"We have a new album out on Megaforce records. It's called... Kill 'Em All!

So here is where it begins: The fierce and innovative thrashers Metallica make a hit on the map of metal with their amazing debut album Kill 'Em All, an album that in the short, quick and undetailed term fused elements of fierce thrash influenced from the likes of Slayer and Earth A.D. era Misfits and the speedy blues vibe of Motorhead. This isn't exactly as short-lengthed or as straightforward as the aforementioned bands might be in some places: The music here is quite polished and at a fairly long length going between 4-7 1/2 minutes (with the exception of the song Motorbreath).

Getting to deeper details, though... To begin with, this mofo's chunkier than chunky peanut butter! Seriously, what a perfectly trudging rhythm section. Every song on here (save for the bass solo Anesthesia) flourishes with beautifully precise chugging (which can especially be impressive when it turns to well-paced speed chug in some of the faster songs) from both singer/rhythm guitarist James Hetfield and second guitarist Kirk Hammett, and drummer Lars Ulrich mostly (with the exception of deepening drumrolls that mark just before the beginning of another verse) delivers relentless, hard-hitting 2/2 timekeeping that is rather basic but is very impressive for being right on schedule with perfect beats while still sounding like he is somehow hitting the drums in between the guitar riffs (which seems pretty hard in the face of two guitarists thoroughly blistering throughout the entire song) to add another layer of chunkiness! The songs are fairly tight, too. The guitars have a very mean cutting-edge tone to them that are further complimented with Cliff Burton's shivering bass solos that wrap around the guitar riffing giving it a more thunderous noise.

As bluesy and darkly melodic as this album may be, however, it's still pretty threatening: James Hetfield's southern accented shrieks help fire the music up from cock-rock metal anthems like in Whiplash ("the show is through the metal is gone/it is time to hit the road/another town another gig/again we will explode/hotel rooms and motorways/life out here is raw/but we will never stop and we will never quit/because we're Metallica) to extensively-written odes to death and destruction like in Seek And Destroy (blood feeds the war machine/as it eats its way across the land/we don't need the feel the sorrow/no remorse is the one command). The songs, whether slow and groovy (Jump In the Fire) or speedy and fierce (Metal Militia) sometimes tend to drift off after some verses into some guitar ranting with some ranting, extended, shredding, loopy, agile (if basic) solos from Kirk Hammett, but after showing off for a while they somehow manage to wrap back around to their traditional song structure. The melodies on here are all fairly catchy enough that verge between vicious low-note grudging to neck-jumping blues grooves that carefully splatter all over my ears. Seemingly punishing, yes, but they'll never stop and they'll never quit... Because they're Metallica.

First off, I'm not accusing these folks of selling out. Really, that term is foolish and is something I don't believe in. But man, if these guys had just stuck to their guns... They would have been alright and they would have rocked.

See, as you may find out in the biography, the Beastie Boys weren't always the cheesy yo-yo-yo homeboy posers they are now. Long before all of it, even before they went platinum, they played punk. Fast, furious, agile, very well-done hardcore punk comparable to that of Minor Threat or Reagan Youth (Reagan Youth also being a great metal band for their experimental Volume II release). Their beginning EP, Pollywog Stew, was great. It may not have sounded too different from Minor Threat (the band was even criticized in their early days because of this), but by the same token they could have very well progressed and branched out into other ingenious forms of sound... If only they had stuck to their guns.

Minor Threat broke up. Bad Brains went nowhere. Reagan Youth's lead singer killed himself. The Beastie Boys? They turned to hip-hop after barely even trying to make it from their roots. For what it's worth, I would have at least hoped that the Beastie Boys keep an honest image, but no: They had to refer to the usual suburban stereotypical image with all the 'yo-yo-yo' exaggeration and tired gestures. How sad. Again, I don't think these guys sold out and they probably enjoy what they're doing, but by the same token it's really disappointing and I seriously wonder if they're sure of what they're doing whenever they try to go into breakdown beats and rap out stupid and predictable rap lyrics like 'whatcha, whatcha, whatcha want'. Next thing, however, make an aim to sound all 'mature' with their music only to plunge the shock value of it deeper into the gutter and giving music another slap in the face. We get it, guys. You're so mature, you're so artistic, you're so hip hop. Want a cookie?

