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Metallica – Ride The Lightning (Album Review)

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Metallica – Ride The Lightning (Album Review)

While Metallica Killed ‘Em All with their first album, they were determined to Ride The Lightning on the second; a record that has not only stood the test of time but remains one of the greatest thrash metal albums ever recorded.

Marking a pivotal moment in the evolution of thrash metal, Metallica’s second studio album, Ride The Lightning, not only cemented the band’s legacy within the genre but showed that they were capable of a more mature and thematically deep album than was presented on their 1983 debut Kill ‘Em All. Retaining the intensity of their debut, Ride The Lightning, struck a perfect balance between speed, aggression, and intricate musicianship that would not only set them apart but would result in a collection of timeless tunes and one of the very best albums released in 1984.

Visually striking, as many of the albums within Metallica’s discography are, Ride The Lightning looks stunning on the larger vinyl canvas and while I’ve been fortunate to have owned various editions of this classic album throughout the years, all are not created equal and in some cases it comes down to the mastering, whilst others come down to the quality of the vinyl pressing; such as the less-than-impressive Blackened Recordings 2014/5 vinyl reissue (BLCKND004-1). What is pleasing, however, is that the 2016 remaster brings about greater consistency across all formats. As such, it no longer matters how you choose to listen to this classic release, but what I can say is that streamers are in for a treat for the Apple Digital Master rocks; despite it being, technically, more compressed than previous editions.

Of course, give it a listen and see for yourself as we explore the songs of this legendary release.

Fight Fire With Fire opens with a killer acoustic guitar intro that quickly erupts into one of Metallica’s most ferocious thrash metal tunes. Blending melody with aggression sees Fight Fire With Fire set a chaotic and intense tone that continues throughout the record; thereby making it the perfect album opener.

Ride The Lightning flows perfectly from Fight Fire With Fire for the guitar riff continues the non-stop assault on the senses. If you haven’t already, this title tune will encourage you to get your air guitars out for it is impossible to sit still as this legendary song is playing. However, it isn’t just the relentless riffing that’s a highlight here, for the shift between the frantic thrash riffs and the slower, doom-laden sections, demonstrates Metallica’s evolution and ability to blend tempo and mood. Ultimately, Metallica’s music doesn’t get much better than this and words seem somewhat meaningless to explain the impact of this song. Hence, you need to experience it for yourself as that’s the only way to truly appreciate and understand Metallica’s impact on not only thrash and metal, but music in general.   

For Whom The Bell Tolls is EPIC! From the tolling bell, to the slower and more methodic tempo that builds tension and atmosphere, to the musical interplay between the band, For Whom The Bell Tolls is one of the album’s most memorable moments and is, undoubtedly, one of the greatest songs Metallica ever recorded.

Fade To Black is a slight departure from their core thrash roots, but when you combine a slight country twang and a more melodic tempo you end up with a power ballad worthy of Metallica. Of course, the song ebbs and flows between the semi-acoustic and full-on electric, adding to the overall appeal and merging this new style with their thrash origins. Yes, some detest 80s power ballads, but this is no ordinary ballad for its masterful composition sets it apart from its 80s counterparts. And, if nothing else, Kirk Hammett’s closing solo seals the deal on this being one of the greatest power ballads ever recorded.

Trapped Under Ice returns the album to a faster, more chaotic pace with aggressive riffing and frantic drumming that create an overwhelming sense of urgency that perfectly mirrors the song’s theme. Trapped Under Ice may be one of the more straightforward thrash tunes on the record, that would have been perfectly suited to Kill ‘Em All, but it doesn’t let up for the entire duration.

Escape has a killer riff and rhythm with a groove that is widely appealing. That said, Escape can be best described as a quintessential album-only tune and as much as I enjoy it, I’ve always felt it wasn’t the strongest song from a vocal perspective. However, had it been an instrumental tune, it would have been exceptional.

Creeping Death is a monumental tune and a thrash masterpiece due to its relentless energy and perfect balance of storytelling, technical prowess, and visceral intensity.

The Call Of Ktulu is, without a doubt, one of the greatest songs ever recorded in all of music history. If you haven’t checked out the live performance from their legendary S&M concert, you really should because it bests this original. The Call Of Ktulu’s strengths are on full display across the song’s sprawling 8-minute runtime. Building tension with atmospheric guitar work and ominous riffs, along with a thunderous percussive element, The Call Of Ktulu isn’t easily forgotten and will compel you to play the album again because Ride The Lightning can seldom be listened to once.

Ride The Lightning is nothing if not a milestone release for Metallica and the thrash metal genre. Its combination of raw power, thematic depth, and technical brilliance set it apart from its peers and showcased Metallica’s growing ambition. It also expanded the boundaries of what thrash metal could be, incorporating new levels of complexity, emotion, and atmosphere without sacrificing the core aggression. No matter which way you look at it, Ride The Lightning was a monumental achievement in metal, and its influence can still be felt today as it’s one of the greatest thrash records ever released.

