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Bro try 'AI TE WEEKEND' it kinda rock music if u want too...love ur channel btw keep going....❤

So underrated!! I love this song!!! The state champs cover brought me to look up others!!! You’re great dude!!

Hero of the Day in second place SICKENS me

I love the Danzig era Misfits

for a long time, the outro bothered me cause it's too long. now I kinda see it as a part of the story, as mentioned in some of the comments here. well, that doesn't help if and when you listen to the song for the musical aspect of it. not made for everyone, for sure

The Struggle Within C: This song is nicely summarised as "what the hell?!" (according to the song itself). It is really all over the place, and like the last song, the lyrics, and this time the music as well, don't fit the implied subject matter from the title. The marching intro is random, the happy riff before and after the chorus just feel off, and the lyrics are very chaotic. If there's anything really going for this song, it is the main riff, the fierce solo, and the brutal riff after it with the china hits, as well as the fact it ends nice and quickly. 1/4 M: "Struggle within!" is a memorable hook, the main riff is really catchy, and the post-solo riff is really brutal. I think that riff deserved a better song. The lyrics are very busy, and also very fast, so it will take a while for a first-time listener to easily grasp, aside from "struggle within!", which is the only lyric that really sticks, aside from "what the hell!". 2/4 E.R: This song honestly baffles me. The title implies that this song will discuss internal struggles, such as mental health, addiction, or just hopelessness. But the music is very aggressively positive, and the lyrics feel weirdly accusatory, yelling "what the hell?!", calling the listener a "hypocrite" sealing our own coffin. For me, the lyrics and music feel like a complete mismatch, positive music about a serious subject, sung in an unfittingly aggressive tone. It has some great riffs, but this song feels not only like filler material, but also a really confusing and confused song (even more confusing than the song literally titled "Confusion" XD). 1/4 I: The main riff is really fun, and the high-hat hits on the off-beats were cool. The entire solo was a blast, and the post-solo riff is a headbanger. It would have been nice if it came back in the outro, or even if it was the main riff. But the transition to and from the choruses is a bit clunky, and the marching intro felt like a throwaway novelty for the song, not really having any relevance to the rest of it. I think the music would have suited a different subject, as it is mostly really fun, and a nice fast song to end the mostly mid-tempo album on. 2/4 L: This song at its core could just be challenging people who are struggling internally to stand up for themselves. Maybe it is meant to be uplifting, forcing people to reach out for help, or "what they must feel", and let go of any bias or fear holding them back, or "what they thought was real". That makes sense. But these lyrics' tone is really offputting. I don't like how "hell" is used to rhyme two lines in the same paragraph. "Home is not a home, it becomes a hell" and "While you struggle inside your hell". I also don't get the lyric "kicking a head horse pleases you". ??? It feels like Kill Em All-era Metallica's attempt at making a supportive or uplifting song... and still sounding angry and macho. 1/4 Score: 7/20

My Friend Of Misery C: I think this song is a little limited by the V-C-V-C-B-C formula, and would have benefited from being an instrumental, so it could explore the moody and melancholy feelings it very nicely depicts a little more. I feel like the verses and chorus spoil the song. They feel too positive, almost uplifting, over depressing music, which doesn't quite line up for me. Jason's bass lick is brilliant and sombre. The weird solo, and the main solo after it are really powerful. But the outro sat on that chorus riff for way too long, and I feel like it forgot Jason's bass lick, and could have come back to it, or introduced a different riff. 2/4 M: "My friend of misery" is an anthematic hook, and it is nice to see "misery!" and "misery loves company" return in Inamorata from 72 Seasons. The bass line, main riff, and solos are really memorable. But I am not quite as sure about the verse. 3/4 E.R: I honestly feel a little underwhelmed by this song, and it's mainly because of the lyrics. Musically it is really gloomy and potent, though I am split about the chorus riff. The lyrics just feel unfittingly anthematic. The chorus had more of a sports team's anthem rather than a chorus of a gloomy and serious song. Yes, if one is feeling low, that is nothing to be ashamed of in itself. But the lyrics' tone seems to celebrate being miserable as a good or cool thing, rather than a serious but escapable feeling, and encouraging the listner to break free from that misery. 2/4 I: I think this song would have been an excellent instrumental, as it would not be limited by having to follow a verse-chorus structure, and Jason's bass line would really shine. I believe this song was initially set to be the Black Album's instrumental, but had lyrics added to it. The first solo's guitar tone reminded me of a synth, or even a keytar, but it was still pretty fresh and cool. The second solo was really powerful. I am torn about the chorus riff, as it feels a little optimistic, and doesn't quite suit the rest of the song's sombre tone. The "crying guitar" right before the first solo is really cool as well. It is better instrumentally than lyrically, aside from maybe the chorus riff, which didn't really need to be the outro riff as well. 3/4 L: Lines such as "the empty can rattles the most", "misery loves company", "these times are sent to try men's souls", and "there's much more to life than what you see, my friend of misery" are really potent. But the rest of the lyrics don't really say all that much. It's not that they are bad, but they just don't really hit hard, or feel like they really relate to the subject. "One man's fun is another's hell" feels a bit out of place, and "only hearing what you want to hear", and "only knowing what you hear" sound like lyrics from a song like Leper Messiah or The God That Failed, and don't sound very supportive or understanding. I think the song might be about someone who takes on too much in life, and feeling crushed by the pressure of it all. Something similar to Atlas Rise from Hardwired. It could also be talking about feeling ignored, or poorly understood, which is a major problem for discussing mental health, especially for men. It is an important subject, just not quite the right words to express it. I feel like this song could have either had slightly stronger lyrics, or been left as an instrumental. 2/4 Score: 10/20

The God That Failed C: This song is simple, to the point, and really potent, despite being mainly V-C-V-C-B-C. The verse riff is extremely heavy. It's nice to finally hear Jason some time to shine, instead of being buried beneath the guitars. I will admit the outro is a little hit/miss, and the constant triplet fill started off cool, but got old over the course of the song. The "tom-version" of the riff toward the end felt a bit random, and repeating the second half of the chorus didn't feel necessary. 3/4 M: The harmonies in "I see faith in your eyes!" are really effective and memorable, as is the main riff, verse riff, and the solid solo. I think the hook would hit better if the drums emphasised it with a stop on the drums, then "follow the God", a little pause, and then "that failed" on the and-one when the main riff comes in. Otherwise, fairly memorable. 3/4 E.R: I don't really listen to this song very often, but I have a new appreciation for it now. I'm pretty sure it is extremely personal to James, and it would be nice to hear it live more often. I will admit the outro and the triplet fills are a little meh, but overall, The God That Failed is quite impressive. 3/4 I: This song is heavy both in music and subject matter. It's really nice to finally have a song in the Jason-era open with a clear and aggressive bassline for a change. The verse riff is brutal, the chorus is potent, and the solo screams with anguish and frustration. However, I think the second-half of the chorus did not really need to come back in the outro, and the "tom-version" of the riff felt a bit odd. Most of the song resonates well, but there are some iffy instrumental moments, mainly Lars's constant triplet fills. 3/4 L: I'm pretty sure this song would hit hard for those with right-wing, or exceedingly devout parents, such as James. The song far too accurately summarises the pain of having to cope with someone so blindly faithful, they permit their own fate. People who deny medicine which would save them, labelling them "evil", is incredibly hard to understand. But it is harder still to watch as such beliefs take their toll. I think the reference to Jesus's crucifixion could also symbolise any helping hand, including those of doctors or relatives, is held back, crucified even, by the subject's simple faith in a higher power, more than in reality. Extremely strong, potent, and personal lyrics. 4/4 Score: 16/20

Nothing Else Matters C: This ballad is definitely more emotional than thrashy, but it is a great example of Metallica's willingness to explore and try different approaches to songs. The repetitiveness is noticeable, but I don't think it is a mark against the song's potency and appeal. The intro alone is extremely anthematic, and the blistering solo at the end hit home. 3/4 M: Having "and nothing else matters" at the end of each verse makes the title memorable, along with the choruses being very chantable, and the masterful solo bringing everything home. The intro is a classic example of an effortless riff to learn, making it accessible to any level of guitarist. 4/4 E.R: The song may be a little light on meaningful lyrics, but the music, and the atmosphere it generates is really potent. Not that the lyrics are bad, but this song or My Friend Of Misery would have made great instrumentals. 3/4 I: The guitars are doing a great job, but I will admit I am unsure about having the very upfront and loudly mixed drums playing throughout the song. I think it would have been cool if there were no drums from the intro, all the way up to the third verse after the first chorus, and even then, it could be kick-sidestick-kick-sidestick, turning to the snare just for the choruses. It also would have been awesome if Lars turned to the crash cymbals just for the solo, to add a real heft and size to that section, instead of staying on the high-hat, like he does for most of the song. Not that the drumming detracts from the song that much, but it would have been nice if the drums gradually built up, instead of hovering at the same level throughout. The solo is really uplifting and resolute, and the orchestra is a nice touch, almost a precursor to S&M. James's voice is definitely a standout on this song, as it is more balanced, adding in the grit when it matters, adding emphasis and weight. Great work. 3/4 L: The song sounds like someone far away comforting a loved one, that they are still close together, and strong, no matter what comes their way. It could be the band talking to their loved ones while performing around the world. It is a really personal and mature song, and suits a variety of situations. At least the lyrics are delivered differently each time a verse comes back, as opposed to being copied and pasted, unlike a few later songs. But still, it would have been nice if the song was either shorter, or more lyrics were added. Maybe the song could have skipped the third verse and second solo entirely, and only had two choruses. But despite the repetition, this song is still a legendary piece by Metallica. 2/4 Score: 15/20

