Death Magnetic (2008)

Phoenixes are mysterious creatures. Legend has it that the mythical bird used to, at the end of its life time, consume itself in flames and take birth again from the very same ashes.

In many ways Metallica’s last few years mirror the life of a phoenix. After S&M it was as if nothing could go wrong. Seven studio albums, a live one, millions of records sold, stability in the band and a rapidly growing fan base – the phoenix was flying high in the sky.

Then came the first signs of the end. The rift between front-man Hetfield and bassist Newstead widened with the latter eventually quitting the band. Lars decided that he’d take the short-cut to being the most hated person in the music industry and got himself embroiled in a law suit against Napster – the free music sharing system thus alienating a huge number of fans. To top it all Hetfield’s drinking problem snowballed to such an extent that he had to join rehab thereby throwing the band’s future into darkness.

The all consuming fire then culminated with their next album – St.Anger. This album was Metallica’s marmite – you either hate it or you love it. But both consenters and dissenters agreed on one truth-Metallica had combusted to ashes in a blaze.

A new producer, a new bassist and a new mindset – the rebirth of the Metallica-Phoenix began. Every phoenix needs a song and Metallica’s was called Death Magnetic. It is only apt that they chose to sing about one of the few constants in everybody’s life – death and this forms the Sun in the Death Magnetic-Solar system with each song revolving around this central idea.

1. That Was Just Your Life begins with the new born phoenix’s heartbeat. Coiling around heart are clean guitar riffs followed slowly by the bass and Lars’ cymbals. Slowly setting into a new rhythm, Hetfield takes over, with his (new) aged but powerful voice, ably supported by Trujillo and Lars. As the trio slowly set into a fast and heavy chorus, Hammett drops in with his wah and trademark electric solo. The song starts gathering momentum and ends with an explosive finish.

2

. The End of the Line is the second song of the album. Much more direct when compared to its predecessor, this song immediately sets into a basic fast-paced riff (Hetfield, Lars and Trujillo combining) which persists throughout the song. Hetfield enters early and in many ways it seems like an extension of the previous song. After about 4 minutes is where the song gains its identity. A fast solo and some furious drumming later the song comes down to a slow rhythm. At the end of which both Hetfield and Lars pick up the pace- as if competing with each other in a 100 m dash before the song finally ends with Hetfield screaming out the chorus line.

3.

Broken, Beat and Scarred is up next. The third and my favourite song of the album. The brilliance of this song lies in its pacing. It resembles a smooth sigmoid curve with the introduction representing a slow trench. As is a characteristic of the album, the basic riff is introduced here with Hetfield really twisting his fingers around the strings. And as the chorus begins, the song picks up pace with the chorus line representing the fast and loud peak. Around 4 minutes is where the song changes abruptly. A new riff, new drumming pattern and faster rhythms pave the way for Hammett to blow open the roofs with his solo and James following up with a new riff signalling the climax. At this point the chorus goes into a new dimension with interference of the trenches and peaks – almost like a microcosm of the entire song- to end on a high.

4.

Coming in at number four, The Day that Never Comes is a throwback to the old times - the song opens with a slow, melancholic tune by Hetfield with Lars joining in gradually. The song continues at an amiable pace until the 4 minute mark. This is the part where the song gets interesting- a gradual pick up in pace which contains the final vocals of the song. After 5 mins is where you actually see the resurrection of Metallica. What follows is a 2 and a half minute mesh of frenetic guitars, fast drumming, Hammett’s solos and not to mention Trujillo’s excellent bass.

5.

Mythology has it that the song of a phoenix is hauntingly beautiful. Coming to think of it, that is the best way to describe All Nightmare Long also. Metallica have always had a fascination towards H.P. Lovecraft as is evident from songs such as The Call of the Ktulhu and The Thing that Should Not Be. With James singing about macabre beasts and creatures from the darker parts of one’s imagination in his gnarling voice and twisting his fingers around a spine-tingling riff ably supported by the heavy bass of Trujillo and the ever-dependable Lars- this song basically screams of Lovecraft. Hammett uses his wah admirably in generating solos which leave one with the chills.

6.

Metallica are generally known for their vivid but abstract lyrics as can be heard in their popular songs of the 90s such as Ronnie , Until it sleeps etc. Coming in at 6, Cyanide continues the tradition. The relatively slower riffs and the considerably relaxed pace of this song are probably what will catch your attention initially, but the real stand-out quality about this song is the lyrics. With lines such as

“ Say, is that rain or are they tears?

