Thursday, March 3: 4:20 p.m.
Metallica looking very metal in 1986 / photo by Ross Halfin / via metallica.com
As a child of the 80s, my first intro to Metallica came via MTV's Headbangers Ball, specifically the video for ...And Justice for All's epic metal anthem "One." Shot mostly in black-and-white, with scenes and dialogue from Johnny Got His Gun interspersed with the group thrashing in an abandoned warehouse, the video was intense, creepy, brutal – and all the other superlatives that inspired shock and awe in my impressionable young mind. I was hooked with full-on Beavis & Butt-head excitement. Like any enterprising adolesccent metalhead, I was soon fully immersed in Metallica's first three albums: Kill 'Em All, Ride the Lightning and Master of Puppets. To the chagrin of my parents and their eardrums, the latter became my favorite. On the 30th anniversary of its release, listening to Master again took me headbanging down memory lane.
Master of Puppets not only pushed the limits of the metal genre in terms of sheer musicianship and creative force, but also redefined the paths to success and critical acclaim.
Metallica's meteoric ascent began in earnest with the release of 1983's Kill 'Em All, introducing the band ...
Monday, November 7: 4 p.m.
Metallica today: (l-r) Lars Ulrich, Kirk Hammett, Robert Trujillo, James Hetfield
By 1986, Metallica was widely accepted as the heir apparent to the heavy metal throne. The band's crowning achievement was Master of Puppets, an album that not only pushed the limits of the metal genre in terms of sheer musicianship and creative force, but also redefined the paths to success and critical acclaim.
Metallica's meteoric ascent began in earnest with the release of 1983's Kill 'Em All, introducing the band's sharp thrash attack – a potent brew of New Wave of British Heavy Metal, punk and hardcore – to an audience far beyond their Bay Area stomping grounds. Although the record featured songs co-written by former bandmate (and future Megadeth leader) Dave Mustaine, the album was a cohesive thrash onslaught with little variation among arrangements and archetypal lyrics that encouraged listeners to "Jump In The Fire," "Seek & Destroy," have "No Remorse" and join a "Metal Militia." At its core were the intricate rhythm guitar and brash vocals of James Hetfield, the skillful lead guitar work of Kirk Hammett, the powerful percussive backbone of Lars Ulrich and the inimitable bass stylings of Cliff Burton.
A year later, the quartet took an evolutionary leap with the release of Ride The ...
Thursday, January 28: 12 p.m.
Guest blogger Caryn Rose shares her thoughts with us about her visit to see the Rock Hall’s special exhibit From Asbury Park to the Promised Land and her first tour of the Rock and Roll Hall of Fame.
It’s a funny thing to have watched Bruce Springsteen sitting at the Kennedy Center, with his rainbow ribbon award around his neck, and find yourself standing in front of that very award just a few weeks later, in his exhibit at the Rock and Roll Hall of Fame. It’s even odder that that ribbon is in a room along with the legendary Esquire, and that you can get close enough to the guitar (inside its case, of course!) that you can see that the legend is true, that there’s more glue than wood in some places. It’s in a room with the very jeans that adorned the very ass that graced the cover of Born In The USA, the original handwritten lyrics to “Tenth Avenue Freeze Out” (with the “freeze out” written in wriggly letters I assume was meant to convey ice), the very flannel shirt that was on the cover of The River (the cuffs so ...