Through The Never C: This song is virtually perfect. Yes it is V-C-V-C-B-C, but it has a real energy to it, loaded with catchy and heavy riffs, and an interesting subject, about space, time, and existence itself, which is very rare for Metallica, let alone many other metal bands. It took a while for this one to be a favourite. But this song has grown on me overtime, and it would be great to hear it live more often. 3/4 M: The main riff is super memorable, as is the stops in the intro, the hook emphasised by the drums, "twisting turning through the never", and the anthematic break after the solo, with the mighty toms, and the echo of "on, through, the, never!". Really effective, and efficient, without being too long or tiring. 3/4 E.R: The song's overall heft and groove really sell it. The choruses, solo, and the "on! through! the! never!" section are really awesome, and pick up the pace from the previous songs. I will admit the hits right before the solo section did throw me off initially, but I have gotten used to it, and it doesn't feel as janky as some of their previous songs. This song has since become a favourite. 3/4 I: This is another song heavily dependent on one riff/idea, but it nicely varies up the riff enough to keep it interesting and fresh, and each section doesn't drag on too long. The main riff is a real headbanger, and the solo is among the best on the album for me. 3/4 L: Space is a very unusual subject for a band like Metallica, but the unknown beyond Earth, questions like "are we alone in space?", and time itself are fascinating and terrifying. It is a much more serious and real subject than just Phantom Lords and Metal Militias. These lyrics are also well-crafted. "All alone in the family of the sun, curiosity teasing everyone, on our home, third stone from the Sun" is one of the best lines. 4/4 Score: 16/20

love this song ❤ such a unique group the only line i dont get is Oh Turpentine erase me whole ?? 😮 does it fit ?? but love the harmony ❤

Don't Tread On Me C: This song just feels very "we're America, don't mess with us, or we'll mess you up!". I can imagine this song being a theme song for Republicans or right-wing politicians nowadays. It's nice and short, so at least it doesn't go on for too long. The main riff is very menacing, the main solo is very neat, but overall this song has some explaining to do. Mainly who's idea was it to include the West Side Story reference in there, as well as the telephone voice effect over one specific lyric, the odd note choice for the chorus, and the battle between the repetition of the first verse and another solo right in the middle of the final chorus. ??? 1/4 M: The hook emphasised by the drums, and the main riff are immediately memorable. The verse and the chorus aren't quite standouts. I think the main solo was alright, but not quite a standout. The harmonies in the choruses are nice, as well as the riff before and after the chorus with the tom-roll. But as a whole, this song is weakened by its shallowness. It could be deliberate, making fun of people who have the "America is greater than everybody else" mantra and take it way too far. But it feels more like it is supporting it, and also just doesn't appeal overall as a song. 2/4 E.R: I feel like there are some good riffs in this song, I like the menacing groove of the main riff and verses. But the West Side Story reference, the singularly light-hearted chorus, and the first verse accompanied by the lead guitar in every pause really weren't necessary or great. I wish the song had deeper lyrics, or had another subject. The music is mostly great, but the lyrics are too hokey and confrontational to be cool to a listener who just wants to jam to a heavy song, and not contributing to the sterotype of Americans being grossly over-patriotic. 2/4 I: The music is fine, being really heavy and dark, but the song is spoiled by the lyrics. The transition from the solo to the final chorus felt a tiny bit longer than necessary. Also the lead guitar didn't have to fill up each space in the first verse, which didn't have to come back. The extra beats in the solo were a nice change, but not entirely necessary, or enough to really make the song. I also think the song could have ended with the guitars emphasising the final time through the hook, as it feels a weak ending to this big, loud, heavy song to end it with just the drums and vocals. It worked the first time before the solo, but not quite for the end. But that's just my two cents. 2/4 L: You can be proud and passionate about your country, but not so much that it is your entire personality, and America is far from the best of all nations. It has its historic problems, many of which remain ignored, poorly addressed, or deliberately amplified, and options to properly resolve them are becoming fewer and fewer. I would understand it a lot more if the band were making fun of America's obsession with itself, and generally taking patriotism too far, and using it to justify being needlessly violent, confrontational and macho. But the song sounds too much like it is in support of this mantra. I'm also not quite the biggest fan of the line "to secure peace is to prepare for war". Peace can be achieved WITHOUT war, and not everything is achieved by war, aside from any chance of ever ending that war getting destroyed. Oh wait, a score. Americans, you can make great songs about your country other than JUST about your country. 1/4 Score: 8/20

Wherever I May Roam C: This song is V-C-V-C-B-C at its core, but it is inventive in terms of using Middle Eastern instruments for the intro, and the main riff is definitely really cool. It also slightly breaks the formula by adding another chorus right before the solo. The whispering, then singing of the first line of the verse, and the bass sound are also really neat. Overall the song works as a unit, but I feel like the song could have gone straight from "call me what you will" to the chorus, without coming back to the main riff, a few transitions feel a bit off, and the outro feels a little long. 2/4 M: The intro, main riff and hook are really memorable, though the verses may take some time to learn for a first-time listener. I'm surprised they bothered changing "I'll redefine anywhere" so many times, as I think that line would have worked fine, and would have been more easy for the band to remember if it was kept the same. 3/4 E.R: I don't really listen to this song as religiously as others may do, so I am not as drawn to this song as other people. It does have some cool elements, but it does feel ever so slightly too long, and some transitions slightly bug me. It's not that it is bad, it's just not as instantly appealing as some of their other songs on this album, and beyond. 2/4 I: The entire intro is really creative and unique for Metallica. The main riff is really cool, and Lars's quick drumming throughout the choruses, as well as the brief double-kick after each repetition of the riff is picking up the album's pace. I do think the outro slightly spoils it, as it drags on a little, and Kirk is merely repeating a lick from the solo over and over, which didn't really need to come back. 3/4 L: I first heard "under wandering stars I've grown" as "under wandering stars I groan" XD This song is possibly a more mature callback to Hit The Lights or Whiplash, talking about the band being able to freely wander the world and perform, having no roots to pull up. It talks more about the freedom of choice that is so important to many people, especially Americans. The way James says "I ask no one" sounded a lot like his Ride The Lightning-era voice to me. The lyrics are well-written, with great lines like "only knowledge I'll save", and "my body lies, but still I roam". Even if death cuts short one's adventures, the desire to roam and live free is still strong, and will live on beyond. 3/4 Score: 13/20

The Unforgiven (1) C: People who say Load and Reload have a country feel should have been warned by this song, as the entire intro screams Western or country feels, not that it is a bad thing. This was one of my first Metallica songs, and that solo is just phenomenal. This would be the perfect song for a Western movie, along with Nothing Else Matters, Bleeding Me and The Outlaw Torn. It is admittedly fairly simple, V-C-V-C-B-C, but it uses its riffs tactfully, and aside from the outro, it doesn't drag on too much. I wish it faded out a little quicker though, as the outro is a little unnecessarily drawn out. 3/4 M: The intro with the horn is immediately recognisable, and the clean chorus is really anthematic. I wouldn't call the choruses immediately memorable, but they are slow enough to chime in on, and they don't say too much. The chorus is also really memorable because it is repeated in the outro. The guitars are doing really well, but I personally believe the various drum fills, and repetitions of the chorus weren't really necessary, as it drags the song out a bit. It is overall memorable, but the outro isn't quite favourably memorable because it goes on for so long. 3/4 E.R: This song really sets a dark, lonely, introspective tone, which is markedly different from most of their songs up until now, which makes it very unique, mature, and real, compared to blindly yelling about blood and thunder, like some of their previous songs. The solo really nicely symbolises anquish, pain, and determination, and James's singing is really solid. I guess the only thing preventing it from being perfect is again the outro. 3/4 I: I'm pretty sure the clicky things are meant to be castanets. I could be wrong, though. The song has only a couple of main riffs, like the clean intro riff, which is also used for the chorus, and the verse riff, which is done slightly differently for the solo. But the song doesn't overuse those minimal riffs (unlike almost all of St Anger), and adds plenty of content and changes over them to prevent them getting too boring or repetitive. My only problem remains the outro, as it is long, and chorus has already been stated, and doesn't need to be echoed so many times, while Lars adds various cymbal and snare hits. 3/4 L: This song tells the beginning of a famous metal trilogy, of a man (possibly James...?) who is being pushed around by everyone ("new blood joins this earth, and quickly he's subdued"), and feels worth less than everyone ("he tries to please them all, this bitter man he is"). He vows not to be broken by these conditions, but he will never forgive everyone for abusing him, and potentially will never be forgiven by his peers for being, as they may perceive him, a failure. These lyrics are exceptionally well-crafted, thought-through, and potent. They could be from a book or a movie. 3/4 Score: 15/20

Holier Than Thou C: Yes this song is V-C-V-C-B-C, but it is an effective formula, and the song doesn't overstay its welcome, unlike a fair few songs they have written before and since. Admittedly, I have not really listened to this song all that much, but I do like the main riff, its potent lyrics, and how it picks up the pace from the previous two tracks. The only big complaint I have is the weird snare-hit section right before each verse at around 2:58. That broke the otherwise smooth flow of the song for me, and feels a little out of place. Otherwise, not a standout, but still fairly solid. 3/4 M: The intro and main riff are my favourite parts of the song, and are instantly memorable. The chorus is super easy to remember. It is great how quick and succinct the song is, not dwelling on one riff for too long, and no section felt too long. I think it would be nice to hear this song or Through The Never instead of Enter Sandman or Sad But True on the radio every so often. 3/4 E.R: I feel unsure about this one. I generally like some elements in the song, like the fierce intro with the distorted guitar/bass, the main riff, and lyrics. But the snare-hit section right before each verse always mucks up the song's flow to me, and prevents it being an instant favourite. I also feel like either the high-hat or guitars are slightly lower in the mix compared to most of the other songs on this album. Not sure, it could just be my brain being gelatin. 2/4 I: The riffs are awesome, but a couple of transitions feel slightly off, and the snare-hit section could be dispensed with. The main riff has an addictive groove, the riff beneath the solo is really awesome, and the song is otherwise really jammable. The solo felt a bit short to me, but it was still fun. 3/4 L: These lyrics are still true today, where people nowadays are being judgy jerks, speaking before thinking, and often thinking they are in the right. It is very unfortunate how perfect these lyrics sum up some people, such as "you lie so much, you believe yourself", and "others' lives are the basis of your own". It can mean merely nosey and judgemental people, but it could be an equally perfect song to summarise politics and social media, where pre-judgement and bias always create a negative and toxic environment for people, whether through biased policies or biased echo chambers (like Twitter). Oh wait, the score. 4/4 Score: 15/20