That stained your concrete face for years..”

and

“An air of freshly broken ground

A concrete angel lit right down

Upon the grave which swallows fast ..”

which blend with the curvy and twisty rhythms. This song is an excellent vocal treat where the riffs fit like a dress on a particularly gifted woman catching every curve and turn on her body precisely and enhancing them.

At seven we have a sequel. This song drags us into one of Metallica’s fortes – human emotion and particularly - regret. If Unforgiven I was about an old man, Unforgiven II about a lost lover, Unforgiven III is about a sailor. The song describes the painful story of a sailor’s temptation, his weakness and his overwhelming guilt. Starting off with a piano sequence, moving into a clean guitar riff and then the gradually increasing guitar distortion the music seems to directly reflect on the various emotions of the sailor from ambition to temptation to regret.

8.

"To me, the thing that is worse than death is betrayal. You see, I could conceive death, but I could not conceive betrayal."

— Malcolm X

Transcendence is something which seems to fascinate Metallica. The Judas Kiss takes a slight break from the literal meaning of the album and dwells in the metaphorical shadow. This song seems to be made to celebrate the death of the small part of humanity during betrayal, to celebrate the death of trust, to celebrate the yin without which there would be no yang. The mood is quickly set by start-stop guitar plays which seem to collide, coalesce and amalgamate to finally give rise to an evil riff and chorus. Another key feature that does not escape notice is how much James’ voice has changed over the years. This song particularly accentuates the fact. Similar to the other songs Hammett’s wah embellished solos leave an indelible mark on the listeners.

9.

Number nine and a long lost memory returns. This is something we’re hearing after nearly a decade – a Metallica instrumental. Suicide and Redemption is part of a lineage which includes legendary songs such as Call of the Ktulhu, Orion etc. and just like its predecessors it doesn’t fail to disappoint. If the latter two start with clean guitar riffs, Suicide & Redemption starts with a heavy bass line and a lot of distortion for the nearly the first 4 mins. After that is when a clean guitar piece slips in followed by Hammett’s solos. However the stand-out for me in this song is Lars. If the guitars take you through the meandering path from suicide to redemption, it’s the drums which act as the compass. Alternating between slow and fast, complex to simple and throwing in some delightful double-beats too, this song is all Lars for me.

1

Finally at 10, Metallica end the album on a high with My Apocalypse - a high fuelled by raw anger and undiluted energy . A riff that rushes past you at break-neck speed, drumming which is right on its tail, vivid and searing lyrics- these are what characterizes this song.

Overview :

‘Change your opinions, keep to your principles; change your leaves, keep intact your roots.’ Victor Hugo

That is exactly what Metallica have done - returned to their roots. They gained their identity with thrash metal and it is only right that they regain their identity with the same thrash. Yes, it is not the pristine thrash of the 80s but the same elements are there – fast riffs, Hammett’s solos, the instrumental , strong bass lines and the energetic drumming. If anything, it has evolved. An evolution which has strengthened the faith of the fans, regained the trust of old ones and bought the attention of the new fans. Metallica are back- and how.

Genre : Thrash Metal, Groove Metal

Track Listing :

All lyrics written by James Hetfield, all music composed by Hetfield, Lars Ulrich, Kirk Hammett, Robert Trujillo.

"That Was Just Your Life" – 7:08

"The End of the Line" – 7:53

"Broken, Beat & Scarred" – 6:25

"The Day That Never Comes" – 7:57

"All Nightmare Long" – 7:57

"Cyanide" – 6:40

"The Unforgiven III" – 7:47

"The Judas Kiss" – 8:03

"Suicide & Redemption" (Instrumental) – 10:00

"My Apocalypse" – 5:06

Total Album time :- 74:48

Total Album Time : 74:48

Personnel :

• James Hetfield – vocals, rhythm guitar, lead guitar


• Kirk Hammett – lead guitar, rhythm guitar, backing vocals


• Robert Trujillo – bass, backing vocals


• Lars Ulrich – drums

Additional musicians

• David Campbell - orchestration on "The Unforgiven III"

Release Date : September 12, 2008

Recorded : April 2007–May 2008 at Sound City Studios, Van Nuys, Los Angeles, California; Shangri La Studios, Malibu, California; HQ, San Rafael, California

Supporting Tour : World Magnetic Tour

Trivia :

Back to Metallica's Page

Rust in Peace (1990)

Get ready to rattle yer heads!! With Rust in Peace Megadeth pulls out the biggest, baddest, thrashiest, most destructive fucking album from their mighty arsenal. It was Megadeth's finest hour, to bring out what is regarded as one of the best thrash albums at a time when the genre seemed to be dying. It's a good twenty years since the release of the album and yet it neither seems to have lost relevance or importance, still being one of the most highly revered thrash masterpieces.

