DCC Gold discs of Metallica's Ride the Lightning and Master of Puppets. The music and prouction of the discs speak for themselves. Find album reviews, stream songs, credits and award information for Master of Puppets - Metallica on AllMusic - 1986 - Even though Master of Puppets didn't take as.
Battery (5:11) 2. Master of Puppets (8:38) 3. The Thing That Should Not Be (6:39) 4. Welcome Home (Sanitarium) (6:27) 5.
Disposable Heroes (8:21) 6. Leper Messiah (5:42) 7.
Orion (8:27) 8. (5:31) Total Time: 54:59 Line-up/Musicians - James Hetfield / Rhythm Guitar & Vocals - Kirk Hammett / Lead Guitar - Cliff Burton / Bass - Lars Ulrich / Drums About this release Release date: March 3, 1986 Record label: Elektra/Vertigo Producers: Flemming Rasmussen and Metallica Cover Art: Don Brautigam Cover Concept: Metallica and Peter Mensch Mixing: Michael Wagener with assistance from Mark Wilzcak. Engineered by Flemming Rasmussen with assistance from Andy Wroblewski. Thanks to,,,, for the updates Buy METALLICA - MASTER OF PUPPETS music. ‘Master of Puppets’ is without a doubt one of the greatest heavy metal albums of all time. Taking what they started on ‘Ride the Lightning’ and pumping it full of steroids, this takes all the best elements of Metallica's previous album and magnifies it a thousand times over, firmly placing Metallica amongst metal's royalty.
A nice combination of heavy and melodic, ‘Master of Puppets’ mirrors its predecessor very closely, but at the same time it manages to maintain its own identity. Opening track ‘Battery’ is very similar to ‘Fight Fire with Fire’, starting with a nice clean guitar harmony, followed by riffs of complete chaos that'll destroy all your senses. ‘Welcome Home (Sanitarium)’ takes the ballad concept started on ‘Fade to Black’ and pushes it further than anyone thought possible, and ‘Orion’ is a nice eight minute instrumental that can go toe to toe against ‘The Call of Ktulu’ any day. Despite the similarities, ‘Master of Puppets’ shows a band becoming more mature with each release.
The lyrics are even more grim and darker than before, and the song-writing, especially on tracks like ‘Master of Puppets’ and ‘Welcome Home’, shows a band that has developed closer over the years to become as tight as they can be, with Hetfield and Hammett's guitars working in perfect harmony with Burton's bass-lines and Ulrich's (somewhat limited) drum skills. Often cited as the single greatest metal album in history, it’d be hard to disagree. You might be surprised, but I never knew anything about progressive rock or progressive music until 2010.
Yes, after 28 years of listening to various kinds of artists I had only ever heard the term “progressive rock” mentioned by Dr. Evil’s son, Scott, in an Austin Powers movie. But once I understood what it meant to play progressive rock or progressive music, I soon thought that Metallica should be included and the album that made me think so was “Master of Puppets”. I was introduced to Metallica sometime during ‘84/’85 and thought that “Ride the Lightning” was the coolest album I had ever heard since Judas Priest’s “Screaming for Vengeance”. So, when a friend of a friend told me and said friend that the new Metallica album was out and let us listen to the beginning of “Leper Messiah”, I was thrilled and dying to get a hold of the album.
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In fact, for two weeks until I could purchase my own copy, the main riff to “Leper Messiah” refused to fade from my memory. “Master of Puppets” was and is such a wonderful step in the evolution and progression of Metallica’s early music. “Kill ‘em All” was delightfully speedy and thrashy with a rawness that was meant to deliver this new development in metal with full intensity. “Ride the Lightning” featured acoustic guitar and a step forward in music complexity. “Master” proved to be not only heavier but more mature and more sophisticated than its predecessors.
For me, this is the ultimate Metallica album. “Battery” told you right from the start that this was “Ride the Lightning” Metallica with the heaviness turned up and all the fury and intensity still faithfully loaded. But it was the stunning title track that exhibited the band’s song-writing skills at their height. The song is masterfully constructed with an intro to blow you out of the water and a riff that should be one of the coolest in 80’s metal. The song cruises rapidly as you’d expect from thrash but with the balls to keep the pace less break neck enough for you to follow the lyrics, which I have always somewhat proudly interpreted as a song warning of the hazards of cocaine use. Hey, when parents in the eighties were constantly on about how heavy metal was turning their kids to drugs, my friend and I (neither of us ever touched anything stronger than cough syrup and only in the recommended doses) were right proud to point out the meaning of the lyrics. Then there’s this totally unexpected slow down with clean guitar and Kirk Hammett plays this melodic solo that is truly beautiful.