Sad But True C: Like the previous track, this song is textbook Metallica, V-C-V-C-B-V-C. I really like this song's story, with the big reveal at the end. It is simple, but effective, and the pauses don't last too long to feel noticeably awkward, or add to the run-time. I appreciate how Lars's fills aren't repetitive, but not too overpowering, keeping each verse and chorus different as well. 4/4 M: This song is memorability itself, having an echo after each word that the audience can effortlessly pick up on, and repeat after James, or even the other way round. The main riff, stops, and the hook are super easy to remember. Even the variant of the chorus after the solo is memorable, and the big reveal in the end is super rewarding. I was baffled when You Must Burn from 72 Seasons spoiled the twist in the second chorus instead of the third and final chorus, which this song, and most of their songs with twist-endings typically do. 4/4 E.R: This song is devastatingly heavy, but it is not really energetic or thrillingly fast, which some Kill Em All-era fans may prefer. It may also become tiring overtime to hear it at every single live show, knowing there are many other songs in Metallica's catalogue. But this song still has an appeal and groove, and works much better than most of the Kill Em All songs. It is still fun to listen to, but it would be nice if this song was played less often live. 3/4 I: The mighty main riff, verse riff, chorus riff with the backing guitars, and the drumming are all solid. It would have been nice if the bass got to do something, but the song is still great. One could argue the second solo wasn't really needed, but it's not a detractor. 4/4 L: Lyrics that subtly change over the course of a song are just the best, switching the perspective or subject, but keeping the flow and pattern. This song is a sublime example. The first verse states "I'm the one who takes you there" and "I'm the one who cares". The song is saying it is the listener's friend, and worth trusting. The second verse states "You, your my mask" and "you're the one who's blamed". Now this self-proclaimed "friend" is merely using the listener for its own gain, treating it as a mere puppet (reference fully intended). The final verse changes to "I'm the one who took you there" and "I no longer care". Now the song is done with the listener's protests, and is about to ruin them. To cap it off, the song reveals it has been your inner true self the entire time, taking over your personality. This song could be about schizophrenia, bipolar, or even some sort of disassociative disorder. Really well written, without any shock-value lyrics or odd word choices. 4/4 Score: 19/20

Enter Sandman C: This was my introduction to Metallica, along with The Unforgiven, Nothing Else Matters and Until It Sleeps. From beginning to end this song is a unit, lacking any weird or unnecessary sections/transitions to complain about. Yes, it is V-C-V-C-B-C, but each chorus's ending is different, and the riffs aren't as annoyingly repetitive as in other songs. I would also say the dynamic between the band is much better than on And Justice For All. Jason's bass tone is nice and clear, which for me indicates the band's relationship with him is much better than on the previous album. 4/4 M: That main riff is the core riff of the song, but it is expanded upon enough to keep the song sounding fresh and interesting. Unlike some Metallica songs, the intro and outro do not drag on too much, so the song is kept nice and succinct. The prechorus and chorus are super easy to chime in on, and the stop on the drums for "off to never-never land" makes it easier still to remember. The solos are really fun. I'm actually surprised they used the album recording of the "now I lay me down to sleep" live part, rather than a call-and-response. It is annoying how out-of-time it is, and how they have kept it this way. But this studio version is super memorable. 4/4 E.R: This song is the perfect jam, with a great balance of dark subject matter, and energetic but not unfittingly "happy" music, unlike Trapped Under Ice. It still feels like an eerie, almost creepy song, but not unappealingly so, with a fun and appealing groove. It would be nice if a different song got its chance to be played live, and give this one a break, but it's still fun to listen to. 3/4 I: The clean intro riff on its own with the high-hat hits, then the toms and bass, then the distorted guitar does a slightly different version of the riff, then builds into the main groove. The entire piece is quick, fun, and makes really good use of its fairly minimal riffs, without getting too boring or clunky. I would say Dirty Window from St Anger is another song heavily dependent on one riff, but works almost as well as this one (aside from the "I, I, I" section). 4/4 L: This song discusses the topic of nightmares, or maybe even just the chaotic roller-coaster ride of dreams in general. I believe the Sandman is not quite the monster in this song, but possibly the relief from the nightmares, maybe even equivalent to the Sun's light. "Keep you free from sin, till the Sandman he comes" sounds more like we are waiting for the Sandman to rescue the subject from danger, rather than the danger itself. The lyrics are succinct and flow well, not too elaborate, and not too shallow. I really like the line "and never mind that noise you heard", and the delivery of "in your closet, in your head!" is really chilling. 4/4 Score: 19/20

all of us who followed even part of this series of metallica videos at the very least likes the band but of course we know that some albums suffer from odd choices , like the whole st anger sound or magnetic's loudness so my personal recomendations for those who are truly bothered to the point of not being able to enjoy the songs to search for the fan remasters , of course those don't have place in an award ceremony such as this one , it would be like cheating but "...and justice for jason" or "...and justice for all (WITH REAL BASS)" bring back that oh so missed base to my favorite album for the other infamous sounding album , st anger there are 2 versions made by fans who deserve all the credit in the world those are stanger 2015 and St.[b]Anger , the former is a full album performance with minor deviations for the betterment of the songs and the second is a one man project with , shorter songs , better instrumentations , solos added , harmonies where there weren't before etc etc In my opinion it makes st anger a fantastic NU metal / metalcore album and for death magnetic there's alway the guitar hero 3 versions that are just the OG's but less compressed or for a more alternative project , the remixes of andy khairat are as loyal as they come to the original feel but revitalized in a unique way that are at least worth a listen

Dyers Eve C: FINALLY a high-energy AND refreshingly well-crafted song! Yes, it is almost V-C-V-C-B-V-C, but it is nice that the song did not do the chorus a third time through, as cool as it is. It nicely breaks the pattern we are used to from most Metallica songs, but not enough to make the song too clunky. This one is a blast from beginning to end, feeling like a functional unit, which seamlessly slips from one section to the next, is brimming over with aggression and variation, and could have been a brilliant first-track for the album. A seismic improvement on the previous songs. 4/4 M: Admittedly the song lacks a more potent "a-ha!" moment, but the pure ferocity and venom in the track make it immediately iconic as one of metal's most aggressive songs. "I'm living blindly" is the closest the track comes to a hook, which still works for me. The intro with the hits is super aggressive and fun, though the song could have had a slightly stronger ending, as it sounds like James's voice gets abruptly cut off at the end. Still great. 3/4 E.R: When a furious and energetic song is called for, this is among the very first songs I put on, as it perfectly captures what St Anger's songs failed to do. It is quick, aggressive, not reliant on a boinging snare drum to sound angry, and varies and switches up. It prevents the song getting boring, and is devoid of any weird and unnecessary sections, which end up being the only reason (other than the snare) that people remember the song, mostly in a bad way (ooh, what a good boy, for starters). This song is peak classic Metallica. 4/4 I: There are so many rapid switch-ups, changes, and is charged with emotional and instrumental aggression. Lars's drumming is on fire. I also really like how he initially uses kick+china cymbal at the end of the first chorus, then double-kick on the crash cymbals, and then switches it up to kick+crash cymbal, then double-kick on the china at the end of the second chorus. Full applause for subtle, but powerful changes. The ferocious main riff, its variants, and even if the tom fills in the intro were merely added in later on, they still sound really cool. As awesome as the song is, there is a version by a channel called "Dark Tunings", which is mixed far better. The song is basically the same, but its lower in pitch, the bass is really prominent in the mix, and the guitats/drums are mixed better. Makes the official track sound very hollow in comparison. 4/4 L: James poured his heart out on this one, undoubtledly addressed directly to the parents who abandoned him, or poorly prepared him for life ahead. I also imagine grief from Cliff's death, his anger against himself for taking to alcohol, and "undying spite" to the world in general bled into this song. Lines like "clipped my wings before I learned to fly", "lived my life through you", and "do as I say, not as I do" hit hard. This is an anthem for anyone in an abusive household/relationship, to keep them angry, motivated, and the perfect let-out for any aggression. I also like how the song, despite blasting the mother and father, calls out for them, as any child would still do, when nowhere else, and no one else, is coming to their aid. These lyrics are heavy and potent, but it is admittedly missing a solid hook. 3/4 Score: 18/20

To Live Is To Die C: Of all Metallica's instrumentals, it contains some good riffs from Cliff Burton, and the poetry is really nice. But easily the best parts of the song are the acoustic intro/outro, and the bridge section. The main riff of the song, even if it was written by Cliff, feels like it was seriously overused in this piece. I can see why, as it may depict the agonising trudge through life. But it makes the instrumental far too slow, and swallows up a huge chunk of the runtime compared to the brief bridge. Even Suicide and Redemption, a piece just as long, does more, and doesn't sit on one riff for an agonising period as this one does. The hits randomly fading in, and the cymbal mutes fading out also don't appeal. They make sense with the illustration of the abrupt brutality of life, but it feels weird having the acoustics at the end return, then getting rudely cut off, then going straight into the next track. I feel like this song would have more impact if it made better use of Cliff's riffs. It seriously did not need to be 10 minutes long. 0/5 M: The main riff is immediately memorable, as it is repeated for at least two thirds of the song. The acoustic intro, as brief as it is in the beginning and end is really beautiful. I wish the piece made more use of it, gradually becoming more distorted and aggressive, as opposed to going from a peaceful, acoustic riff to an excruciatingly long and boring main section. The clean bridge section is really potent, but it feels like it takes way too long to get there, and is quickly abandoned in favour of the boring main riff way too soon. The poetry would have had way more impact if it played during the isolated clean guitar, instead of being almost drowned out by the loud and slow main riff. 2/5 E.R: The acoustic bookends, the clean middle section, and most of the solos/leads/harmonies are really powerful, and speak of the band's grief, pain, and resolve to carry on in Cliff's honor. But that main riff really pulls this song down. Not really the riff itself, but how heavily it features throughout the piece, making it feel incredibly slow and depressing, but not quite in an appealing way outside of a depressing situation, such as the loss of a loved one (eg Cliff). There are Metallica songs that fit a moment of grief (eg this song, Fade To Black, Orion, etc), or rage (Battery, Dyers Eve, Hardwired, etc), or energy (Hit The Lights, Fuel, Too Far Gone, etc). They could even fit outside of those moments, and are great to listen to casually. This song lacks that flexible appeal. It takes way too long to get to the clean bridge, and the main riff takes up a gigantic portion of this track, and makes it challenging to enjoy while listening to outside of a moment of grief, where it would be appropriate. I think this piece could have been condensed to 6-7 minutes, and would have been worlds better. 1/5 I: The slightly faster riff relieving the main riff is really good, but I wished it got its own section, rather than serving as a "relief riff". The other relief riff is really weird, as it doesn't really suit the song. It feels like, with some modification, it would have been a nice main riff for another song, rather than a random brief section. The other thing which bothers me about this track is Lars is using the high-hat almost throughout, and that only adds to the agonising slowness of it. I think Lars could have used the crash cymbals for the main riff, to add some size and heft to it, as opposed to just the high-hat, which feels small and insignificant. It is also interesting to note that although this instrumental is paying tribute to Cliff, it scarcely allows any bass moments for Jason to pay fitting homage to him. This song, let alone this whole album, should be a chance to showcase Cliff's talent and memory, and instead of that, the band mute the iconic instrument, which, thanks to Cliff, contributed to making them famous. I still enjoy Metallica through and through, but I don't know how they could have lived with themselves after that. It is great to see James taking accountability for their actions to Jason, and seeing some old wounds at last healing. Instrumentally this song does contain some great riffs, but the whole piece feels like it could be rearranged into something more concise, and even more potent, using Cliff's riffs in a slightly better way, to create the masterpiece this track may be to many, but is not quite to everyone. 2/5 Lyrics: I personally think Cliff's poetry, as fleeting as it is, still matters, and it is sweet to hear James read the poetry along with the song. But I wish it was read during the clean part of the bridge, not drowned out by the main riff. 0/5 Score: 5/20