Yet again with a different lineup, one that would to prove to be the band's most skilled, hailed and loved, Mustaine brings in Marty Friedman and Nick Menza as Megadeth's new lead guitarist and drummer respectively. Mustaine and Friedman make for a killer combination of guitarists it comes to the riffs, even more so when it comes to those mind blowing solos, and the guitar interplay is just deadly. Menza does a noteworthy job, not trying to steal the show at any point, but accentuating the rest of the band brilliantly. The other Dave, Dave Ellefson does a fair job with the bass, but in certain tracks the bass is the primary driving force at times. Of course, most of the songs have Mustaine doing his characteristic leering snarl, something that goes really well with the snide, sarcastic taunts that form a majority of the lyrics. All these together lend to the album a really unique sound that even Megadeth haven't been reproduce over the years.

The overall sound of the album is rather unique; thrashy, fast riffs with a fair amount of melody incorporated in it. The songs have a progressive edge, making this a smarter breed of thrash but one that everyone can enjoy. Cutting leads, chopping rhythm sections, impressive shredding, Mustaine's trademark vocals and Menza's powerful drumming - what's not to like.

The lyrical themes are along the same line as the previous albums with the songs dealing with politics, history, wars, nuclear fallout and environmental concerns. Of course the odd song or two strays away from the beaten path. The lyrics are written well, in a contemptuous manner that turns out to be amusing. Even the songs names are extremely original and creative.

Rust in Peace begins it's assault with one of thrash metal's all time greats - Holy Wars... The Punishment Due. Megadeth just couldn't have asked for a better track to open of the album. This one has technical thrash written all over it what with the unrelenting, speedy, shred riffs. The sheer level of ferocious, face-melting intensity is amazing. The sudden breakdowns into slow passages that allows for more focus on the vocals aids in telling the story behind the song - the Crusades. Mustaine has attributed the inspiration to song to various things from the Northern Ireland conflict to the a Marvel Comics' supehero - The Punisher due to the controversy it generated. The passages leads to incredible solos that sound unearthly at the blistering speed they're going at. With distinct sections that alternate between flat out thrash, speed and melodic thrash, Holy Wars... is one exhilarating ride. This is one song that simply whips ass start to stop.

Done with the technical workout that Holy Wars... turns out to be, up next is the middle eastern tinged Hangar 18. With strong progressive and neo-classical influences in everything from the riffing to the solos, this one shows us why Rust in Peace is considered unique in thrash. Hangar 18 relies heavily on the masterful performances by both the lead guitarists. It has a grand total of eleven, tremendously melodic solos between Mustaine and Friedman, not a single one of which is disappointing. This song goes into UFO conspiracy theories and primarily focuses on Hangar 18, part of the Roswell myth, where supposedly the aliens and their craft were brought to after the crash at Roswell. The cover of the album, by Ed Repka, has something in the vein of this song with Vic Rattlehead near the body of an alien (which has surprising similarities to Spielberg's E.T. ), as Mustaine puts it so well in the song - " in a suspended state of cryogenics". Really impressive lyrics that are brought out well. Menza does a excellent job with the drums, sounding almost mechanical at times. Taut, tight rhythm sections in between the solos are where the band showcases it's breed of thrash.

Following the insanity that is Hangar 18 is Take No Prisoners, a straight up, no holds barred, visceral toxic waltz about prisoners of war that is thrash for thrash metal's sake. Aggressive, diverse drumming, bombastic chorus lines and a muscular bass line just add to the mood. Ellefson's ultra fast bass solo starts the mood off with both the lead guitarists joining in with the jaw dropping shred riff and Mustaine frantically snarling all over it. A typical give 'em hell, obliterate-everything-in-your-path, war themed thrash metal song.

Continuing on with the vicious assault is Five Magics at position four. A melodic two minute instrumental passage drenched with a haunting harmony awaits the listener before Mustaine kicks in with his snarl, giving the band enough time to prove their mettle once more. Friedman comes in for another neoclassical solo before the songs breaks down into a simpler riff and the characteristic chorus. It finally closes off with a Mustaine solo. The only complaints you can think of are that it's an extremely short song, given the relative complexity of the song, it's hard to enjoy all the nuances.