It's a shame to see a once-great band become a joke.

I just felt the need to try and clear some things up.

"The most overrated thing in the universe. I could go as far as only saying only that sentence, but I must prove my point.
First: Metallica died long ago when they kicked Mustaine out of the band. Its the simple truth that most people refuse to accept. Why? I don't know. Who came up with the kickass songs in Kill 'Em All? Dave Mustaine. Who came up with Metallica's best epic ever (the song "Ride the Lightning") and some parts in their best instrumental ever (sorry Metallica fanboys, but "Orion" sucks)? The same guy. Why they kicked him out of the band? "Apparently" he's even more of a drunkard than James Hetfield. Poor bastards... They could keep Mustaine longer and use more of his stuff."

What exactly were you expecting? It's a simple fact that when a band gets a new leader the music is surely going to change. Really, Kill 'Em All is basically a prequel to Megadeth with James Hetfield singing over the top, so if you dislike post-Kill 'Em All material, go listen to Megadeth.

I also don't understand why people decide to accuse Metallica of 'selling out' for going to a different style when really the insane thrash style of Kill 'Em All and some of Ride the Lightning was all Mustaine. Really, Ride the Lightning, Master of Puppets, ...And Justice for All and perhaps the Black Album really took after the influence that Mustaine left behind. Had James Hetfield lead the band all along, who knows: Maybe they always would have been an alternative band like they've been since Load and Reload.

Really, it doesn't exactly make since to put Metallica in some sort of thrash metal league altogether. It's not like Megadeth didn't change their style either: Remember Youthanasia or Risk? Not that those are bad albums, but that's really the point: Too many narrow-minded metal elitists stuck in the 80's are basing stupid arguments like 'they no longer make good music' or 'they sold out' around a band not remaining thrashers their entire career. Also, Mustaine actually formed Megadeth at least partially for the sake of trying to outdo Metallica and made a great deal of their musical career being parrallel to Metallica (releasing insane and roughly produced thrashers Kill 'Em All and Killing Is My Business, creating an album with complex and long songs ...And Justice for All and Rust In Peace, going alternative with Load and Risk, etc).


"Second: Their refusal to accept Cliff Burton's death and go on. Everyone knows that he was an legendary bassist, but you guys could accept his death. With this comes one of their biggest mistakes: refuse to accept Jason Newsted as an equal, or even, as their bassist. A pretty bad decision made from the Metallica guys. Newsted might not be an really exceptional bassist, but he's good at songwriting. The guy wrote almost everything in the Flots debut. And why there is no bass in AJFA? Why? And why treating Newsted as the "new kid"? Wasn't he good enough for you, Metallica? Or did you hire him for songwriting purposes? Hmpf... And from what I've read, Lars Ulrich isn't too happy with their new bassist. These Metallica guys are hopeless."

I may not be anybody in Metallica (or, for that matter, have met Cliff), but then again, neither are you. But that's the point: James and Co. actually KNEW Cliff, and when they said 'he would've wanted us to go on', I think they meant it. I personally think it's stupid when people say stuff like 'Cliff must be rolling around in his grave for Metallica going on or making St. Anger'. Again I am neither a member of Metallica or someone who knew Cliff. But Cliff is a person, not a machine who was created to make every close-minded metalhead happy, and it's stupid to assume that his whole life is assumed to be 'disgraced' because of a band's style progression. As a matter of fact, it's downright insensitive, no matter who the person is. I highly doubt that Cliff's life didn't go beyond making people bang their heads. He was a good friend to Metallica.

As for the Jason Newstead thing, the reason he couldn't be heard on ...And Justice for All was because of the producing. Altogether that album didn't have the most balanced production (though albums like Kill 'Em All may have been a bit fuzzy), so why should that be a surprise? You can hear Jason on albums Load and Reload anyway. But wait, that doesn't count, does it? Because that's when Metallica became 'Selloutica'! lolz stoopid fåggz.

