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Metallica

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Cliff 'Em All

Cliff 'Em All

Cunning Stunts

Cunning Stunts

A Year And A Half In The Life Of Metallica, Part 01 & 02

A Year and a Half in the Life of Metallica-Part 2 AYear and a Half in the Life of Metallica Part 1 & 2 Wherever I May Roam A Year and a Half in the Life of Metallica-Part 1 Enter Sandman Sad But True Nothing Else Matters The Unforgiven

St. Anger

Some Kind Of Machine My World Purity Shoot Me Again The Unnamed Feeling Sweet Amber All Within My Hands Frantic Invisible Kid St. Anger Dirty Window

St. Anger

Purity Sweet Amber Frantic The Unnamed Feeling St. Anger Invisible Kid Shoot Me Again Dirty Window All Within My Hnads My World Some Kind Of Monster

St. Anger

Invisible Kid Dirty Window Frantic My World All Within My Hands Sweet Amber Some Kind Of Monster Shoot Me Again The Unnamed Feeling St. Anger Purity

Live Shit: Binge & Purge DVD

Battery Creeping Death Am I Evil? Welcome Home Nothing Else Matters One Stone Cold Crazy The Unforgiven Battery Last Caress Seek & Destroy Nothing Else Matters Of Wolf And Men Seek & Destroy Solos - Bass/Guitar Am I Evil? Fade To Black Justice Medley One Through The Never The Four Horsemen For Whom The Bell Tolls Master Of Puppets Master Of Puppets Harvester Of Sorrow Creeping Death Of Wolf And Man Through The Never Sad But True Welcome Home Wherever I May Roam Wherever I May Roam For Whom The Bell Tolls Motorbreath Sad But True Enter Sandman Solos - Bass/Guitar Harvester Of Sorrow Justice Medley Whiplash Last Caress The Four Horsemen Fade To Black Stone Cold Crazy Enter Sandman Whiplash The Unforgiven Motorbreath

Live Shit: Binge & Purge DVD - CD style case

Creeping Death Motorbreath Last Caress The Unforgiven Wherever I May Roam Last Caress One The Unforgiven Justice Medley The Four Horsemen Harvester Of Sorrow Creeping Death Master Of Puppets The Four Horsemen Fade To Black Harvester Of Sorrow Through The Never Whiplash For Whom The Bell Tolls Solos - Bass/Guitar Justice Medley One Fade To Black Through The Never Enter Sandman Seek & Destroy Motorbreath Solos - Bass/Guitar Am I Evil? Seek & Destroy Wherever I May Roam Enter Sandman Welcome Home Of Wolf And Men For Whom The Bell Tolls Stone Cold Crazy Of Wolf And Man Battery Stone Cold Crazy Sad But True Nothing Else Matters Welcome Home Master Of Puppets Sad But True Battery Am I Evil? Whiplash Nothing Else Matters

S&M

S & M

S&M

Wherever I May Roam Master Of Puppets One No Leaf Clover Outlaw Torn For Whom The Bell Tolls Until It Sleeps The Thing That Should Not Be Hero Of The Day The Ecstasy Of Gold Sad But True The Memory Remains Bleeding Me Fuel Of Wolf And Man Enter Sandman Devil's Dance Battery Human The Call Of Ktulu Nothing Else Matters

S&M

Bleeding Me One Master Of Puppets The Memory Remains No Leaf Clover Nothing Else Matters For Whom The Bell Tolls Battery The Call Of Ktulu Until It Sleeps Fuel Of Wolf And Man Human Enter Sandman Wherever I May Roam Sad But True The Ecstasy Of Gold Devil's Dance The Thing That Should Not Be Outlaw Torn Hero Of The Day

Cliff 'Em All

Cliff 'Em All

A Year And A Half In The Life Of Metallica, Part 01 & 02

Nothing Else Matters AYear and a Half in the Life of Metallica Part 1 & 2 Enter Sandman A Year and a Half in the Life of Metallica-Part 2 Sad But True The Unforgiven Wherever I May Roam A Year and a Half in the Life of Metallica-Part 1

Cunning Stunts

Cunning Stunts

Garage, Inc.