Following up with yet another short number Megadeth put Poison Was the Cure in at five. Again it begins with a bass driven intro with short thrash bridges. After a brief drum solo it breaks into a thrash riffs that has a hard rock vibe at heart. Even though it's a filler it has it's silver lining in the form of a brilliant solo that comes in at the tail end of the song.

Next up is the fantasy-themed, power/thrash hybrid Lucretia. Though not the conventional thrash one would expect the band makes an impressive effort with this one. Filled with catchy hooks and killer riffing the song tells the tale of Mustaine's conversation with a ghost, weirdly enough. Friedman puts forth a more delicate, melodious solo that fits in very nicely with the mid tempo pace the songs goes at. Catchy and hard not to appreciate.

If previous three songs were the calm before the storm, violently raging forward at number seven is the tempest itself - Tornado of Souls. Easily one of the best tracks of the album, it's laden with intricate hooks and harmonics all over the song. Though Mustaine's vocals may not have exactly worked well for the previous three songs, him putting his best in here makes the song a more of an emotional experience for both the band and the listener, that in part being that the song is about dysfunctional relationships. Right from the hyperactive melodic riffage to the tight bass line to the staccato drumming everything aligns to form intelligent thrash start to stop. Menza provides excellent drum fills in between the varied passages throughout the song. Friedman opts to go for a more straightforward, classic metal solo that imprints itself immediately into your mind. Extremely impressive execution on the band's part.

  A song about environmental activism, or atleast one that is intended at getting people to think in that direction Dawn Patrol makes it's presence felt at number eight. Starting with and comprising almost entirely of a chilling, spooky bass riff and rather lethargic drumming that somehow works for the song it's another good piece albeit meant to showcase Ellefson's talent. Not that great a song in the technical aspect given that it's in the same album as Holy Wars..., Hangar 18 and Tornado of Souls. Surprisingly it's rather short not even touching the two minute mark.

  Finishing off the thrash metal masterpiece is the album's lost track, Rust in Peace...Polaris which is about intercontinental missiles (There actually is an intercontinental ballistic missile called the Polaris which is intimately linked with the Cuban missile crisis). A trademark Megadeth song, although one in which Mustaine's vocals yet again prove to be disastrous, Rust in Peace... is thrash metal straight from the eighties. Yet again Friedman's solo turns out to be the major highlight of the song.

Overview : Stellar thrash, no questions asked. Re-invigorated with a new line-up Megadeth recorded one of thrash metal's finest that proved to be the genre's savior in the nineties when thrash seemed to be dying out. This is the band's strongest effort musically and they outdo themselves here on Rust in Peace. Calculated, technical thrash that manages to maintain the fine balance between aggression and melody, it's no wonder why Rust in Peace, a thrash metal great apart, is regarded as one of metal's most influential albums. Can Megadeth top what they've done with Rust in Peace? So far, a good twenty years after the album's release the band haven't been able to match it.

Genre : Thrash Metal, Speed Metal

Track Listing : 

Title	Writer(s)	Length
1."Holy Wars...The Punishment Due"	Mustaine	6:32
2."Hangar 18"	Mustaine	5:14
3."Take No Prisoners"	Mustaine	3:26
4."Five Magics"	Mustaine	5:40
5."Poison Was the Cure"	Mustaine	2:56
6."Lucretia"	Mustaine	3:56
7."Tornado of Souls"	Mustaine, Ellefson	5:19
8."Dawn Patrol" 9."Rust in Peace...Polaris"	Mustaine, Ellefson Mustaine	1:51 5:54

Total Album Time : 40:48

Personnel/Contributors : 

• Dave Mustaine  - Lead Vocals, Lead Guitars
• Marty Friedman - Lead Guitars
• Dave Ellefson - Bass, Backing Vocals
• Nick Menza - Drums
• Ed Repka - Illustration

Release Date : 23 September 1990

Recorded : 1989 - 1990

Supporting Tour(s) : Rust In Peace Tour

                             Rust In Peace 20th Anniversary Tour

Live Albums : Rust in Peace Live

Video Album : Rusted Pieces

Trivia : 

It has been nominated twice for a Grammy in 1991 and 1992 in the category Best Live Performance.

The track Hangar 18  has a sequel in the Megadeth album The World Needs a Hero called Return to Hangar 18.

The Formation Of Damnation (2008)

In 2008, Testament made an epic return to the forefront of thrash metal with an album so mesmerizing and fierce in its approach that it made their previous studio effort, The Gathering look like a 3 legged dog running for its life. Don't get me wrong here, their 1999 album was and will always be regarded as one of the finest Thrash albums of the 90s, but when after a 9 year recording hiatus a band comes up with ball crunching riffs and dazzling vocal skills, it becomes extremely easy to forget their past laurels.


