Unbiased Reviews by Real People
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Unbiased Reviews by Real People
TheUnknown's Fifteen Best of Metallica [Greatest Hits Write-off]Aug 24, 2002 Write an essay on this topic.The Bottom Line See review. This is my contribution to my Greatest Hits Write-off. The other participants are: Cletta1201 / Clum / Copernicus / Cripper / Deaser26 / Dedemw / DrFaustus / Donnie013 / DXBari / Ekidd911 / Helga17 / Jeff_wilder78 / Jenb123 / JennJoy / KCFoxy / Kristinafh / Kuuleimomi / Lambchops / LatteChick / Laura10801 / Madtheory / MattA75 / Mefreakboy / Mom2TyZick / Monssfisch / Netnut746 / Paulyoungotti / Pt-Paratroopa / Shilmafone / Speeddemon531 / Tbthorn / The_fly / Vince006 / Whitty / Yogore Before I start, I should probably explain what I look for in a Metallica to prevent any comments asking (sometimes in not so kind ways) why I like Load more than Master of Puppets. MUSIC: I prefer loud, heavy, deep instrumentation to obnoxiously fast instrumentation. I consider an actual rhythm to be a good thing. While I believe a good, well-placed guitar solo can make a song, I also believe half-assed or out of place solos can kill a song ("Sad But True"). Metallica songs don't have to be all heavy though; an acoustic guitar, symphony, etc. often provides a nice contrast. VOCALS: Granted, James Hetfield doesn't have the best voice, but he does have some vocal talent. I for one prefer at least some singing when listening to Metallica. I hate it when Hetfield hides behind grunts, shouts, and screams. Vocal distortion and/or dubbing can make a song interesting, but should only be used in moderation. LYRICS: I like songs that are about something interesting. Trivial things like cars ("Fuel") are only interesting for awhile before they become really boring. Also, Metallica is a serious band, so when they do a song that is not serious, it often sucks or gets old quickly. As a liberal, I often find myself agreeing with the liberal politics of much of Metallica's lyrics (save for the ones about the death penalty, which I'm in favor of). However, much, but not all, of Metallica's social and political commentary has a general feel to it. I prefer more personal songs, songs about the experiences of the songwriter. That's why I like Load so much. It's a very personal album. OVERALL FEEL: There are a few Metallica songs where the music, vocals, and lyrics come perfectly together. From the merging of these features comes an energy that allows you to feel the song. It allows you to feel the anger, hopelessness, pain, love, loss, etc. These songs are often my favorites. NOTES and DISCLAIMERS Before I start with my list, I need to point out that I do not currently own 1983's Kill 'Em All, 1997's ReLoad, or 1998's Garage, Inc., so my exposure to the material on this albums has been limited. The contents of this list may or may not be different had I owned these albums. Also, my list was originally supposed to include twenty-five songs, but for length purposes, I shortened it to twenty. Then, I couldn't figure out what to write about five, so I narrowed down to fifteen. Maybe I'll do another list one day. The songs that just missed the list are here: "One," "Thorn Within," "Bleeding Me," "King Nothing," "Harvester of Sorrow," and "Minus Human." 15.) Master of Puppets (From Master of Puppets, 1986) Finally, an anti-drug message that isn't condescending and/or stupid. This song personifies a drug (heroin, I believe) as a cruel and lying master and the user as a slave. Nice analogy, isn't it? My favorite part is the beautiful guitar duet before the third verse. At first, it sounds almost acoustic but then builds to a series of high-pitch riffs and eventually leads to a heavy drum solo. 14.) The Unforgiven II (From ReLoad, 1997) This is the song that introduced me to Metallica. And boy was I freaked out when I saw the video for it. Anyways, this is part two of the Metallica hit "The Unforgiven" (see below). I still haven't figured out exactly how this one relates to the first in terms of the story, but I know it fits in there somehow. "The Unforgiven II" is like the ghost of the first version. It starts with the same opening riff and continues with same rhythm, just in different keys. Overall, it provides some mystery to the story, but it's a little on the mediocre side. 13.) Eye of the Beholder (From ...And Justice For All) Like I said earlier, political and social commentary in music isn't really my cup of tea, even when I agree with it, but this seems to be an exception. I guess it because of my increasing annoyance at the hypocrisy of the American political system ("You're free, if you're in the majority...or rich.") that's increased my interest in this song about, what else, the hypocrisy of the political and social system. Also, as opposed to much of Metallica's political commentary, this song actually has enjoyable music and interesting vocals. I especially like the way the vocals sound like they're coming through water, like they're coming from someone submerged in the cesspool that is society. 12.) Welcome Home (Sanitarium) (From Master of Puppets, 1986) Quite possibly the gloomiest Metallica song I've ever heard, or at least at first. It begins with a few slow and almost random chords piercing the silence, which reminds me of rain running down a window (see why I think it's so gloomy?). At first, the lyrics seem to only be about a group of people in an asylum that are mistreated by the staff, but soon you can realize it's a metaphor for society and how it forces its members to give up their individuality and conform to its rules. 