The story of Metallica is already well known to the public. The band emerged in the early 1980s, founded by guitarist and vocalist James Hetfield and drummer Lars Ulrich . After a considerable number of lineup changes, even including Dave Mustaine ( Megadeth ) in its initial lineup, the band solidified with the addition of Kirk Hammett (ex- Exodus ) on guitar and the late Cliff Burton (ex- Trauma ) on bass.
In 1983, with Mustaine's departure still recent (and full of compositions left by him), the band released their first and acclaimed album, Kill 'Em All , a still raw record that immediately showed a good part of the young group's potential for the American heavy metal scene, bringing many references to Iron Maiden and Diamond Head .
The following year, the group released their second (and highly acclaimed) album, Ride The Lightning , their first to feature production by Flemming Rasmussen . It was a violent record, much heavier than its predecessor, incorporating many elements of Motörhead and Venom into its fast, raw, and meticulously crafted sound.
Throughout the tour promoting the album, some new songs began to be worked on (some already being performed live, such as "Disposable Heroes") so that, in 1986, the group could release what would be responsible for catapulting Metallica to a wider audience.
Master Of Puppets also features Flemming's production and is practically a sibling album to its predecessor, with an acoustic and melodic opening that leads into an explosion of violent and fast riffs ("Fight Fire With Fire" and "Battery"), followed by its brilliant title track, a third cadenced track built entirely on its bass line ("From Whom The Bell Tolls" and "The Thing That Should Not Be") or even its complex and, I dare say, almost progressive instrumental track ("The Call Of Ktulu" and "Orion").
The album was a success, the band reached levels far beyond what they were used to, and they even went on a fateful European tour, opening for the iconic Madman Ozzy Osbourne . I say fateful because it was on this tour, specifically in Sweden, that an accident involving the band's bus, due to an icy road, would claim the life of the iconic Cliff Burton , who died instantly when he was thrown out of the window and the bus fell on top of him.
The band didn't have time to recover from this trauma (which almost led to the group's breakup) and a few months (and a series of auditions) later, they returned to the road with their new bassist, the young band fan Jason Newsted . The rest is history.
Returning to Master Of Puppets , the album is certainly one of the most acclaimed in the group's discography. Its 54 minutes showcase all the pressure and capability that lineup could offer, perfectly balancing the anger and speed of Lars and James' influences with the mastery and melodies of Cliff's references, which ranged from Thin Lizzy and ZZ Top to great classical composers.
The opening track, the visceral "Battery," follows the same mold as the opening of the previous album, "Fight Fire With Fire." An acoustic and melodic beginning that gradually becomes more intense, culminating in James' brutal riff that kicks off one of the heaviest and fastest tracks (if not the heaviest) of his career.
The title track, largely responsible for renewing the band's audience after appearing in the Netflix series Stranger Things in the hands of the character Eddie Munson , features a much more complex composition than much of their catalog up to that point (a feat that would be repeated throughout the album) and is full of layers and instrumental passages that take the listener on a journey of melody and heaviness.
Next, Cliff's powerful bass riff announces "The Thing That Should Not Be," a track once again inspired by the American author H.P. Lovecraft (like "The Call Of Ktulu" on the previous album) and which transitions between a strong, rhythmic riff and an ethereal verse, all built upon the powerful bass line.
“Welcome Home (Sanitarium)” respects the theory of the album's connection to its predecessor and, in the style of “Fade To Black”, presents an “almost ballad” whose chorus brings a strong dose of intensity that prepares for the fast ending guided by Kirk's swift solo.
Next comes "Disposable Heroes," perhaps one of the fastest tracks on the album (and, again, by the band), delivering a strong denunciation of the wars that plague the world (at the time, the Cold War was a major issue and the aftereffects of Vietnam have not yet fully healed – if they ever will) and how soldiers are treated as mere bodies to be discarded to resolve conflicts between world leaders.
Near the end of the album, after a display of violence and beauty, the listener is treated to "Orion," Cliff's favorite track (which was played at his funeral). An instrumental piece that showcases the late bassist's full ability as a composer.
Some even call it progressive music, given its compositional technique, melodic nuances, and diverse moods that alternate between heavy, rhythmic moments and very melodic, calm, and ethereal moments, with a highlight being the doubled guitars clearly taken from the classics of Thin Lizzy (one of Cliff's favorites), Wishbone Ash , and Iron Maiden (mainly responsible for bringing Lars into the world of music).
The closing track, “Damage, Inc.”, lives up to its name. The album was truly a lecture on destruction, a sonic cannon that masterfully concludes the album and brings an end to the first (and highly acclaimed) phase of the group.
It's certainly no exaggeration to say that Master Of Puppets is one of the greatest albums not only by Metallica or metal, but by rock as a whole and, why not, by music. An album that was able to bring the sound of heavy metal and thrash metal to a wider audience in an accessible way, even if it was full of hatred and speed.
This is thanks to its very well-balanced melodic nuances, its crystal-clear production, and truly memorable songs, which were clearly intended to be more than just a display of youthful anger and brought all the maturity that years of touring and recording have given the group.
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