The Frayed Ends Of Sanity C: A typical V-C-V-C-B-V-C structure, so once again pretty standard. Overall this song is pretty meh. It has some great riffs, but it is let down by some hit/miss lyrics, messy transitions, and feels like it is way too long and repetitive. I understand why some people may find it awesome, as the riff right before the solo is awesome in itself. But it feels like it should have accompanied the solo, rather than get in the way of the solo, as it felt like it did. Overall, this song doesn't really hold up well. The intro is really long and hokey, the main riff is pretty repetitive, and most of the song's drumming is on the high-hat, without many appropriate variations or changes to break the monotony. It's not abysmal, but it is miles down the list of great songs in Metallica's discography overall. 1/4 M: The main riff is memorable, largely because it is repeated so much, and the chorus's use of the cymbal mutes really make it easy to remember and chime in on. The riff right before the solo is really crazy, and the solo itself is largely awesome. The riff afterwards, and the outro section were great as well. But overall none of this is enough, for me, to counter how long, clunky and uninteresting the song in its current state is, compared to say a 4-5 minute version. Because it is long doesn't automatically mean it is great (looking at you, most of St Anger!). There are some bits that are memorable, just for not being really memorable for good reason, such as the lengthy wait for the abrupt transition into the final verse. 1/4 E.R: I think this song could have been much more, with a lot less. The song is quite long, just like most of ...And Justice For All, and you can feel the runtime going by gratingly slowly. If the song is meant to be an illustration of insanity, it does that, but not in a really enjoyable, repeatable way. Songs can depict states of mind, without having to be over 7 minutes long, and taking way too long to get from one part to another. It has some great riffs, James's vocal performance is good, but the overall length and clunkiness of the song and weird transitions just don't make it a favourite. 1/4 I: The intro would have been a lot more menacing without the vocals, as they are quite hokey. I prefer Wreck-It-Ralph's parody of that Wizard Of Oz scene, with the "oreo, oreo". The main riff could have alternated between straight and half-time to feel more broken and unstable, as well as making the song less boring, and feeling slower than what it is. The bridge could have benefited from taking less time to get to the solo, and Lars could have used the china cymbal or crash cymbals to relieve the high-hat, which is doing most of the work in the bridge. The verses are cool, the sections with the gang vocals are awesome, and the chorus is great. The crazy riff right before the solo could have debuted at the same time as the solo after the drum-fill, as it felt like the riff was interrupting the solo. The riff itself isn't the problem, as it is fittingly heavy and aggressive, but it would have been cooler if the solo and the new riff came in at the same time after the agonisingly slow and repetitive build. The song also took way too long to get from the solo to the final verse, and as great a relief as the ending section was, it was also a little messy. The song gets points for having great instrumental material, just needlessly looped, stretched and messily arranged. 2/4 L: I'm not sure if this is accidental, or possibly not even the case, but I like how James's voice feels smaller and further back in this song, and there's almost a slight echo to it. It feels like internal dialogue, as opposed to sounding direct and upfront, like in most of the other songs. I think the band, like many people in the 80s, demonised mental disorders like dementia or schizophrenia to be more unthinkably horrible than they really are, simply because nothing was understood about them. This song is a victim of its time, where healthcare, especially mental health, was needlessly blown out of proportion as being something to fear and confine, rather than understand and help. Not to say that entirely justifies the song enough to enjoy it. This song is clearly about someone descending into madness, and could be compared to All Within My Hands. I do like some of the lines, such as "now the candle burns at both ends", which sounds like an incredible title of a horror movie or book. "Old habits reappear" suggests this person may have been seeking therapy, but the possible mental and/or physical trauma are starting to regain control. "Hell is set free" feels a little basic. I can picture this song on Kill Em All. They have definitely written worse, but also much better. 2/4 Score: 7/20

You say go right before going into something big...like the best riff on tue album and one of the best James ever wrote. It's pure Metallica.

I have always thought the lyrics were: "When new creature rips your face". But then i looked at the lyrics after he said that he wouldn't say the word. And then i realised. Classic Misfits🖤

Super dope video man

Harvester Of Sorrow C: This song could be argued as a little boring, as it is V-C-V-C-B-V-C, but it does have some heavy riffs, and the lyrics are mostly solid (aside from the infanticide). I feel like the transition into the final verse could have been a bit tidier, and the section leading up to it with the tom hits feels a little janky. Overall, though, this is still one of my favourites from the album, along with One and Dyers Eve. 3/4 M: The clean intro riff, the distorted version of it, the main riff, verse and chorus are fairly memorable. The solo may be hit/miss, but I personally think it suits the song. It is not spectacular, and seems to end a little abruptly, but it still works. I do like the rhythm section after it, changing up the chorus riff, right up until those tom hits, which for me broke the song's flow. It's memorable, and mostly transitions better than Shortest Straw, but it still feels a little clunky, and I also don't know how I feel about the transition into the final verse. 2/4 E.R: I like the steady, heavy durge of this song, as it is slow and heavy, but not way too slow, unlike To Live Is To Die. The lyrics are mostly well written, and the riffs are menacing. The haunting vocals in the intro are very unique, as they have a supernatural feel to them. This song could be about the Grim Reaper, or some supernatural entity. But it doesn't feel quite as hokey as Phantom Lord, and feels more realistic, as it could be about a dangerously mentally unstable person, rather than a mythical legend. The mention of "infanticide" does knock the song down a peg, but otherwise, this song is really menacing and cool. 3/4 I: The riffs are very slow and steady, and the clean intro really sets the mood. It is nice to have the powerful toms emphasising the distorted riff, and the creepy vocals, as unnecessary as they could be deemed, are a nice touch. It would have been even nice to have bass. The toms during the section right before the final verse, and then the weird pause leading into it do slightly mess with the otherwise steady flow of the song a little. I also appreciate how almost every time the snare build-up before and after the chorus is slightly different each time. The kick may be on each measure, or on the off-beats, or maybe there is an extension of the riff, such as right before the solo. Really creative. 3/4 L: Of course, "infanticide" didn't need to be in the song, as it feels very uncalled-for. It feels like the word is just there for shock value, which doesn't add anything to the song, and it is just gross and unnecessary. The song already clearly paints a picture of an evil and senseless person benefiting from people's misfortunes, and the song would have been perfectly fine without needing to literally expand on it. Master Of Puppets for example does not literally state any specific drug, but nicely symbolises drugs in its lyrics. I think it would have been weird if at some point Master Of Puppets specifically mentioned "cocaine" or "heroin". Battery and Damage Inc describe senseless violence, without mentioning a specific type of violence, especially against any specific group. It's like "this window clean inside, dirty on the out" from Dirty Window from St Anger, explaining its metaphor in one lyric, which is the whole song's job to explain, not just one line. Besides, we know how windows get dirty, Metallica! We have eyes (eye, eye, eye, eye)! It could be about someone who has lived a life of abuse, now putting that abuse onto others. "I loved, turned to hate" implies the singer was not like this before, but maybe became violent and spiteful from potentially a rough upbringing, or general mistreatment in life. It could also be said the song is slipping into the whole "I'm very macho and aggressive, and violence is cool!" trope, possibly a callback to Kill Em All. People in the comments can argue all they want, but that singular word spoils the song lyrically, and just attacking and berating Bryce over it is just sad and pathetic. There are better words the band could have picked to illustrate what the song is stating, and the song would be perfectly great without it. It's not that big a deal. 2/4 Score: 13/20

The Shortest Straw C: Right after One, we go straight back to a plain old V-C-V-C-B-V-C structure. Woo-hoo. This song overall feels needlessly clunky, it's 1-2 minutes too long for my tastes, and, to me at least, it is ruined by the straight-beat section after the choruses. It just adds to the runtime, and makes the song feel slower and longer than it needs to be. The hits in the intro, the chorus riff, the weird main riff, verses, and the build-up in the bridge all sound awesome and work well. But overall this song is far from perfect, and feels like a let-down from what it could have been. 2/4 M: The straight-beat section is good for the audience to chime in on, but for me it stretches the song out, and the interrupting voices get annoying after a while. Most of the riffs are really memorable, and the lyrics are mostly great. Emphasising the title with the cymbal mutes makes it really memorable, as well as having it at the beginning and end of the chorus. But there are some clunky transitions which don't really work, the solo section is a bit messy, and the ending could have been much quicker. 2/4 E.R: This song feels like such a downgrade from One in terms of transitions and flow. Most of the riffs are awesome, but the way the song is put together doesn't flow well, the solo section is hit/miss, and the straight-beat section unnecessarily slows the song down. I would have preferred a 4-5 minute version of this song, which is just quick and energetic all the way through, without the straight-beat, a slightly better solo section, and a quick, smooth ending. It's got great material, but just not quite arranged very well. 2/4 I: The chorus riff, the main riff, verses, and the bridge build-up are really energetic and cool. I cannot think of a better word for the main riff than "feral", as it sounds like a wild animal snarling or howling. Lars's drumming is mostly awesome, and Jason is most likely doing great as well. But the transition from the bridge build-up to the straight section makes no sense, as it pulls the energy down, and feels like it is interrupting the verse. I also want to call out that weird sound at around 17:05. It just sounds like Kirk playing the solo on a stage, but then someone uses a cane to just pull Kirk off-stage, like in a cartoon. That sound is just so funny and random, somewhat below the great solos of the previous songs. I think the song could have gone from the bridge build-up with a harmonised lead over it after the weird section, then a little climbdown on the kicks and cymbals, then the reversed rhythm guitar fades in, and then the final verse starts, just skipping the straight-beat and additional solo. This song is far from perfect, and could have easily been streamlined a little to be more appealing. 2/4 L: This is the song's strong point. I know very few songs which use phrases like "paper chase", "catch-22" or "nadir". It is nice to hear a metal song expanding its vocabulary beyond just "blood and thunder", which was mostly what all of Kill Em All was lyrically. There are some pretty potent lyrics, such as "secretly, silently, certainly in vertigo you will be", "your hell is multiplied", and "your many turned to none, to nothing". But the song does have some pretty weak ones as well. "Your inner self to die", "reveal dementia", and "with vertigo make you dead" are pretty basic. I think "now vertigo is your friend", or "now vertigo is the end" would have been better final lines. In terms of meaning, I think this song is about being publicly unmasked, rightfully or wrongfully, and the complete change in public perception as a result. The words are mostly really well crafted and cool, bar a couple of things. 3/4 Score: 11/20