Once again the classic lineup is back and for the first time in years bassist Greg Christian and Alex Skolnic are back in the fold. First things first, one has to give it up for Chuck Billy, after battling cancer just a few years earlier, his vocal performance on this album are amazingly incredible.


The album starts off with For The Glory Of... an intro, albeit short, but befitting the whole feel of the album about impending doom and damnation. Infectious drumming by Bostaph makes you want more of this song, but before you know it, the second song More Than Meets The Eye starts off with ear drum bashing ferocity not felt since the thrash heydays of the 80s. The guitar solo by Skolnick is probably the first indication of what this album has, which is a long shelf life, followed by a somewhat hurried yet impressive solo by Peterson.

The Evil That Has Landed could very well be an extension of the previous song musically, but the lyrics suggest something far more destructive, recounting the horror and agony of the September 11th attacks. It surely has parts you would expect from a Megadeth album rather than Testament, but it all blends well into a monster of a song, and is sure shot live ecstasy. 


Up next is the title track, The Formation of Damnation, which may very well be on their debut offering and would sounds every bit as heavy as they did back then. The vocals here are more aggressive and gruff than any other song on the album. For some reason the vocals and drums do in fact sound like Slayer doing a one on battle with a young Swedish death metal outfit, and I'm sure no one is complaining.

Dangers Of The Faithless starts off by sending shivers down my spine, having me wonder whether what I'm hearing is true. Testament trying a nu-metal song? But those fears are fast dispersed once the chorus starts and as it turns out, this song is probably the best song from the album. Chugging riffs are the highlights here and makes this one hell of a song complete with classic metal lyrics."Condemned to Hell, Condemned To Fate, Condemned To Time."

Half way through the album and the listener will feel absolutely no exhaustion even after such a massive assault on the ears, and well, the fun has just begun. The Persecuted Wont Forget is the fastest and most brutal song on the album as probably comes closest to their style in their earlier offerings.


Killing Season kicks in with impressive though familiar riffs all finding a way to clearly be audible enough in-spite of having some thunderous and overwhelming drumming. Testament seem an almost unstoppable force at this point with brutal songs shredding everything in their path.


Henchmen Ride packs a serious punch with lyrics suggesting some amalgamation of good old biker gangs and the four horsemen. Classic thrash this is one for fans who long to hear the old school thrash that seems to be lost among the sands of time.


Off the final three tracks, which are all killer 4 minute long songs, F.E.A.R. sets itself apart from the rest as the best of the lot with one of the best drum performances on the album, case in point - the face melting intro drum roll. With vicious riffs that just sink right in this song will leave you screaming for more.

While Afterlife is more upbeat, fast tempo, groove oriented song blending speed and heavy metal seamlessly, Leave Me Forever starts with a somber bass intro, finally bursting into heavier realms in "ginormous" proportions, if I may say so.

After everything is said and done, there should be no doubt that this comeback album by Testament was, is and forever will be one of the finest metal albums of the decade and firmly placing the band as The Top Dog amongst the reigning thrash legends. A big thumbs up to these master craftsmen might just be a little under appreciative given the scale of things they achieve with this album.

Genre: Thrash Metal



Track Listing:
1. For The Glory Of...   (1:13)
2. More Than Meets The Eye   (4:33)

3. The Evil Has Landed   (4:44)

4. The Formation Of Damnation   (5:10)

5. Dangers Of The Faithless   (5:48)

6. The Persecuted Won't Forget   (5:49)

7. Henchmen Ride   (4:01)

8. Killing Season   (4:53)

9. Afterlife   (4:14)

10. F.E.A.R.   (4:47)

11. Leave Me Forever   (4:28)

Total Time : 48:30

Personnel :
Chuck Billy: Lead Vocals
Alex Skolnick: Lead Guitar
Eric Peterson: Rhythm, Lead Guitar
Greg Christian: Bass
Paul Bostaph: Drums

Release Date : 29 April 2008

Recorded : 2007 - 2008 at Fantasy Studios, Berkeley, California


Tour : Metal Master's Tour (Along with Judas Priest, Motorhead and Heaven and Hell)

Back to Testament's Page

Metallica (1991)

Taking a departure from their typically "violently thrashy" sound, Metallica came up with something that appealed to a broader spectrum in 1991. It was their self-titled album, Metallica, better known as The Black Album. It is also called The Black Album because of its largely black and featureless cover (only the band's logo and a coiled snake are barely visible).
The Black Album brought with it a lot of changes, some very controversial. Though both critically and commercially praised, a vast majority of the fans displayed outrage at the more radio-friendly path the band began to follow.