Blitzkrieg Die, Die My Darling Loverman Sabbra Cadabra The Small Hours Am I Evil? Crash Course In Brain Surgery Stone Dead Forever Tuesday's Gone Damage Case It's Electric Free Speech For The Dumb Turn The Page Stone Cold Crazy Breadfan Last Caress/Green Hell Astronomy Helpless Whiskey In The Jar Mercyful Faith The Wait So What The More I See Too Late Too Late Killing Time Overkill The Prince

Garage, Inc.

Sabbra Cadabra Am I Evil? Whiskey In The Jar Damage Case Stone Dead Forever Overkill Blitzkrieg Too Late Too Late Tuesday's Gone Killing Time Breadfan It's Electric Die, Die My Darling The Prince Loverman Mercyful Faith Astronomy Helpless So What Stone Cold Crazy Crash Course In Brain Surgery Last Caress/Green Hell The Small Hours Turn The Page Free Speech For The Dumb The Wait The More I See

The Unforgiven II/The Thing That Should Not Be

The Unforgiven II The Thing That Should Not Be

Reload

The Memory Remains Carpe Diem Baby Bad Seed Attitude Slither Fixxxer Low Man's Lyric Better Than You Prince Charming Where The Wild Things Are The Unforgiven II Devil's Dance Fuel

The Memory Remains/For Whom The Bell Tolls

For Whom The Bell Tolls The Memory Remains

King Nothing/Ain't My Bitch

Ain't My Bitch King Nothing

Hero Of The Day (Live Medley)

Kill Ride Medley Hero Of The Day

Load

Ronnie Ain't My Bitch Wasting My Hate King Nothing Mama Said Thorn Within Poor Twisted Me Until It Sleeps 2 X 4 Bleeding Me The House Jack Built The Outlaw Torn Cure

Live Shit: Binge & Purge

Am I Evil? Master Of Puppets The Unforgiven Of Wolf And Man Fade To Black One Battery Seek & Destroy Nothing Else Matters Whiplash The Four Horsemen Stone Cold Crazy Solos - Bass/Guitar Creeping Death For Whom The Bell Tolls Harvester Of Sorrow Last Caress Motorbreath Justice Medley Enter Sandman Sad But True Wherever I May Roam Welcome Home (Sanitarium) Through The Never

One/Eye Of The Beholder

One Eye Of The Beholder

Metallica

Nothing Else Matters My Friend Of Misery The Unforgiven Of Wolf And Man Wherever I May Roam The God That Failed The Struggle Within Through The Never Sad But True Holier Than Thou Enter Sandman Don't Tread On Me

...And Justice For All

Dyers Eve Blackened One Eye Of The Beholder Harvester Of Sorrow The Shortest Straw The Frayed Ends Of Sanity ...And Justice For All To Live Is To Live

Master Of Puppets

The Thing That Should Not Be Master Of Puppets Damage, Inc. Welcome Home Leper Messiah Disposable Heroes Orion Battery

Ride The Lightning

Fight Fire With Fire Trapped Under Ice The Call Of Ktulu Escape Creeping Death Ride The Lightning For Whom The Bell Tolls Fade To Black

Kill 'Em All

Hit The Lights (Anesthesia)-Pulling Teeth Phantom Lord No Remorse Motorbreath Metal Militia Jump In The Fire The Four Horsemen Whiplash Seek & Destroy

Check out Metallica's official web site.

Metallica Biography

When you're able to brandish the kind of musical firepower that Metallica has unleashed for more than two decades - 10 uncompromising albums, marking an unprecedented reign as the Greatest hard rock band in history - you learn a thing or two about where to aim. But curiously enough, the making of their first studio album since 1997's Re-Load, the primal, raptorial, St. Anger, found Metallica not behind the turrets this time, but in the firing line itself.