One C: One is just one-derful (pun fully intended). It has two verses, two choruses, a variation of the chorus, and easily transitions into an incredible second half. There are no wonky transitions transitions of note, everything flows and feels like a single, well thought through unit, unlike the previous song, and it doesn't feel too busy or boring. It gets away with being 7 minutes long, as the runtime flies by easily, and the time signature changes work really well together, without feeling clunky or odd. I do slightly wish the song started with the clean guitar riff first, and skipped the war sounds, but it's not a big detractor. 4/4 M: The clean intro riff, and its many subtle variations, the mixture of melodic and shredding solos perfectly suit each section its in, and the machine-gun riff in the second half is really menacing and impressive. "Oh please God wake me!" could be the closest the song gets to having a solid lyrical hook, but the chorus is steady enough to allow the audience to catch on to what the band are saying, and the audience can just headbang during the second half to enjoy it. 4/4 E.R: This song is a significant improvement compared to the previous three tracks, in terms of balancing a well-written and potent story with fitting music, smooth transitions, and appropriate sections. It starts off with a gloomy and melancholy clean section, then the anger and desperation for death in the chorus, then it just accelerates into the hectic chaos of war, and just mindless fear, aggression, and madness. It is pretty dark and heavy in terms of subject matter, so it is not a particularly cheerful song to listen to, but this piece is a lot of fun to listen to, and to play along with. 4/4 I: Master Of Puppets and One are both behemoths of metal songs, packed with incredible and iconic riffs, drumming and singing. I think James's grit is a little less obtrusive on this song compared to Fade To Black, and feels a little more balanced. The Day The Never Comes clearly tried to replicate this song's ending, but does nowhere near as well as this. The whole song just works seamlessly. 4/4 L: These lyrics are really potent, and crystal-clearly illustrate the song's subject. "Nothing is real but pain now", "in pumps life that I must feel", "tied to machines that make me be", "body my holding cell". The perspective of the song is wishing for death, as the pain, isolation and helplessness resulting from being almost completely destroyed. The main character despises efforts to keep him alive, thus sustaining the pain and the trauma. This is the perfect anthem for illustrating the horrors of war, psychological and physical, and how futile the strategic gains from war always are compared to the human cost. It is interesting that the line "cut this life off from me" is changed to "cut this sh** off from me" live. Not really sure how a cuss really makes the line any more potent than what it is. But this song is this album's magnum opus. 4/4 Score: 20/20

Danger Mouse theme song 🎵

Eye Of The Beholder C: I don't really see the appeal of this song either, aside from maybe the lyrics. The song is really hit/miss instrumentally, and it really lacks a cohesive and thus appealing groove. It may be an illustration of some sort, but this song is definitely the weakest track on the album. It is yet another basic V-C-V-C-B-V-C structure. The main riff, verses and solos are cool, but the rest of the song sounds too first-draft, even unfinished to really appeal. The transition from the prechorus to the chorus is needlessly clunky, and the prechorus did not need to come back at the end. 0/4 M: There is not much to remember that is really worth remembering. The main riff is memorable. The verse formula is memorable, if only the "do you [word] what I [word]" did not change as often. The harmonised solo, and the main solo were great. The chorus's hook is decent, but I don't easily remember the rest of the song, aside from the messy transitions and iffy sections. The effect on James's voice also makes the verses a little difficult to easily understand, let alone remember. 1/4 E.R: This song is really not as strong as most of the tracks on this album, let alone their discography. There are moments like the main riff and solos that are neat, but are not standouts, or take away from the fact the rest of the song feels very forced, reflecting how uninvested the band were in making this track compared to the others. 0/4 I: Having a hard marching beat for the intro would have been nice, and the main riff could have done with some bass. Some of the transitions don't sound like they were thought through well enough, and the outro felt really indecisive about how it wanted to finish. James's vocal performance is great, and the song is well performed, just not well arranged. 1/4 L: I'd say it's a case of the lyrics deserving better music, as the words of the song are its strong point. "Truth is an offense", "moving back instead of forward seems to be absurd", and "you silence just to hear yourself" are really good. However, they don't quite make the song a masterpiece, and it does create an "us vs them" type of narrative, and I can hear this song being played at a certain orange politician's rallies, prioritising a falsely perceived "lack of freedom" over the freedom of literally everyone else. I don't know where Metallica sits politically now compared to today, but the less politics nowadays, the better. 1/4 Score: 3/20

...And Justice For All C: This song is quite the adventure. At its core it is V-C-V-C-B-V-C, but it is packed with sections, changes, and moments. I don't really mind the time signature changes as much in this song as in Blackened. This one feels a little more cohesive, even though it seriously did not need to be over 9 minutes long. I think shrinking down the bridge section and the outro a smidge, and the song would have been a perfect 7-8 minute song. 3/4 M: I think the main riff is catchy, the 1-2-3-4 hits are fun, and there are some awesome solos. However, the chorus feels a little wanting, especially the final part. I feel like right in between "so real!" and the main riff coming back, there is a punchline missing, something like the title, "and justice for all!", which could have filled up the gap on the final chorus. Not all songs need a punchline chorus, but I think this one could have benefited from that. 3/4 E.R: This is a mostly well-written song, and I do respect it a little more than when I first listened to it. But it is let down by how long it is, and the slightly clunky ending. It does perfectly summarise the unfathomable unfairness and injustice in society, especially in the United States. The lyrics and music nicely capture and match the shared anger and outrage at the way things are. Despite being way longer than most of the tracks on this album, it is much better than say Eye Of The Beholder, Frayed Ends Of Sanity and To Live Is To Die. 3/4 I: There's quite a bit to unpack. The beautiful acoustic intro, steadily changing to a distorted and heavy version, then the 1-2-3-4 hits, which are really fun, and Lars's unique beat with the toms over the main riff. I find it really creative and interesting. The open hi-hats in the prechorus are not really needed, but I personally don't mind them. I will admit I was a bit torn about the slowdown back into the acoustic intro in the bridge, and how slowly it built back into the main riff. Now I don't really mind it as much, but the change from the slightly slower section with the brutal chords to the faster lead-up to the main riff bothers me a bit. I feel like there could have been a tidier transition from that section to the main beat, but it is still much better than so many other iffy transitions on this album. The third part of the chorus did not need to be repeated at the end of the song, and the outro felt like it could have been a bit shorter. Maybe the song could have skipped the harmonised section with the toms beat, and cut right to the straight version of the riff, leading into the harmonised section. Otherwise, really well written and performed, and it would be nice to hear a slightly condensed version live someday. 3/4 L: I understand the use of the R-word as a descriptor for wrongfully contorting the justice system to one's personal favour. A certain convicted orange twit (ahem, politician, who I simply can't believe is the president... AGAIN) is doing this a lot. But I agree that word doesn't have to be there, and it doesn't hold up well today. I don't like songs which just have lots of swearing and iffy words just for shock value. Lyrics need to mean something, and can mean something, without using unrelated and difficult topics in an off-hand way, as if it's normal. I would suggest "justice is wrecked", or "justice is bent" as replacements. It does nicely summarise people using money and power to influence justice to be fairer to them, not fair to everyone, which is the foundational point of justice in the first instance. I like how the title is referencing the last words of the Pledge of Allegiance, "and justice for all". The lyrics are potent, but the chorus feels like it is missing a stronger hook. 3/4 Score: 15/20

Blackened C: Amid tonnes of time-signature changes, this song is pretty linear, V-C-V-C-B-V-C. The sheer amount of changes and variations in this song are enough to give it lots of points, as they are very impressive and unique. However, this is both a blessing and a curse for the song, as it feels like a lot of "hey, we know time-signature changes! Look at us!", and it doesn't really make the song easy to follow or enjoy, and it also feels 1-2 minutes too long. 3/4 M: The main riff is I'd say the only automatically memorable part, as the rest of the song is fairly busy (for my tastes) to instantly remember end to end easily, unlike Fight Fire With Fire, which I personally prefer over this song, as it is more concise and to the point, without being bloated by still impressive, but borderline fancy time-signatures. The hook is a little hit/miss, as it is punchy, and the drum roll behind it is awesome, but it doesn't quite flow as well as say "Seek and destroy!" or "sad but true!". It's not that the song is not memorable, or that it is bad, but it feels a little too focused on its experimenting with time-signature changes to really make it listenable and easy to follow (similar problem with ManUNkind). 3/4 E.R: The backward guitars in the intro make for a thrilling start, the main riff is exciting and complex, and most of the song is really well-performed, aggressive and jammable. But overall, the song feels a bit overloaded with the time-signatures, and I really don't like the straight-beat section in the bridge. The "word! (word)" echo section goes on for way too long, and I would have ideally wanted to have gone into the harmonised riff with the drum rolls, and then straight into the solo section after the second chorus, and cut out the echo section. It is great for audience engagement, but for me it makes the song feel longer and slower than it needs to be, whereas Fight Fire With Fire is just four minutes of pure aggression, and then its over, without dragging on, as the echo section slightly does. Otherwise the song is really well performed, but just not quite as appealing as One, Harvester Of Sorrow or Dyers Eve, which are my favourite tracks from this album. 2/4 I: I think this is the song's strong point. Metallica are in form on this album instrumentally (including Jason, who I'm pretty sure is there.... somewhere in the depths of the mix...). The fantastic main riff and its constant switchups, the drum-rolls in the harmonised section leading into the ferocious solo, and the backward guitars really showcase the band's merciless onward and upward instrumental growth. However, this also makes the song very difficult to easily follow, and the bridge feels a little lengthy. I am thrown off a little by the hits leading into the chorus seemingly interrupting the main riff. I want the main riff to play in full twice, then finish with the hits, instead of once all the way through, and then abruptly amid a second time through the riff, the chorus comes in. Great performance, creative use of time signatures, but it doesn't quite make the song as straightforward and concise as I prefer some music to be. I feel this track could have been cut to between 4-5 minutes. 3/4 L: Another strong point for the song. The verses are really awesome. "Millions of our year in minutes disappears" is my favourite line. However, again, the bridge with the echo section pulls the song a few notches down, as it drags on after a while. The chorus is also a bit hit/miss. I would have preferred "to begin with the dance of the dead", as "whipping dance of the dead" doesn't quite sound right. I do appreciate the variation of the chorus at the end, "Fire is the outcome of hypocrisy". The whole meaning of the song is I would say about nuclear war, as "winter" is typically associated with the result of catastrophic nuclear events. It could also just be about political instability, and could even be related to climate change, stating the constant opposition to policies, contradicting the evidence, and the planet's violation by mining and/or pollution. It's nice to hear a song recognise Earth as humanity's birthplace, referring to it as "mother", rather than a resource to abuse, like some of humanity thinks it is. Really potent (and still sadly relevant) lyrics, but the chorus's wording isn't quite the strongest. 3/4 Total: 14/20

Nice show. Great band. Have a look at this gal, who’s a good songwriter with lots of different stuff. th-cam.com/video/48utyEtzHYY/w-d-xo.htmlsi=AA_L_7B5vR1c6LDo

La estructura de esta canción es simplemente increíble. Saludos.