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Metallica - Garage Inc. (Compilation Album Review On Vinyl & Apple Music)

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Metallica - Garage Inc. (Compilation Album Review On Vinyl & Apple Music)

Throughout the 90s, Metallica exploded with Bob Rock at the production helm and while some may still lament this shift from their Thrash origins, it did allow for a radio-friendly, welcoming sound, that would make the band a household name. However, all was not lost in the Black Album, Load/Reload eras for in 1998, Metallica would once again go back to their roots to deliver the somewhat produced Garage Inc. compilation. 

Yes, some of the newer recordings on Garage Inc. are a little less Thrash driven than some fans may like, but I find all songs, from all eras, blend effortlessly together thereby making Garage Inc. one of the greatest compilations to have ever been released.

As it has a little bit of everything, Garage Inc. quickly became one of my most beloved albums and arguably my favourite Metallica album; at least until S&M was released in 1999. The double CD would go everywhere with me and I look back at that era with nostalgia for it was the music of my youth that simultaneously gave me the confidence to traverse the confusing and wondrous world around me.

Years later, however, while the double CD had succumbed to the MP3 era, I was fortunate enough to acquire the Blackened Recordings Vinyl reissue (BLCKND013-1). To say it’s superb is an understatement. While I’ve been critical of other Metallica reissues on their own Blackened Recordings label, this particular release is nothing short of pure perfection and is highly recommended. 

The mastering is superb with a full and warm tonality that is not only perfect for vinyl but the style of music. When listening to the vinyl reissue, I never find myself longing for more musicality or a different presentation such as that offered via streaming services. The vinyl layout and design, while mimicking the original CD, is similarly stunning offering full-featured liner notes that become a value-added proposition for fans and collectors alike.

I’ve also listened to the Apple Music edition, an Apple Digital Master, and for a compressed digital offering, it too is extraordinary. Not as good as the vinyl reissue, however, but you won’t be disappointed if you only have access to the Apple Music edition for it produces a beautiful full-bodied sound only lacking the vinyl warmth that is inherent to the format. 

DISC 1 / Side One (New Recordings '98)

Free Speech For The Dumb is a fat Thrash-infused song that encourages you to turn the volume up. It isn't my favourite song on the album, but it gets the album off to an incredible start.

It's Electric is an excellent song that is perfectly suited to Hetfield's vocal style and the overall musicality of the band. It is mastered with a little too much focus on the treble region, but that is a minor quibble.

Sabbra Cadabra has a gorgeous guitar intro. The groove is so compelling that you will be toe-tapping and head-bopping subconsciously. The overall sonic signature of Sabbra Cadabra is cemented in blues rock and roll and I absolutely love it!

Turn The Page was an exceptional song when originally performed by Bob Seger, but Metallica has made it their own and has taken the song to another level. It is one of Metallica’s greatest recordings and is one of their songs I play regularly.

DISC 1 / Side Two (New Recordings '98)

Die, Die My Darling is a killer rock track. I love it!

Loverman may initially sound like a strange pick as one wouldn't normally associate Nick Cave And The Bad Seeds with Metallica, but Metallica certainly recorded an excellent rendition that is worthy of the musicality heard on the original recording. Both versions are excellent, but I find that I gravitate to Metallica’s interpretation as I feel it is the more polished of the two. 

Mercyful Fate is an exceptional song that commands you to turn the volume knob to the right. Yes, your neighbours will likely call the boys and girls in blue, but it will be worth it! Seriously, listening via lower volumes destroys the musicality and energy of this song. It is expertly recorded and mixed while being nothing short of a rock and roll symphony. King Diamond and Hank Shermann would be proud!

DISC 2 / Side One (New Recordings '98)

Astronomy has always been a favourite of mine. The incredible Blue Öyster Cult may have recorded the original epic, but the first time I ever heard Astronomy was when Metallica covered it for Garage Inc.. Hence, as excellent as the original is, I will always hold Metallica’s rendition near and dear to my heart. Interestingly, it would be this song, along with Don’t Fear The Reaper, that would push me to become a dedicated fan of Blue Öyster Cult. Therefore, one can conclude that while some cover albums aren’t worth listening to, there are others, such as Garage Inc., that are done with so much respect to the original, you feel compelled to track down the original recordings.

Whisky In The Jar is an awesome groove-filled track. It is another song that compels me to sing-a-long as my body moves to the rhythm of the music. I probably look like I’ve lost control of myself, when in public, but I don’t care, Whisky In The Jar is that good!