Music-wise, Metallica still retain some of their thrashy tone, but this time also combining several elements of heavy metal and strong bass lines, and more melodic rhythm section and solos. Firstly, it was the first time Bob Rock came in as a producer for Metallica, a relationship that would last for more than a decade. Metallica took a turn from their usually "all-thrash stuff" and started concentrating more on their rhythm section, Jason's bass was amped up for the first time, and is clearly audible, and most important change of them all: Bob Rock introduced vocal harmonies between James and Jason, given that both are accomplished vocalists. Almost all the songs feature at least 2 solos, the more melodic one after the second or the third verse, and another, which typically is a fast one and has Hammett's signature "wah wah" effects  as the outro. Selling more than a million copies, The Black Album was clearly the most commercially successful Metallica album ever, and gave out 7 singles, the most by any Metallica Album.

The lyrics are quite deep and noticeably combine a variety of elements, ranging from nightmares, anger and also a road song (Read: Wherever I may Roam). While only Lars and James are credited for all the songs, Jason shares credit for "My Friend of Misery", one of the only songs he wrote while in Metallica.

The album kicks off with Enter Sandman. The song originated as a riff written by Hammet one night he was high and was so excited about it, that he woke up everyone else and wanted them to listen to what he came up with. When Bob Rock heard the riff he suggested the riff be extended to 6 bars instead of 4 and thus was born the legend of “Enter Sandman”, with Hetfield fitting in lyrics about nightmares perfectly fitting the riff! Ever since it was released as a single from the album, there hasn’t been a single concert where Metallica hasn’t performed it live. A typical Metallica song, the lyrics speak about nightmares and one’s worst fears. It also fears a popular children’s rhyme immediately after the solo, as the riff plays in the background. What sets it apart from other songs is the strong heavy riff coupled with a strong bass line and not to mention powerful vocals by Hetfield, with Jason harmonizing beautifully to the chorus lines. The solos are as usual, fast paced and later entering into a much more effect-laced mode. Also Lars’ drumming makes a lot of difference, one can’t really miss out on the raw energy set by the little Dutchman!

Next up, we have another single from the album, Sad But True. The song starts with an uncanny riff, makes a sudden halt and the main riff kicks in almost instantly. Lyrics-wise the song is written from the point of view of one’s ego and conscience, and how a person can be bound by nothing but himself, which is very “sad but true”, a very sensitive topic, which Metallica loves working on over and over again. The song halts once again at 3:06 but this time kicks right back in with Hammet’s solo playing over the main riff. Also Lars’ dynamics are worth noting. The backbeats ooze energy and as usual his snare tone totally adds flavour to this song.

With the mood set for headbanging, Holier Than Thou which follows next, doesn’t let you down. One of the tracks with a lot heavier and faster riff, the intro to the song immediately takes you back to the thrashier times, so you can pretty well imagine how violently the band and fans headbang, whenever they play it live! Starting off with the heavy riff, the song progresses into a more smoother and faster riff that goes exactly with the vocals. Lyrics-wise, the song is about hypocrites unaware about how their pride and ego is nothing but a “house of glass”. The lyrics coupled with the strong riff and Hetfield's powerful vocals make this song all the more appealing. Length-wise one of Metallica's shorter songs, it has a distinctive rhythm section, which progresses smoothly into the grooves and a fast yet melodic solo. The song also quite reflects the development of a more matured sound by the band, and quite sets the pace and mood for the next song: The Unforgiven.

Yet another single from the album, The Unforgiven is yet another landmark song in Metallica’s history. The song is about people who stay unforgiven, even after death, kind of a narrative about a man who never took risks and ultimately regretted it, told from Metallica’s point of view. The music video shows a boy who spends his life living in captivity inside a small, windowless room made entirely of stone. As the video progresses he ages into an adult and then an old man. He spends his entire life carving into the stone to create a window while occasionally grasping his one possession: a locket. It is inferred that another captive lives on the other side of the stone room. The video ends with the old man finally creating a window through which he deposits his possession and subsequently lays down to die. Certainly a thought-provoking theme, the song reaches out to millions who relate themselves to the band and the lyrics. The song structure and progression certainly reminds of “Ride the Lightning” album. Starting with an acoustic riff with a solo playing in the background, the song progresses to a heavier tone, as the drums kick in. The guitar lines go exactly with the vocals and Hetfield’s powerful vocals just gets you so very engrossed into the song. Talking about the solos, they are by far one of Hammet’s most remembered. As seen in the DVD A Year and a Half in The Life of Metallica, Hammet had to modify his solos several times, before Bob Rock would give him an affirmative smile!