Enjoyed seeing your reaction. Five is an awesome boy band. Still listen to them all these years later. If you choose to, could you please do a reaction video to “If Ya Getting Down” by Five? That’s their best song imo.

if someone finds this comment in the future and wants a better version of st anger , there's a fan remake called st banger . this song goes from incesantly long to intro , verse . chorus , bridge then and added guitar solo and then the second chorus with the "i feel my world shake" removed , jumping directly to the "i'm madly in anger with you" and then the song ends . 4 and a half minutes , short , sweet and powerfull th-cam.com/video/8BydRI2heyM/w-d-xo.html&ab_channel=MichaelSheaAudio

Damage Inc. C: Now we're back to V-C-V-C-B-V-C! The bass intro is really unique and fitting, as it disarms you before this absolutely ferocious song really kicks into gear. Although it follows that tired formula, it still works really well, cleanly transitioning from one section to the next, it changes a lot, and never gets static or boring. 3/4 M: The bass intro may be called memorable. The stops in the intro are just as instantly recognisable as Master Of Puppets' stops. The main riff and verses are pretty full-on, so I'm not sure if they're memorable, but the chorus nicely slows things down to "blood will follow blood, dying time is here" and then the really memorable "damage incorporated". The bridge riff is just furious, and it is great that it got to return before the final verse. 3/4 E.R: Admittedly this song feels very similar to Battery, in terms of simply embodying mindless violence, but I would say it is a welcome energy boost. It is a fierce and fun song from beginning to end. Yes they have written songs with a bit more depth in terms of subject-matter, but this song shreds, and shreds well. 4/4 I: Quick and challenging riffs throughout, rapid drumming, and poor Cliff has to keep up with this entire song on a bass. This song is extremely physically draining, but sounds really fun to play and is really fun to listen to. The bass intro feels calm and otherworldly, until it suddenly becomes ever so slightly off, with some whines and growls, then builds into a low growl, then the song starts with a bang. The bridge riff and solo are really intense. Even the triplet hits after the solo and in the final chorus don't feel too wonky or out-of-place, as they might feel in another song. These guys are in their prime. 4/4 L: Although this song is basically similar to Battery, and talking about mindless violence, it feels slightly more sophisticated in terms of lyrics, in spite of the F-bombs. "Victim is your name, and you shall fall", "following our instinct, not a trend", "all's fair for Damage Inc you see", etc. I do have a problem with a couple of the lyrics, though. The line "don't screw with razorback" doesn't make any sense to me, as "razorback" is a word for a feral pig apparently. The line "never happy endings on these dark sets" also doesn't really say much. Most of the lyrics are well-written, but they have done much better, and way, way, way worse. 2/4 Score: 16/20

Orion Composition: This instrumental is awesome. It has a soothing, very intriguing intro, which steadily builds into Cliff's bass solo, then into more of a groovy riff, then a guitar solo, a mesmerising interlude, which feels like a relief from all pain. Then there are duelling guitar solos, then the song builds back into a more uplifting and motivating guitar solo, then a (duelling?) bass solo, then finishes with a final energetic guitar solo, and the headbanger riff after the intro as the ending. Personally, it changes enough to prevent boredom, unlike Call Of Ktulu, and doesn't linger on one riff for too long, unlike To Live Is To Die. This instrumental is excellent. 5/5 Memorability: The riff in the intro along with the sustained bassline is really hummable, and Cliff's bass lick in the interlude is really calming, almost medicinal, and I would imagine pretty fun to play. Besides, this instrumental features Cliff's best and most memorable playing. Rock In Peace. 5/5 E.R: This instrumental is incredible in terms of how it feels. This entire album has themes around control. Master Of Puppets was about the impact of drugs , Welcome Home (Sanitarium) was about mental health disorders, and Disposable Heroes was about war. This instrumental feels like a release from these controlling influences, like escaping a prison, forging a relationship, or feeling weightless and free. 5/5 I: This piece really sings, and doesn't feel like it's runtime. I was admittedly thrown off by the extra off-hits during Cliff's bass solo, and the riff after it, but I have since gotten used to them. The "crying" harmonised guitars always create goosebumps, without fail. It gets away with being 8 minutes long, and there aren't any weird or unnecessary sections I can complain about. Like the title track, this piece will endure. 5/5 Score: 20/20

Leper Messiah C: This song once again breaks the V-C-V-C-B-V-C formula, having only two verses and choruses, and an altered version of the chorus at the end, but with a different ending. Apart from that, the song is still bog-standard for Metallica. I personally don't mind coming back to the intro riff at the end of the song, though it would have been interesting to see the song end differently. 3/4 M: "Bow to Leper Messiah!" is something the audience can easily pick up on, or even "time for lust, time for lie". The main riff and verse riff are catchy. Another call-and-response opportunity is the chanting section near the end of the verse. When the second-half of the song picks up the pace, it turns from a slow durge into a galloping ride. It is a nice switch-up. The solo is fun, though Kirk has definitely written better ones. The "lie! lie! lie!" section definitely feels like a reminder of Creeping Death. I'm not sure if it gives the song an unfair advantage sounding like another popular song, but it is still pretty solid. 3/4 E.R: I can see why people may find this one a little slow, repetitive or boring, but I think the second-half makes up for it. I generally enjoy it, but I may not listen to it on a daily basis, or as frequently as their other songs. It would be sweet to hear it live more often. 3/4 I: The riffs are pretty minimal, and the galloping second-half is the only real new riff in the song. The solo is pretty fun, albeit a bit short, and the drum fills and changes are really awesome. The back and forth between the guitars and bass in the intro was pretty neat. The intro riff didn't need to come back, but it does nicely bring the song to a comfortable end. 3/4 L: Pretty obviously this song is about any religious figure motivated by money, and making fun of them, calling them a false prophet, or a "leper messiah" if you will. Religion is meant to be a community to connect and strengthen people, not to drain them of money for a "better seat" in heaven. That's called money-laundering, which one never will ever go to heaven for. I also like how this song, unlike Phantom Lord, talks about a very real type of entity, not some demon. Lyrics like "blind devotion came, rotting your brain", and "sees the sheep are gathering" are pretty potent. It's more metaphorical rather than a literal supernatural entity. I personally don't think this song is anti-religious, but it's more about opposing those who use other people's faith for illegal or immoral personal gain. 3/4 Total: 15/20

Disposable Heroes C: This song is pretty similar to Master Of Puppets in terms of having multiple thrashy riffs, a cinematic bridge, and shredding solos. At its core it is V-C-V-C-B-V-C, an effective, but well-used formula. I do appreciate how the transition into the final chorus, and the final chorus itself are both extended. However, I think this song is a smidgen too long, and the thrash riffs at the beginning and end slightly stretched the song out. It is still underrated and awesome, but not quite perfect. 3/4 M: The main riff sounds like a machine gun firing, "Back to the front" is the song's only real hook, and the "why? am I dying" section before and after the solo are also very memorable. The line "I was born for dying" is extremely potent, and the complete stop allows the line to really embed itself in the listener. I will admit the song takes its time to actually finish after the extended chorus, and deserved a more concise ending. 2/4 E.R: Most of this song is a really fun ride, but I will admit it could be a bit shorter. I wouldn't call it any worse than the other songs on this album, but it is let down by a couple of things. Mainly its overall length, and the outro. 3/4 I: This song has a lot of great riffs, great drumming throughout, and further points for Cliff Burton having to play this song with his fingers on a bass, which must have been absolutely brutal for him, or for any member of the band to play live. The lead guitar symbolising a siren leading into the choruses, and the harmonised lead along with the final chorus really highlighted the futility of war, having a hefty human toll, and bringing scarcely any real benefit to excuse it. The solo section was awesome, going back and forth between two different riffs, the thrashy pre-chorus, changing to a straight chorus is a nice contrast. But the outro is a little hit/miss for me. They could have skipped the thrashy section after the final "back to the front!" in the final chorus, and just cut straight to the final time through the main riff, the harmonised lick, then end the song. Still solid, but the ending is a little dicey. 3/4 L: This song approaches the idea of war far more maturely than Metal Militia, which seemed to glorify war and battle as something thrilling, liberating and "noble". This song better illustrates the senselessness of sentencing scores of innocent souls to death, moulding them like clay into fighting machines. "Victim of what's said should be, a servant till I fall". The song even takes a swipe at KEA, stating "bred to kill them all", almost like it's mocking the first album's glorification of violence. Being constantly ordered back into battle rather than given any protection or significance only ends in tragic results for minimal gains. The line "I was born for dying" is extremely chilling. Metal Militia and this song seem focused on the short-term impacts of war, whereas One and Confusion focus on the long-term impacts. 4/4 Score: 15/20

