Metallica – The Black Album (1991)


After the muddled production and ultracomplicated song structures of …And Justice for All, Metallica decided that they had taken the progressive elements of their music as far as they could and that a simplification and streamlining of their sound was in order. While the assessment made sense from a musical standpoint, it also presented an opportunity to commercialize their music, and Metallica accomplishes both goals. The best songs are more melodic and immediate, the crushing, stripped-down grooves of “Enter Sandman,” “Sad but True,” and “Wherever I May Roam” sticking to traditional structures and using the same main riffs throughout; the crisp, professional production by Bob Rock adds to their accessibility. “The Unforgiven” and “Nothing Else Matters” avoid the slash-and-burn guitar riffs that had always punctuated the band’s ballads; the latter is a full-fledged love song complete with string section, which works much better than might be imagined. The song- and riff-writing slips here and there, a rare occurrence for Metallica, which some longtime fans interpreted as filler next to a batch of singles calculated for commercial success. The objections were often more to the idea that Metallica was doing anything explicitly commercial, but millions more disagreed. In fact, the band’s popularity exploded so much that most of their back catalog found mainstream acceptance in its own right, while other progressively inclined speed metal bands copied the move toward simplification.

1 Enter Sandman
2 Sad but True
3 Holier Than Thou
4 The Unforgiven
5 Wherever I May Roam
6 Don’t Tread on Me
7 Through the Never
8 Nothing Else Matters
9 Of Wolf and Man
10 The God That Failed
11 My Friend of Misery
12 The Struggle Within



Metallica – Master Of Puppets


Master of Puppets
The Thing That Should Not Be
Welcome Home (Sanitarium)
Disposable Heroes
Leper Messiah
Orion (Instrumental)
Damage, Inc.

Metallica – And Justice for All (1988)


The most immediately noticeable aspect of …And Justice for All isn’t Metallica’s still-growing compositional sophistication or the apocalyptic lyrical portrait of a society in decay. It’s the weird, bone-dry production. The guitars buzz thinly, the drums click more than pound, and Jason Newsted’s bass is nearly inaudible. It’s a shame that the cold, flat sound obscures some of the sonic details, because …And Justice for All is Metallica’s most complex, ambitious work; every song is an expanded suite, with only two of the nine tracks clocking in at under six minutes. It takes a while to sink in, but given time, …And Justice for All reveals some of Metallica’s best material. It also reveals the band’s determination to pull out all the compositional stops, throwing in extra sections, odd-numbered time signatures, and dense webs of guitar arpeggios and harmonized leads. At times, it seems like they’re doing it simply because they can; parts of the album lack direction and probably should have been trimmed for momentum’s sake. Pacing-wise, the album again loosely follows the blueprint of Ride the Lightning, though not as closely as Master of Puppets. This time around, the fourth song ? once again a ballad with a thrashy chorus and outro ? gave the band one of the unlikeliest Top 40 singles in history; “One” was an instant metal classic, based on Dalton Trumbo’s antiwar novel Johnny Got His Gun and climaxing with a pulverizing machine-gun imitation.

1 Blackened
2 …And Justice for All
3 Eye of the Beholder
4 One
5 The Shortest Straw
6 Harvester of Sorrow
7 The Frayed Ends of Sanity
8 To Live Is to Die
9 Dyers Eve

…And Justice for All

…And Justice for All is American heavy metal band Metallica’s fourth studio album released August 25, 1988, by Elektra Records.

It is the first studio album to feature bassist Jason Newsted and without former bassist Cliff Burton. The front cover depicts the statue of Lady Justice cracked and bound by ropes, with both of her scales filled with dollars and both of her breasts exposed. The words “…And Justice for All” are written in graffiti to the right. This was used to symbolize that Justice had been raped, which is the main theme of the album as expressed in songs such as “Eye of the Beholder” and “…And Justice for All.”

Size:145MB Bitrate:320Kbps

Track listing

All songs written by James Hetfield, Lars Ulrich, and Kirk Hammett except where noted.

1. “Blackened” (Hetfield, Ulrich, Jason Newsted) ? 6:41
2. “…And Justice for All” ? 9:47
3. “Eye of the Beholder” ? 6:30
4. “One” (Hetfield, Ulrich) ? 7:27
5. “The Shortest Straw” (Hetfield, Ulrich) ? 6:36
6. “Harvester of Sorrow” (Hetfield, Ulrich) ? 5:46
7. “The Frayed Ends of Sanity” ? 7:44
8. “To Live Is to Die” (Hetfield, Ulrich, Cliff Burton) ? 9:49
9. “Dyers Eve” ? 5:13




Metallica – Ride The Lightning (1984)


Kill ‘Em All may have revitalized heavy metal’s underground, but Ride the Lightning was even more stunning, exhibiting staggering musical growth and boldly charting new directions that would affect heavy metal for years to come. Incredibly ambitious for a one-year-later sophomore effort, Ride the Lightning finds Metallica aggressively expanding their compositional technique and range of expression. Every track tries something new, and every musical experiment succeeds mightily. The lyrics push into new territory as well ? more personal, more socially conscious, less metal posturing. But the true heart of Ride the Lightning lies in its rich musical imagination. There are extended, progressive epics; tight, concise groove-rockers; thrashers that blow anything on Kill ‘Em All out of the water, both in their urgency and the barest hints of melody that have been added to the choruses. Some innovations are flourishes that add important bits of color, like the lilting, pseudo-classical intro to the furious “Fight Fire With Fire,” or the harmonized leads that pop up on several tracks. Others are major reinventions of Metallica’s sound, like the nine-minute, album-closing instrumental “The Call of Ktulu,” or the haunting suicide lament “Fade to Black.” The latter is an all-time metal classic; it begins as an acoustic-driven, minor-key ballad, then gets slashed open by electric guitars playing a wordless chorus, and ends in a wrenching guitar solo over a thrashy yet lyrical rhythm figure. Basically, in a nutshell, Metallica sounded like they could do anything. Heavy metal hadn’t seen this kind of ambition since Judas Priest’s late-’70s classics, and Ride the Lightning effectively rewrote the rule book for a generation of thrashers. If Kill ‘Em All was the manifesto, Ride the Lightning was the revolution itself.

1 Fight Fire with Fire
2 Ride the Lightning
3 For Whom the Bell Tolls
4 Fade to Black
5 Trapped Under Ice
6 Escape
7 Creeping Death
8 The Call of Ktulu