Tuesday's Gone is perhaps the only song on the album that I don't like. It isn't a bad song on its own, it just isn't well suited to the album. Plus, every time I listen to it, I think of Bob Geldof. I also feel Metallica sounds too much like Bon Jovi on this track. I love Bon Jovi, but this is a Metallica record. As I think about it more, perhaps it is the nasal grind of the Geldof/Bon Jovi duet, I Don’t Like Mondays, that reminds me of Metallica’s rendition of Tuesday’s Gone. That all said, I much prefer Lynyrd Skynyrd’s original as it is less monotonous. I guess we can be thankful that Metallica didn’t try to interpret Free Bird as some songs should never be covered.

The More I See wraps up the '98 recordings in style with a harder hitting song than Tuesday's Gone. It also displaces the ridiculous outro Metallica recorded as part of Tuesday's Gone. The More I See is certainly meat and potatoes rock and roll, but Metallica’s added gravy ensures the song sounds fantastic.

DISC 2 / Side Two (Garage Days Re-Revisited '87)

Helpless has an incredible rhythm and riff-centric sound but the soundstage, while dynamic, does border on the limits of acceptable audio compression. A great song, nonetheless. 

The Small Hours is musical perfection as it terrifies me and simultaneously excites me. That haunting introduction and beat would be the perfect musical accompaniment for any horror film set in an insane asylum. It is brilliant from start to finish and in some ways reminds me of Blue Oyster Cult’s Don’t Fear The Reaper.

The Wait has incredible energy, but I feel Hetfield’s distorted vocal lets the song down as he sounds lost in the soundstage. While it certainly isn't a bad song, it also doesn't feel polished. Although, I guess that is the point of a 'Garage' style album, isn’t it?

Crash Course In Brain Surgery features the bass that Newsted was deprived of on ...And Justice For All. Overall, it is a solid cover and worthy of inclusion.

Last Caress/Green Hell is one of the greatest covers/recordings Metallica has ever made. It is Punk Rock with a little Thrash thrown in for good measure. I love it!

DISC 3 / Side One (Garage Days Re-visited '84 + B-Sides & One-Offs '88-'91)

Am I Evil? YES, I AM!...I always get a little carried away with this song. It is bloody brilliant and if Satan has a playlist, this would most certainly be on it.

Blitzkrieg is as thrashy as you can get. Get that air guitar out and enjoy!

Breadfan has a killer riff but, beyond that, I don't feel drawn to the song. Hence, for me, this is a filler track.

The Prince is somewhat similar to Breadfan as I don't connect with the song on an emotional level. That said, I would be lying if I said that I didn't enjoy aspects of each song. I can certainly point to aspects that I adore, but if it doesn’t come together cohesively, then those elements remain highlights in an otherwise pedestrian performance.

Stone Cold Crazy is a great song. I love the original as it is one of Queen's best, but Metallica, yet again, takes the song to another level of excellence.

DISC 3 / Side Two (B-Sides & One-Offs '88-'91 + Motorheadache ‘95)

So What is a great way to start the sixth side of the vinyl release. It’s rude and crude, but it’s such a fun song! If you can look past the overt profanity, you will thoroughly enjoy this epic rock song.

Killing Time is a solid cover song that I neither like or dislike. It is a filler track and is perfectly suited for that purpose.

Overkill raises mixed emotions as I believe that some music just shouldn’t be covered. Perhaps it is just me, but covering Motörhead is akin to Avenged Sevenfold covering Metallica. It works, really well, but I'm not sure it should be done.

Damage Case is a great song, with a great groove.

Stone Dead Forever is an excellent song, but I feel Hetfield is imitating Kilmister, rather than making the song his own. This is, of course, the danger of cover songs versus recording someone else’s unpublished song. Yes, imitation is a form of flattery, but I have always had reservations about it when listening to cover songs.

Too Late Too Late is a perfect song to close this epic release on. While it encourages me to listen to the album again, and stay within Metallica's back catalogue, Garage Inc. is a lengthy release and I seldom follow it up with anything else as I want to savour the experience.

Metallica's Garage Inc. is an incredible covers album. There really isn't a bad song to be heard and while I may not connect with a few of the songs, they certainly work well with the overall style of the compilation. If nothing else, it becomes clear that should Metallica run out of song ideas, and got bored playing their classics, they could make it as one of the greatest cover bands in history.