Welcome Home (Sanitarium) C: This song has a similar formula to many other Metallica masterpieces, including Fade To Black and One. It only has two verses and choruses, starts with an eerie and gloomy feel, and transforms into an intense roller-coaster ride, while remaining heavy and exciting throughout. There are no weird transitions to worry about, and each section seamlessly flows into the next. 4/4 M: The clean riff for the verses is really memorable, and seamlessly transitions into the heavier choruses, and the fiery outro is really memorable. "Sanitarium" is all the audience has to chime in on for the chorus, and the distorted version of the clean riff for the build to the chorus acts as a signal that the chorus is coming. Even the harmonised solos before the verses, and the low solo right at the end are worth remembering. 3/4 E.R: The melancholy, even hopeless clean section really sets the scene, and nicely paints a picture of the toll of being isolation and demoralisation in an asylum or hospital. The distorted choruses represent the repressed anger, or even motivation to eventually escape, and the outro could depict a mass jailbreak. This song easily reminds me of One Flew Over The Cuckoo's Nest by Ken Kesey, about a group of patients in an insane asylum craving to break free. A chilling song, but a brilliant musical adventure, just like Master Of Puppets. 4/4 I: This song has everything. It depicts a dark, gloomy scenario in the first half, with a melancholy clean riff, crying solos, and a slow groove. It picks up the pace for the choruses a little, and explodes into an intense outro with another blistering solo, constantly expanding upon riffs, and steadily climbing down into a trash-can ending. Sometimes I think this song warrants a trash-can, and other times I think it could have had a different one. Still, this song is a blast. 4/4 L: I love the depiction of a lonely and isolating asylum or hospital. "They keep me locked up in this cage, can't they see why my brain says 'rage'" is an excellent lyric, describing how lengthy incarceration (potentially wrongfully) in an asylum can take its toll, especially if there is an element of abuse and cruelty ("Keep him tied, it makes him well). I will admit lyrically it is not flawless. Lines like "natives getting restless now", or "got some death to do" are a bit ehh. But otherwise, this is a really potent song about mental health, and the complete inefficiency and danger of mental asylums, or even prisons. They are just restrictive cages, which allow people to lose their grip on reality and self-control, worsening rather than improving people, as long as they lack facilities such as counselling and healthcare are not in place. 3/4 Score: 18/20

The Thing That Should Not Be C: The song is V-C-V-C-B-V-C, so not really a standout in terms of arrangement. But nevertheless, this song needs far more live performances. It is the definition of "Metallica gives you heavy!", and it is a travesty that this song, and Dream No More don't get played more often. Again, this song is about a Lovecraftian entity rather than a real-life problem, feeling or subject, like the previous song being about drugs, but I prefer this one and Dream No More to Call Of Ktulu, as it is heavy and eerie, but not quite as repetitive, and still engaging. I will say the transition from the solo back to the "underwater" section leading into the final verse could be a little better, though. 3/4 M: The main riff, albeit repetitive, gets away with it, as it is nice and succinct, and the drums change enough over it to sustain interest, and there are enough variations of the riff to prevent it sounding too static. "In madness you dwell!" could be called the hook of the song. I personally find it unique when a song says its title in the verse rather than as its hook, similar to Escape. For this song, its title has a lot more words than just "Escape", so it makes sense, but it is still quite cool, coupled with the echo on James's voice when he says the title. Kirk's jarring solo is also really memorable, as it feels like something screaming and warbling, maybe illustrating a descent into madness. The heavy outro is also pretty repetitive, but it is still fun to headbang along with. 3/4 E.R: I like it when rock/metal songs delve into horror, and try and create unique soundscapes, rather than sticking with a simple subject. This simultaneously makes the song pretty unique, but it also comes at the detriment of its appeal to a general audience. The weird lyrics, the warbling solo, and the eerie "underwater" section before the last verse may not be for everyone. Personally, this song is seriously underrated. 3/4 I: The main riff is really basic, and there are not many other riffs beyond it, other than the chugging riff after the pre-chorus, the holdouts during the verse, and the pre-chorus riff on the toms. So it doesn't reach the same instrumental heights as the previous two songs, but I think that doesn't make this one a bad song in any way. It is still heavy, solid, and good enough for me. The various versions of the same lick (acoustic, distorted, chugged) prevent it sounding like a needlessly looped riff, which sadly most of St Anger does. I also really liked the "underwater" section before the last verse, as it sounds like a horrifying, mysterious beast deep below the ocean calling for its prey. Excellent musical illustration. 3/4 L: These lyrics are not conversational, and some lyrics sound like lines from the story of the "great old one". I personally think this song could have a slightly different meaning. It could be about a human being slipping into madness, and becoming so obsessed with the legend, they believe it is affecting them, and even blame it for their actions. It is a haunting story, but not really an appealing subject for every listener. They have written worse, but they have written better. 2/4 Total: 14/20

Master Of Puppets C: At its core, the master-piece is V-C-V-C-B-V-C, but it takes the listener on a well-constructed and well-performed journey. There are plenty of changes throughout the song to maintain interest, and each section transitions cleanly into the next. The song is admittedly lengthy at 8+ minutes, but it gets away with it, doesn't feel like it's runtime, unlike some later songs, especially on Load/Reload and St Anger. 4/4 M: "Mastet! Master!" is easily memorable, though I get your view about the length of the chorus. I personally am not really bothered by it, though I could imagine someone wondering if this song has two choruses every time, as opposed to one. I think it would have been interesting to hear what the song would soung like if it halved the "come crawling faster" section on the final chorus, just having the first line, then straight to the last line, "obey your Master! Master!", or even did that for each chorus, to slightly trim it down. Still, I think this song is unforgettable. 4/4 E.R: This is only the second song on this album, and anyone listening to this song for the first time would already be a hardcore Metallica fan. It has probably single-handedly created many of Metallica's fan-base today. The fierce verse riff, with the iconic snare hits at the end, along with the magical bridge, the soothing beginning-half of the bridge, turning into the brutal chugging section before the screaming solo, a badass post-solo jam, and the relieving hold-out at the end of the song, are definite highlights throughout an 8-minute long (master)piece. 4/4 I: Metallica are in their element, having an iconically unique song very, very, very few artists can compete with. Consistently fast and challenging licks throughout, high-octane drumming, bringing the pace down with the beautiful, but also tragic interlude, the menacing build from it into the solo, etc. This song deserves nothing less than every point possible for this category. 4/4 L: This song is definitely about drugs, and uses references very appropriately and not too literally. Of course there's lines such as "chop your breakfast on a mirror", "taste me and you'll see", "I will run through you", etc. But the song doesn't overdo or repeat any words needlessly, or specify a drug. Depicting a substance as equivalent to a puppet master is really potent. I also like how the song switches perspective in the bridge ("Where's the dreams that I've been after?"), demonstrating how drugs can be framed as a relief from the stress of life, or a worthwhile enterprise, only to form an unquenchable dependency which slowly but surely takes over you, potentially beyond all fixing. I do have to make one itty-bitty comment about the line "just a rhyme without a reason". That feels like a filler lyric, and quite out of place compared to the other well-through lyrics. But otherwise, this song is extremely well-written, very potent, and more than likely to stand the test of time. 4/4 Score: 20/20

Battery C: Standard structure of V-C-V-C-B-V-C, but this song rocks. It is filled with quick drum fills, sick guitar riffs, a beautiful acoustic intro, and a screaming solo. What's not to like? Definitely among their best songs, and although it is reminicent of the KEA days of making violence sound "cool", it is definitely more tolerable musically and lyrically than say Metal Militia or Phantom Lord. 3/4 M: The acoustic intro is really unique, as is the incredible main riff, and the chorus, where all the audience has to do is just shout "Battery!". The jam after the second chorus right before the solo is also really cool, and that fiery outro. The verses are a little intense, and may take some time to gradually learn, but I'd say there's plenty in this song that still sticks. 4/4 E.R: This song has plenty of "hypnotising power", boiling over in energy, speed and punch. I think there is very little criticism for most of the Master Of Puppets songs that I can come up with, apart from maybe the lyrics glorifying violence. But it is definitely an improvement on KEA. 3/4 I: Toward the end of the song, I can slightly feel the instruments ever so slightly slowing down, as if the sheer intensity of the song is starting to get to even the band. The fast main riff, the fierce solo, and the double-kick after it is very reminiscent of Fight Fire With Fire. I also appreciate Lars playing the snare on the ones for the first four times through outro riff, then having on the off-beats for the end. Switches things up, and serves as the perfect ending. There's no weird transitions or feels throughout the song to bring it down, and the time signature changes don't break the song, but really help make the song. 4/4 L: This is the song's weak point. The lyrics are better written than any of the KEA songs about senseless violence, but lyrics like "weak are ripped and torn away", "mashing non-believers", "feeding on the weaker" are a little over-the-top. I personally think it would be just incredible if an electric hypercar ad used this song, but without the lyrics. Of Metallica's many songs about senseless violence, Battery and Damage Inc do a better job of balancing the violent lyrics with violent but still enjoyable music. Not the best, but the song works, and is the best choice for opening this masterful album (more puns to come!). 2/4 Total: 16/20

As far as the tilting part goes in the lyrics, I mean, that’s what a person does when they get so drunk they’re staggering they kind of walk with a tilt. I think that’s what inspired it, and it fits the context and subject of the song.

Sounds good. Suggestion, play it a half-step down-- possibly a full-step down.