The trials and tribulations leading up to St. Anger are well documented. The fissures in what the band members themselves describe as the well-oiled "Metallica machine" were beginning to show; Bassist Jason Newsted's nebulous exit from the group. James Hetfield's voluntary sojourn into rehab and much-longed-for sobriety. Public squabbles over the illegal downloading quagmire. All of these issues revealed the kind of seismic fault-lines that even the Metallica jauggernaut could not navigate - could not negotiate away.

At stake? Nothing less than the very existence of the band itself. Metallica's three principals, James Hetfield, Lars Ulrich, and Kirk Hammett, along with their frequent producer/collaborator Bob Rock, found themselves at the kind of crossroads worthy of the themes in many a Metallica song. The kind of foreboding scenario Ulrich and Hetfield could write in their sleep.

The irony was, if this was Metallica's oft-predicted meltdown, each member would have to face it in his own way. And from the inside out this time, without the Metallica

heat-shield to fend off all the bullshit that tends to calcify when you're a member of the most exclusive rock club in the world for twenty-odd years. With James on an indefinite hiatus, the group admitted to becoming ‘professional speculators' themselves as to whether Metallica was headed for a rebirth, or withering away on life-support.

"It has been a very interesting three years," Lars Ulrich begins with atypical understatement. "A very different three years for us. Difficult. Awkward. It's been a ride that's taken us to places inside ourselves, inside the band, inside the potential of human beings and the music and everything else that we could not imagine existed. But if you asked me then, I would say for the first time in my life with Metallica, I was starting to prepare myself that maybe the ride was over."

If it sounds like the tenets of a Herculean struggle, who else but Metallica to apply for the job. The result of the ‘ride' Lars refers to can indeed be found in the sweat and blood and grooves of St. Anger. From the album's crushing title song and its burnished heaps of magnified guitar and drums, to the colossal time and tempo changes of "Frantic," to the chugging slabs and staccato exchanges of the exalting confessional "My World," Metallica has once again, in the boldest strokes imaginable, made music its most viable currency.

The three bandmembers, who gingerly refer to themselves as brothers - and mean it - emerged from the other side of their journey with their musical compass intact. St. Anger is an album that invariably will draw comparisons to their best work, to Metallica's halcyon days, most notably their classic 1983 opus Kill ‘Em All, and 1986's Master Of Puppets. Monumental in scope, the new album also recalls - by its sheer willfulness - the group's 15 million selling masterpiece known as the Black Album. But this is clearly a work that couldn't have been made twenty years ago. Not even a decade ago, though it fits the Metallica canon like a glove.

According to producer Rock (the Black album was his first collaboration with Metallica) St. Anger completes the circular creative cycle that only the greatest artists are able to sustain. "It's been my experience that only the big artists know how to achieve a goal in their career, like Metallica did with the Black album. Fewer still could have gone through what they experienced with all their personal journeys, throw away the rulebook and try and capture the soul and truth of Metallica again. I think the real vision was to almost take them back to where they were first getting together when three or four guys get together and say: ‘this is the kind of music we like, let's write some songs.'"

For James, whose own personal quest may have been the tipping point for Metallica's

inspirational sea change, the album was an important step in their evolution not just as bandmembers, but also as friends. "The early days of Metallica were about brotherhood, just survival mode, relying on each other and stuff. As the machine got bigger, you tend to forget about the friendship part and start worrying about where the machine is going. You get a little more protective, a little more isolated. Certain factors ignited the need to look inward again and just get to be friends. Now we're stronger than ever because we know what we're doing and we have experience on our side too."