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Metallica – ...And Justice For All (Album Review On Vinyl, TIDAL Hi-Fi & Apple Music)

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Metallica – ...And Justice For All (Album Review On Vinyl, TIDAL Hi-Fi & Apple Music)

Metallica's ...And Justice For All has been marred with controversy since its release in 1988. While I wouldn’t experience the album until I became captivated by Metallica, following their Self-Titled (Black Album) and Load-era releases, I found an instant liking for the raw production of …And Justice For All

Yes, there are those who dislike the album, often due to the minuscule bass element with the new bassist, at the time, Jason Newsted following Cliff Burton's death. However, while I acknowledge the bass is lacking, I look at the album from a different perspective whereby one could suggest the lack of bass emphasis was a fitting tribute to Burton. Subsequently, I don't subscribe to the ...And Justice For Jason memes. While anything is possible, I’ll be content if the mix is never altered as it wouldn't be the same album. There is an undeniable sonic signature to …And Justice For All, similar to the rawness of St. Anger, that I admire. Change the mix and you risk changing the magic that is ...And Justice For All.

That said, with the recent Deluxe Edition reissues, …And Justice For All has never sounded so good. While this review includes aspects of the 2014 Blackened Recordings Vinyl Reissue (BLCKND007-1), this particular release should be avoided at all costs. Yes, Stephen Gorman's artwork is exquisite on the larger canvas. Although, the green lettering hasn't aged well in my opinion and always reminds me of Mötley Crüe’s Dr. Feelgood cover art as the green tonality is so similar. While I’d love to say the artwork has been faithfully reproduced, the liner notes in this pressing are available as an extra slip-in sheet, versus being used as vinyl inner sleeves. Instead, we get the most god-awful rice paper sleeves that scuff the vinyl. Sandpaper may have been kinder! Seriously, I know these sleeves are cheap to produce, but if you release a premium product, commanding a premium price, you would be best advised to invest a little more in the manufacturing. Perhaps most disappointing is that this is released on the artists' own record label. Metallica has full control over Blackened Recordings, so this cheapness amazes me and is an insult to fans. 

Another change that defies explanation is the removal of the album artwork from the centre of the records. We now get a black background with green text. While it doesn't look bad, it doesn't look nearly as good as early pressings in my opinion. Nevertheless, it is all about the music, so let’s discuss that aspect. 

This particular vinyl re-issue is a sonic nightmare and is adequate at best. The surface noise is distracting and the overall sound signature is flat. Like really flat. Flat as a tack with little to no dynamic prowess to speak of. Yes, it is mastered quietly, thereby encouraging you to turn the volume up, but it doesn’t help. Now, you might be saying that this is a byproduct of Newsted’s limited bass tracking being heard in the mix. I’d have to disagree as the TIDAL Master 24/96 kHz edition blows my mind…literally! I’ve honestly never heard the album sound so good. There is an Apple Digital Master equivalent, but as close as it comes to the TIDAL Master, it falls short in dynamics and ultimate drive. When listening to the TIDAL Master edition, you’ll likely forget the lack of bass as this edition will reverberate through your soul. While I was considering picking up the 2018 vinyl reissue, when music sounds this good streamed, one has to question what the end goal is. It’s a case of once bitten, twice shy. 

Blackened is symphonic metal heaven, as much of Metallica's music is. It’s heavy, raw, and distorted to hell and back, but turn that volume to 11 as it’s the best way to enjoy this exceptional album starter.

...And Justice For All has a gorgeous acoustic introduction before the metal elements take control. Such a wonderful composition! Despite its length, I’ve never felt the song is self-indulgent and every note is thoroughly appreciated. Plus, Hammett’s guitar solo is what air guitar dreams are made of.

Eye Of The Beholder has a slow burn, to begin with, but once the volume hits its peak, and that riff kicks in, it's fantastic. Well, that is until Hetfield starts singing. I’ve always had a love/hate relationship with the vocal presentation on this song and its overly processed nature. That said, the rhythmic chorus is thoroughly addictive and it’s the perfect attitude-fuelled song to listen to when you're angry.

One is exceptional!

The Shortest Straw is the perfect song, with the perfect tempo, to follow on from One. It’s head-banging gold. You have to love that chorus, one of Hetfield’s best in my opinion.

Harvester Of Sorrow has a killer rhythm, but I have always felt the introduction for the song is just too long. As the first single off the album, it was an interesting choice, especially considering the intro wasn't edited. While I love this song, it simply isn’t single material in my opinion.

The Frayed Ends Of Sanity is demonic. I love it!

To Live Is To Die, again, has that gorgeous acoustic element to it. Part of me just wants it to continue every time I listen to the song, but as a fan of Metallica's epic instrumental tracks, I know only too well that they must come to an end. 

Dyers Eve is my song. I live for it. It identifies me. It may not be the strongest song on the album, but just as it is a homage to Hetfield's parents, so too is it to mine. There is literally no other song, by any artist, in any genre, that I identify with more. Dyers Eve is textbook thrash metal and while I may have a biased viewpoint, I think it’s fair to declare this as one of Metallica’s best songs and one of their last true thrash masterpieces.

Overall, there isn't a bad song to be found on ...And Justice For All. If you can get past the bass controversy, you're going to find an album that is arguably more riff-driven than any other in history.

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