different performance, for Lars is known for his complex and dominant beats, that complement the guitars, yet not overshadow them. The song fades out gently to make way for two more masterful metal songs, with blatant power and technical finesse.
A biblical account, Creeping Death, speaks of the death of the firstborn son. Occurring in the Exodus, the lyrics cover four plagues that break out in Egypt. True to the theme, it starts of with such efficacious vigor, as Lars pounds on the drums, and the heavy guitars accompany it. The song is a very intimate coordination between the various instruments, and the time signature changes are fluid and don't follow after stops. The solo is a musical narrative in itself, with fleeting hammers and pull offs. The song proceeds to a part in the middle after the first solo with heavy palm muted chugs and dual vocals, which are the famous words "Die by my hand" written by Kirk, in a background of chants of "Die, Die". The song, ironic although, depicts a theme of death, in such lively metallic rigor and energy, it featured in a lot of live performances, has been covered ever so often, and stays a beloved Metallica favourite everywhere. The ending riff to the song is definitely among the most widely recognized and distinct ones ever to have been written. This song is possibly the beginning of Technical Thrash.
The last song, Call of the Ktulu is Metallica's second instrumental, after Anasthesia (Pulling Teeth) from Kill 'em All. The song is largely based on H.P Lovecraft's book The Call of Cthulu. His writings dwelled upon surrealism and abstractions, instilling fear of the unknown. Metallica's instrumental narration is a similar parallel in music, starting off with a minute and a half almost, of acoustic prelude as heavy and powerful overdriven guitars take over to spin the yarn in shards of metal. The song changes form, much like Lovecraft's imaginarium, and varies in time, in scale, in tempo and in effects. A lot of wah effects in the background can be discerned, which take your attention from the main progression for the most fleeting of moments, and the guitars take turns in leading and accompanying, making the overall composition a very intricate and complex assortment of notes and beats. The bass effects are also very timely and important to the piece. From Anasthesia, this instrumental comes a long way in complexity and detailing, and stands among the best of instrumental metal performances of all times.
Overview :
The album is a declarative statement by Metallica, reserving its spot among the top in what goes on to become the Big 4 of thrash metal. Ride the Lightning is more of an advice, than an album name. An invitation too, of sorts. And is essential for every Metal lover, or music lover for that matter. As this album is not only about Metal, but music. Meaningful, powerful, rich and influential music. It will make you think, like very few others. It will take you places, and make a place in your conscience. Enough said, no amount of writing will justify what Metallica produced. So get along, and fasten your seatbelts. For this is one heck of a ride...
Genre : Thrash Metal
Track Listing :
Title | Writer(s) | Length |
1."Fight Fire with Fire" | Hetfield, Ulrich, Burton | 4:45 |
2."Ride the Lightning" | Hetfield, Ulrich, Mustaine, Burton | 6:36 |
3."For Whom the Bell Tolls" | Hetfield, Ulrich, Burton | 5:09 |
4."Fade to Black" | Hetfield, Ulrich, Burton, Hammett | 6:57 |
5."Trapped Under Ice" | Hetfield, Ulrich, Hammett | 4:04 |
6."Escape" | Hetfield, Ulrich, Hammett | 4:24 |
7."Creeping Death" | Hetfield, Ulrich, Burton, Hammett | 6:36 |
8."Call of the Ktulu" | Hetfield, Ulrich, Burton, Hammett | 8:53 |
Total Album Time : 47:23
Personnel/Contributors :
- James Hetfield - Lead Vocals/Rhythm Guitars
- Cliff Burton - Bass, Backing Vocals
- Lars Ulrich - Drums
- Kirk Hammett - Lead Guitars
Release Date : 27 July 1984
Recorded : 20th Feb - 14th May 1984 at Sweet Silence Studios, Copenhagen, Denmark
Supporting Tour : Ride the Lightning Tour
Ride the Lightning Misprint Cover :
Trivia :
Because of a misprint that occurred, from the original electrifying blue the album cover appeared in a green color that now has become a limited edition version.
The song Creeping Death was originally written by Hammett for his previous band Exodus.