Just after you are thrown into a reflective mood by The Unforgiven, Metallica hit you with their take on the road-song, titled Wherever I May Roam. Opening on a melodic sitar riff, the song jumps into the main riff with a snare-dominating roll by Lars, and speeds up just after the first bar to a 1.5 times faster riff and a 12-stringed bass boom at the end of every bar by Jason. Which gives the song that kickass feeling. With the mood set perfectly, Hetfield comes in with his raw baritone giving this song some its flair. Certainly one of Metallica's best written songs, it’s all about the nomadic lifestyle. The lines: "And the road becomes my bride" and "Where I lay my head is home" totally captures the spirit of the band on the road. The solo is fast as usual and the "wah wah" effect has been used yet again to a large extent. The music video featured clips from Metallica behind the scenes and in concert, during their Wherever We May Roam Tour.

Next up, we 've got Don't Tread on Me. The title is connected with the American Revolutionary War, the words "Don't Tread On Me" constitute motto of the Gadsden flag, and the snake image on the flag is pictured on the cover of the album. The intro to the song uses the famous eight bar phrase from America, a popular song from the musical and film West Side Story. Lyrically, this is a rather unusual Metallica song, one which totally contradicts to the whole basic idea of the ...And Justice For All album. Metallica is shows their patriotic side with his song referring to the Revolutionary war's minutemen who bore a white flag with a snake the words "Don't Tread On Me" on it. One can't help but think a one man army preparing to go into battle with a victory being seemingly impossible but the man beats the odds, and comes out on top, all guns blazing! Musically, this is a melodic yet heavy song, with a strong riff and the usual thud of snare. However, despite the awesome lyrics, this song has never been played live, one possible reason is James Hetfield's particular dislike for this song.

Next up is Through The Never. Starting off with a typically Metallica style galloping riff, the drums kick in right after the 1st bar. This song is all about how big the universe actually is and how we, the minute and mortal beings narrow-mindedly are concerned more about the smaller and mundane problems of life. The raw riff in the song however takes you back to the days Metallica was just another band starting out, jamming in their garage! Kirk's solo and the chorus lines are the main highlights of this song.

Taking a little break from headbanging, Metallica throws another ballad at you, Nothing Else Matters. From being labelled "not up to the mark", then to being "the defining song" of Metallica now, Nothing Else Matters, is a slow unconventional song by Metallica’s old standards. Yet another Metallica song written in the key of E, the song starts with the picking of open strings, which gives it a beautiful melodic effect. The lyrics as later revealed by Hetfield are actually a poem Hetfield had written for his girlfriend. So understandably the lyrics are about separations that come up in our life, from the people we truly love. Hetfield clearly expresses his view of “love and relationships”, despite the distance and all the separations one has to face. The hook line of the song “Never cared for what they say.....” is actually a vocal harmony between James and Jason, with James taking care of the lower register.  Music-wise, this song is played entirely by James, and plays entire chords instead of the typical power chords or 5th chords. The song also features improvisations by Kirk Hammet, on what Hetfield plays. Michael Kamen, with whom Metallica would later go on to record their legendary S&M concert arranged the background symphony. Lars still continues what he’s most famous for: pounding the snare, and most of his rolls feature a tom to snare progression but does it quite tactically while stepping in and out of a verse and into the hook line.

After the melody of Nothing Else Matters, here comes the heavier and rawer, energy packedOf Wolf and Man, a dark song with deep meanings. This song is about werewolves, the “animal” that resides within all of us, and set free by drugs. The lyrics are written in form of a fantasy, ie as one makes the transition to their inner beast and through the point of view of a werewolf, that is someone called "you"! Starts off with a heavy riff as most other songs in the album, the song has a strong bass line, coupled with Hetfield's raw vocals, and harmonizes beautifully with Jason on the chorus lines. The solo is fast paced and laced with the usual "wah wah" effect. However, what sets this song apart are the additional effects like Jason growling, "back to the meaning" and the wolf-like howling effects done to perfection with the guitars.