Part of the familial equation the group had to deal with was the departure of Newsted and the search for a new bassist. Enter Rob Trujillo. A former member of Suicidal Tendencies and one of the masterminds behind the ‘90's cult band Infectious Grooves, the accomplished bassist has also played with none other than Ozzy Osbourne.

All three bandmembers immediately hit it off with the respected Trujillo, and the hole in Metallica's musical armor was filled. Trujillo came aboard too late to appear on St. Anger. The band members did not seem to be in any rush to hire a bass player. Bob Rock, in addition to being the co-producer and co-songwriter on St. Anger, was considered the 4th member of the band. Bob even filled in (quite masterfully) at a few live events with the guys. But, as Metallica guitarist Kirk Hammett says, Trujillo's chemistry with the band is undeniable. "From the first rehearsal Rob was just mind blowing, because he had such a huge sound and he pulled with his fingers which is very reminiscent of Cliff Burton and we really liked that sound. He delivered on all fronts. He had a big sound and on top of that he's really a great, solid guy." Adds James: "He pounds. The power that comes through his fingers. He's a ball of energy and he's so calm and able and balanced. He's got great stuff to offer but his personality is just right. He's on fire, he's ready, he's plugged right into the strength of Metallica and helping it shine."

Another aspect of Metallica's rejuvenated approach on this album was for Hammett to join in on the lyric writing, territory previously exclusive to only James and Lars. "At first I was like I don't want anything to do with this, this is James' job. But Bob was very adamant. I looked at James and I said ‘Well, how do I do this?' James said ‘stream of consciousness.' I would scribble down some lines and James would single out the good ones. It was a great experience and I think it's all in line with the theme of the album, if there is an underlying theme, which is just being true to yourself and how important that is to the overall picture."

Which leads to what is sure to be another topic of discussion among Metallica-watchers when pouring over the epic arrangements and knife-edged nuances of St. Anger. For a band that is in the throes of introspection, and in a larger sense, collective healing, they sure have laid down some motherfucking aggressive music. For hardcore fans who patiently waded through their all-covers release, 1998‘s Garage Inc., a spry homage to the songs that shaped their early career, and the symphonic wanderlust of S&M, a stirring experiment that showcased Metallica with noted producer/writer/arranger Michael Kamen and the San Francisco Symphony, St. Anger is a thirst-quencher. But one that offers nothing but fire this time around.

Lars says there was no conscious effort to make this album louder or longer. "I think the great thing about Metallica is that we can pretty much chart where we want to chart. Playing other people's material (like on Garage Inc.) was something we talked about for years. It was the music the band was basically founded on. With the Symphony stuff we got a call from Michael Kamen who wanted to do it and the band was excited by the challenge - something Metallica has always embraced. "But now that we are back playing the stuff that people think is the purest, it is the most natural, it is the most effortless. The other thing I think we're challenging here is that most people have the perception that in order for things to be really, really, energetic that they can only come from negative energy. Metallica was fueled by negative energy for twenty years. Now we've spent a lot of times working on ourselves and on our relationships and we've turned that around. Now Metallica is fueled by positive energy that has manifested itself so it sounds like the album we've made."

 

 

Case in point: "Some Kind Of Monster," with its bristling, time-bomb refrain, and yet, underneath, a hint of affirmation: ‘this is the voice of silence no more.' You begin to understand the complex dynamics required for a world-renowned construct like Metallica to be even able to conceive of an intensely personal triumph like St. Anger. For James, the process obviously begins in a much quieter place than a recording studio. "It comes from us realizing the world doesn't revolve around Metallica. For me it began with ‘my name is James Hetfield.' St. Anger means to me that now that we've found our serenity we're capable of making this monster of an album going full-throttle all the time. Anger is an energy. It's a feeling. It's gotten a bad reputation but it's what you do with it after that gives it its reputation. I could squeeze out sideways with rage and stuff the shit down, yet it can be such a source of strength. Metallica has always been about invading places where we don't belong. We just took down the barbed-wire, that's all."

 

4/03

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