11.) The Call of Ktulu [S&M version] (Originally from Ride the Lightning, 1984) Metallica and the San Francisco Symphony won a Grammy for this song, and rightfully so. This instrumental song was originally called "Hell Freezes Over." That's a pretty good description of the interaction between Metallica (Hell) and the symphony (the ice). The song begins with a lone guitar that is joined by another guitar and then a creeping bass and light drums, all while the symphony plays it's icy parts. It's almost like one slowly approaching Hell. Then, the song explodes into an organized cacophony of distortion, feedback, counter-melodies between the guitars and between Metallica and the symphony, all leading up to the peak: Kirk Hammett's fiery guitar solo. 10.) The Thing That Should Not Be [S&M version] (Originally from Master of Puppets, 1986) This is one of the few songs from any artist that I believe is better live as opposed to the studio version. It always seems to channel the chaos, insanity, and darkness that give it its meaning. The bass is always more menacing. The guitars are always more energetic. The drums are always more aggressive. The addition of the San Francisco Symphony further adds to the chaos and insanity (think of the violins from Psycho). 9.) Nothing Else Matters (From Metallica, 1991) I consider this love ballad to be all-around Metallica's most beautiful song. It's peaceful and intimate but heart-felt and passionate. Hetfield's voice, though often discordant and aggressive, is beautiful here. The lyrics, while a little repetitive after a while, are a poetic expression of love. 8.) The Outlaw Torn (From Load, 1996) Sadly, this is a song I really relate to. It's about the death of a loved one and the hell one goes through. Having lost my dad, both paternal grandparents, and a woman who was like a second mother to me, I know all too well about losing loved ones. "The Outlaw Torn" perfectly captures the feelings of just losing a loved one. The music is dark, hard, and angry. The guitars wail during the refrain, just like one wails after finding out about a death. The bass is pounding. James Hetfield's voice is dark and angry with a slightly hysterical feel to it. 7.) Until It Sleeps (From Load, 1996) Picture this: A belly dancer is mysteriously dancing down a highway. All of the sudden, she is creamed by a semi-truck and then maimed under the wheels. That's "Until It Sleeps," with its mysterious guitar and bass chords and vocals leading to its hard drumming and more aggressive vocals. And let me tell you, you'll never realize how hard the drumming really is unless you list close and you listen often. 6.) Fade to Black (From Ride the Lightning, 1984) Pretty on the outside, but ugly on the inside. That's "Fade to Black." It's a song about someone who has given up on life. One could make an argument about it being about suicide, but we won't get into that. The guitars shift frequently between unplugged and amplified, like a shift from mournfulness to pure anger. But the best part in terms of music is the two-minute conclusion. The guitars start out playing in unison, but slowly drift apart, symbolizing the subject drifting away from hope and happiness, building into a duel of sorts. James Hetfield's voice so perfectly captures the frustration, the anger, and the sadness of the poetic lyrics. 5.) Mama Said (From Load, 1996) There are other Metallica songs I like better. There are other Metallica songs that are powerful. Still, without a doubt, this is the most chilling of them all. Like "Nothing Else Matters," "Mama Said" is intimate, personal, and straight from the heart. Unlike "Nothing Else Matters," "Mama Said" is dark and sad. It's the story James Hetfield's relationship with his mother growing up. It's a rocky relationship to say the least. He sees her as an embarrassment. She sees him as her little boy. He wants to be independent. She wants to hold on to him. She ends up dying. He goes through his life never appreciating her. When he finally realizes what he took for granted and how much he still needs her, it's too late. Having lost one parent already, "Mama Said" always gets me thinking about how I take my own mother for granted. 4.) Hero of the Day (From Load, 1996) "Hero of the Day" is a song of contrasts. It's a song beautiful and peaceful enough to rock you to sleep but haunting and dark enough to give you nightmares. It's one of Metallica's most poetic songs with its ambiguous lyrics signifying such topics as the search for heroes, problems with fame, and substance abuse. Lars Ulrich in particular stands out with his face-paced drumming at the end. 3.) For Whom the Bell Tolls (From Ride the Lightning, 1984) This is a song that nicely captures the essence of war. The music is loud and aggressive. It's methodical, yet and the same time captures the chaos of war with its guitar duels, pounding drums, and echoing vocals. And the best part: the lyrics. The lyrics perfectly capture the horror, the death, and the destruction of war. What's more, lyrics ask "why?" 2.) The Unforgiven (From Metallica, 1991) "Powerful," "intense," and "angry" are words I would use to describe this song about a man's struggle for individuality in a repressive society (America). When I say "powerful," I mean "send-goosebumps-down-your-skin" powerful. The chorus features ice-cold intensity via a soft acoustic guitar and mournful vocals. The verses boil over with fury expressed with hard drumming, loud electric guitars, and shouted vocals. 1.) The Outlaw Torn [S&M version] (Originally from Load, 1996) While I relate to the other version of this song, I relate to this one more. Both versions appear not because they're totally different, but because little changes cause me to take them differently. I take this version to symbolize how one feels years after losing a loved one. The music is slightly softer, less dark, less angry, less hysterical, but not entirely devoid of those things. The bass isn't as pounding. The guitars don't wail as much. Hetfield's voice doesn't sound hysterical anymore; it sounds mournful. But the biggest change is the addition of the orchestra. This gives the song an epic feel, symbolizing a pain that never goes away, never fully at least. It also gives a feeling of reminiscing and wondering. I lost those people I listed above at an early age, my dad when I was five. It's a feeling you get when you wonder "Why them? Why me?" and "What might have been." This stanza sums it up nicely: "You make me smash the clock and feel, I'd rather die behind the wheel, Time was never on my side, So on I wait my whole lifetime."  |
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