Call Of Ktulu (don't want to actually summon him, so... mispronounciation it is!) C: Instrumentals are really hard to grade in terms of composition, as they seldom have any set structure to really call "overused" or "effective". I do think this instrumental has some really cool riffs, though it is pretty long, and I think there are some meh parts to it. The solo was awesome, Cliff's "wah" noises with the bass, as well as the first part of the main riff were extremely cool, but I am personally more drawn to Orion or The Thing That Should Not Be more than this one. It's not that this song is bad, but it doesn't quite stack up as well as later instrumentals, or songs about Lovecraftian entities. 3/5 M: The main riff of the song, specifically that A minor riff is really haunting, both clean and distorted, and Cliff's bass noises with the riff are just menacing and badass. It is pretty repetitive, but maybe that is a pro as well as a con for the song, making it difficult to get out of your head. I think overall, though, I wish it stood out in the same way Orion does, because that instrumental changed enough to maintain interest, and each section avoids getting too boring too quickly, things this instrumental doesn't quite do quite enough. 3/5 E.R: As well-written and well-performed as this piece is, it doesn't reach the heights of later songs, like The Thing That Should Not Be or Dream No More. They nicely balance a groovy and heavy song with the creepy and paranormal imagery which this song doesn't quite strike as well as those songs. Again, it's not bad, I feel like it could do a little more. 3/5 I: There were parts of the song I really liked, like the haunting clean version of the main riff, then the roars and snarls of the bass. But it was missing a real BIG moment, like a high-note from the bass in the climax, mimicking a scream of anquish, or some cymbals or double-kick for emphasis. I think the song would have benefited from a faster and more energetic outro, symbolising a chase sequence away from Ktulu, where it chases the protagonists, only for them to escape, when the heavy toms section would feel more appropriate. It would also have been nice for the clean main riff, and the wind to come back at the very end of the song, and slowly fade out. That would have been haunting and awesome. It is also pretty repetitive, and as much as I appreciate songs which take their time to build for a dramatic effect, I feel like this song could be compacted to 6 minutes by removing some repetitions of riffs. As it is, it's good, just not quite... great. 3/5 L: . 0/4 Total: 12/20

Creeping Death C: This song is textbook Metallica, V-C-V-C-B-V-C, with a groovy main riff, a solid hook, and crammed with solos and breakdowns. In terms of formula, this one rocks. I will admit there are a couple of odd transitions, like the one leading into the final verse (for my tastes). I also find the outro a little longer than necessary, specifically the section with the stops emphasising the final riff, and the extra solo at the end. Otherwise, simple, but effective. 3/4 M: "I'm creeping death" is a super memorable hook, the intro is powerful, the "die!" section instantly sticks, and the main riff is extremely catchy. Similar to No Remorse, this song benefits from shouting one word as the first line, which the audience can catch on to, without having to know the rest of the words. Really effective. The solo is also really fun, and the harmonies in the outro are pretty cool. 4/4 E.R: I personally listen to the first four tracks far more often than this song, not because I dislike it, but mainly because I am drawn to them more than this song. This is a well-written and groovy song, and I can easily see the appeal, but it's still not quite my taste. Besides, I think it would be nice to hear some other songs from their discography live apart from just the big hits. 3/4 I: The main riff is super challenging and groovy, and it contrasts nicely with the simple chorus riff, and the main solo is really fun. I will admit the section with the stops near the end of the song could have been dispensed with, not that it's bad, but it feels like it's stretching the song out a bit. Also, the final transition into the third verse felt a bit abrupt. I get that it is a change, but I prefer the previous verses' transitions more. It is a pity the big, thunderous toms on this album's drum-kit weren't cranked up for the "die" section, as they sounded far too quietly mixed. Otherwise enough is happening instrumentally to make it a fun and heavy ride. 3/4 L: These lyrics are well written, and sound like more work was put into them than for Escape and Trapped Under Ice, but I will say I'm not really religious, so I don't really connect with religious subject matter. Again, the song itself is perfectly solid, and it's well written, just not quite a subject I personally connect with. 3/4 Total: 16/20

Escape C: I think this song is a little better than I was expecting it to be, but it still doesn't reach the heights of the first half of the album. Like For Whom The Bell Tolls it has just two verses and choruses, and opts to do a variant of the chorus for the outro, rather than a third chorus, which makes it unique. The main riff and verses are nice, and the lyrics are a slight improvement from the previous song. I also really liked the booming toms with the main riff before the outro, as well as the solo, and the section at 9:59. That riff is super heavy, and I like the bells. This album had a surprising amount of bells in it, which is interesting. I will admit I'm not the biggest fan of the chorus, and I am a bit split about the outro. It's alright, but still not quite a favourite. 2/4 M: I'm not sure if this song is particularly memorable, beyond the main riff, or the repetition of "Life's for my own, to live my own way" at the end of the song. It is unique that this song says its title just once in the first verse rather than as the chorus, but it does come at the expense of having a memorable hook. The verses have a cool pattern, but the words don't really stand out. I can see why this one would not be as enjoyable for Metallica to play, as it lacks that easy-to-remember, familiar structure or punch the other songs have. 1/4 E.R: I liked the main riff, the verse riff, the riff with the bells, and the outro. But something about the note-choice in the chorus feels a little... weird to me. Not really unmatchingly positive, which was the problem for Trapped Under Ice, but I didn't quite enjoy the chorus's note-choices. I feel like the song would have benefited from a solo over the outro rather than the lyrics, as again, the note-choice felt a little odd to me. I feel the band's lack of real commitment to the song, as in parts it sounds like a forced add-on, without much in terms of the same iconic punch and energy as the other songs. 2/4 I: They're playing just fine. Most of the riffs are decent, the solo was solid, and the drum fills in the verses keep interest. But the transition into the choruses feels a little clunky, and the outro, as cool an idea as it is, with the siren, could have done without James repeating "life's for my own". I feel like a guitar could have played a melodic lead, possibly mimicking the vocals for that part. 2/4 L: I feel torn about the lyrics. There's not really any consistent hook, say one line being the same in the verses. Having "to escape" at the beginning of each first-line in the verse would have been cool. I agree it does feel a bit like some edgy kid or teenager wrote it, and lacks the potency and craft we will see in other songs later on. I do like some of the lyrics, such as "to escape from the true false world", which could both mean talking about a very binary and restrictive society, or equally describing the real world as very deceptive. It could also simply be about someone wrongfully imprisoned breaking free, or using escaping a prison as a analogy for escaping life. I do want to call out the first line of the second verse, for using the R-word. I get it is used as a metaphor to describe the loss or impact of others on achieving your own destiny, but... really...?. Instant points taken off for that. 1/4 Total: 8/20

Trapped Under Ice C: Short, thrashy song most of the way through, so I can understand its appeal to those who want to thrash. The main/verse riff is probably the best part of the song, and the solos are really awesome. The big tom fill should have been in the second verse, but I think it may not be there just to create interest and break a potential pattern. But I agree the note-choice for the chorus feels a little optimistic and positive, which doesn't fit a song about impending death from ice. The riff at 7:15 felt a little out-of-place, a few transitions, like the one from the second chorus into the bridge, and the weird rhythm section at 7:04 felt very clunky. It felt like someone struggling to drive a car, continually hitting the gas, then the brakes, constantly stopping and starting, and not really sounding like it knew where it was going. A bit underwhelmed by this one. 1/4 M: The main riff is pretty memorable, as well as the chorus, where the audience just has to scream "Freezing!", "Screaming!", or "cry out!", and leave James to sing the rest. However, the verses are a little forgettable, and sound like a thrash-version of Escape's verses. Not as much of a standout as the previous four songs on this album. 2/4 E.R: The main riff, solos and most of the drumming is thrilling and fun, but the chorus, the weird stop-start rhythm section after the second chorus, the transition into it, the "Scream from my soul" riff is a little odd, and the abrupt ending knock this song down several pegs from where it could be, if those sections were fixed. I like some of what is going on instrumentally, but the song overall feels a little undercooked, and could benefit from a little more work into making it better, such as fixing the chorus. 1/4 I: The main riff is the song's real instrumental saving grace, along with most of Lars's drumming, except the weird stop-start section, as well as the solos. I will say the more "straight" version of that section after "scream from my soul!", with the extended ending leading into the solo was definitely much better than the first time through that section. A couple of transitions felt a little clunky, and I felt the song deserved a proper ending, such as a trash-can, or Lars emphasising the hook with snare-and-floor tom hits for each syllable in "I'm trapped under ice!" at the end, or even a sound of ice freezing over (if a sound effect like that could have been made in 1984) with a guitar holdout. I feel like this could be a song that could be remastered someday, in a cover album possibly titled "Now They Do It For Me", where the Metallica songs that didn't do it for you, like this one, could be covered by Midnight Notion, and fixed, like Saving St Anger. The song has some cool (pun intended) ideas, but overall it needs a little work to be an instant favourite. 2/4 L: Ice is a unique subject for a metal band, especially for Metallica, and bonus points for the use of the word "cryonic", which is scarcely used in other songs by many artists. I get that not all songs have to have a deep meaning, and this song could literally be just about somebody trapped under ice. But the deeper songs tend to stick better, and lines like "hand of doom has a tight grip on me" and "dying to live" feel a little basic. I also feel like the verses are basically saying "I'm trapped in ice" in several different ways, rather than explaining how the character got into this scenario, or having any other more metaphorical or deeper lyrics. 1/4 Score: 7/10

Fade To Black C: This song is an emotional roller-coaster, and a song I have yet to get tired of. It is admittedly rather long, but lyrically and instrumentally it excels. It does have an interesting pattern, feeling like it is following a verse-chorus structure, but none of the choruses are written the exact same, other than the riffs, which makes the song quite unique and powerful. 3/4 M: Where it compositionally exceeds, it struggles memorability-wise. It lacks a solid, consistent "a-ha!", moment which the audience can pick up on over the course of the song, and chime in with if they don't understand the lyrics. I guess the tempo of the verses lends themselves to a slow and steady "hey! hey! hey!" moment, and everyone can jam on the riff after the chorus, and marvel at the outro solo. It lacks a potent hook, but the main riff, the mixture of grief, isolation, and anger make it emotionally stick more than musically stick. 3/4 E.R: The song is good to put on when feeling down. It is a grim song, not very cheerful, but it does match whatever dark place one is in, and it helps get one's feelings out, whether through cry-screaming "I was me, but now he's gone!", or being emotionally transported by the thrilling solo at the end. This song packs a heavy emotional and instrumental punch, and can really speak to people in a dark place. 3/4 I: The song just builds and builds, without repeating a riff to an exhausting extent, or hovering at one level for too long. It is very well written, without being overloaded with excessive fills or showy riffs, and the ending section is just a masterpiece. I also like the occasional bass noises in the verse, such as at 3:27 and 8:07. The second-half's riff feels, to me, borderline... positive. It's not that it's bad, but I was initially a little baffled why this gloomy and heavy song had an unexpectedly uplifting-sounding riff. I've gotten more used to it, as I guess it symbolises breaking out of the mental gloom, and taking some course of action, whether seeking help, escaping from the grief through drugs/drink, or letting intrusive thoughts win. Overall, this song, like For Whom The Bell Tolls, is instrumentally pretty simple, but potent and well-written all the same. 3/4 L: I find the lyric "missing one inside of me" yet more poetic from the bass climb Cliff does after it at 8:07, knowing that we end up losing Cliff after Master Of Puppets, and how James and the band really struggled internally without him. The band have still written amazing songs, making Metallica and his memory a household name in metal, and have grown immensely, managing to harness the grief, and use it to write potent, heavy and brilliant songs, and not get consumed by it. I also think the song Screaming Suicide from 72 Seasons is almost a modern reply to this song, telling young James, and anyone else who experiences intrusive thoughts to speak out about their emotions, rather than let them consume you. It's never "too late", and there actually are other people, like a therapist, friends, other members of your family, who can and will do their best to save you. "I was me but now he's gone" never fails to hit hard. 4/4 Total: 16/20