The God That Failed, one of Hetfield’s more personal songs, is at number 10. This song talks about his loss of faith in God and Christianity. Hetfield was raised by his mother, who was a devoted Christian and suffered from cancer. She refused to take her medicines, showing her strong faith in healing by the almighty above. She died soon after and James was still in his 20s. This event had a profound impact on him, which led him to lose all faith in both God and Christianity. This song is just about  that. From Hetfield’s point of view, it’s about  “the healing hand held back” by the creator. The song starts off with the rhythm section, with only the bass and the drums and the guitars kick in beautifully from the 2nd bar onwards. The main riff is played by Hetfield, with Hammet playing above him, thus giving the riff a melodic effect. Hetfield’s voice is deep and profound, venting anger and sarcasm on every single line. Hammet’s solo comes in the middle of the song, and has a beautiful progression from very melodic initial lines to a more fast paced outro.

Featuring in at number 11 is My friend Of Misery, one of the only two songs Jason is credited for, for his entire term in Metallica. Starting off with a beautiful bass riff, the guitars kick in after the 2nd bar, and into the main riff. The song is all about people stuck in their lives due to tough luck and doing nothing about it, expecting the world to change. However lyrically the song contains several notable lines, such as “My friend before your voice is gone.......One Man’s fault is another’s hell”. The main riff is played throughout the song and the song actually tones down to just the bass riff in the middle and makes a transition to the solo, which is played over the main riff. The solos sound like they have been specifically written for this kind of theme. The solo however makes a slow but subtle transition from just being the melody lines to a more energy packed one with awesome use of the “wah wah” effects.

The album finally comes to an end with The Struggle Within. Starting off with a riff and a solo over it, the song changes its direction to a more thrashy sound. This song talks about a very practical topic: fighting your own illusions and the constant struggle with oneself just to be happy. One line that really appeals to me, goes something like “Advantages are made, not handed out”. Hammet’s solo starts off as a “galloping” melody line to the riff and then comes in his signature “wah wah” effects as usual.

After failing to get support and recognition for technical/progressive thrash direction they had taken with ...And Justice For All Metallica simplify the mind-numbing thrash they had churned in the previous decade, which also presented them with an opportunity to reach out to a wider audience, something purist fans of the thrash era equated to the commercializing of the band's sound. Though the band seemed to sell out, it got them mainstream recognition that got their so far unnoticed back catalogue much deserved attention. Which also brought more attention other to thrash, and in general, the other metal acts around at the time. 

Genre : Heavy Metal, Thrash Metal

Track Listing : 

Title	Write(s)	Length
1."Enter Sandman"	Hetfield, Ulrich, Hammett	5:29
2."Sad but True "	Hetfield, Ulrich	5:24
3."Holier Than Thou "	Hetfield, Ulrich	3:47
4."The Unforgiven "	Hetfield, Ulrich, Hammett	6:26
5."Wherever I May Roam "	Hetfield, Ulrich	6:42
6."Don't Tread on Me"	Hetfield, Ulrich	3:59
7."Through the Never "	Hetfield, Ulrich, Hammett	4:01
8. "Nothing Else Matters"	Hetfield, Ulrich	6:29
9."Of Wolf and Man "	Hetfield, Ulrich, Hammett	4:16
10."The God that Failed" 11."My Friend of Misery" 12."The Struggle Within"	Hetfield, Ulrich Hetfield, Ulrich, Newsted Hetfield, Ulrich	5:05 6:47 3:51

Total Album Time : 62:31

Personnel/Contributors : James Hetfield — Lead Vocals, Rhythm Guitar

Kirk Hammett — Lead Guitar

Jason Newsted — Bass, Backing Vocals

Lars Ulrich — Drums, Percussion

Flemming Rasmussen — Production, Engineer

Michael Wagener — Mix Engineer

Release Date : 13 August 1991
Recorded : 6 October 1990 - 16 June 1991, at One on One Studios at Los Angeles
Supporting Tour : Wherever We May Roam Tour (1991 -1992)

                                  Nowhere Else to Roam Tour (1993)

Live Album :  Live Shit : Binge and Purge

Trivia : 

The tour that followed (Wherever We May Roam) was in part documented in the Documentary A Year and a half in the life of Metallica and in the live album Live Shit : Binge and Purge.

This is their first album to be produced by Bob Rock.

This album is also known as the Black Album, due to it's largely black cover. It also had the most number of music videos from any Metallica album.

The coiled snake on the cover is derived from the Gadsden Flag.

This would be their last album till Death Magnetic to feature the first Metallica logo, the logo would undergo a transformation in the years to come.

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