"Third: Hiring Kirk Hammett. Don't listen to these fanboys who say that "Kirk Hammett is the best ever" or similar crap. It's just a big fat lie! Like Kerry King once said, Kirk Hammett is the "most overrated guitarist in metal history". None of his solos have impressed me except the ones in the songs "Fight Fire with Fire", "Fade to Black" and "Blackened". Nothing out of the ordinary, but still impressive. The most impressive lead guitarists (in thrash) for me are obviously Marty Friedman and Alex Skolnick. Hammett had to climb a ladder if he wanted to lick these guys boots. Kerry King also said in some interview (search for it, if you didn't read it already) that "Metallica should have hired Gary Holt instead of Hammett". Thank God (or Satan) that it didn't happen, because if it did, Exodus would be nothing but a cover band these days. But Metallica would be kicking our asses these days, and maybe they wouldn't have sold out..."

For the record, Metallica never sold out. True, the Black Album was very commercial, but then again so is just about any other commercial debut from a metal band, like Megadeth's Countdown to Extinction or Pantera's Cowboys From Hell. When you think about it actually, it's wise that a metal band give that kind of impression when they make their hit on the mainstream. Metallica abandoned the easier, radio-ready formula of the Black Album and played more intelligent music on Load and Reload anyway.

Second of all, while Kirk Hammett is most definitely not the best guitarist, please do stop kissing Kerry King's rear. The guy's an elitist hypocrite anyway. Forget not that not only has he been regurgitating the same old predictable riffs formula over the years of Slayer's career, but that while he grunted at St. Anger he was unavailable for further comment as he went in to help make the mindless, unsincere, completely horribly structured God Hates Us All.

"Fourth: Master of Puppets. Yes, the one that the fanboys call "a thrash masterpiece". First, it's not really thrash, it's more of hybrid between thrash and regular heavy metal. Second, it is *not* a masterpiece. Their only good songs are "Battery" and "Damage Inc". The title track and "Leper Messiah" are somewhat decent. "Orion" is horrible and "Welcome Home (Sanitarium)" is hideous when compared to the incredibly beautiful "Fade to Black". The other ones are not even worth mentioning. Some half-baked songs made from the Ride the Lightning leftovers. Already missing Mustaine in that times, Metallica?"

Jeez. I don't even have to start.

"Fifth: St. Anger. The most uncomprehensible excuse to release something to shut up their fans and please the media. Why put these guys jamming for fun and express their "feelings", join these tracks and make up the most hideous cacophony that ever plagued my ears? All that fake heavyness, that stupid whining and a poor production job... It hurts me to see a band that cares so little of their fans and gets praised for doing it. All these "We millionaires play what we want" can't mean a good thing. If you cared for your fans you would be releasing good stuff and saying that MTV sucks, because it really does. The guys who abominated trends are now joining every trend available."

Exactly. They should just release Ride the Lightning over and over (sigh).

Since when did you see Metallica lose a damaging number of fans prior to the release of St. Anger? Besides, though it's not like Metallica don't care for their fans, they're really more for making their music and enjoying it together. If you think they're going to fall to their knees and make another album just to please the narrow-minded elitists who can't get out of 1985, you've got another thing coming. If you started a band, would you rather make music with integrity and enjoy it or spend life appeasing to every hollow-headed moron who has an idea of how you ought to sound? The latter would be redundant, stupid, shallow and completely pointless. Metallica are doing what they want. Really, it's the bands that only make the music they know will get them the most respect out of a certain scene that are sell-outs. I know I probably shouldn't say this, but to be honest I think you're more the media-appeasing sellout than the band could be (assuming they are who you say they are) in that you go into a huff at creative individuals who are doing what they want for not appeasing to your tastes. Metallica aren't here to serve you, my friend. Wake up.

As for St. Anger, while the riffage itself has shown great weaknesses every here and there, it's better that the band try than not try at all. At the bottom line, it is the most realistic, skithering and raw album they've put out with a very great modernized and progressive edge to it with some great Helmet inspiration. I won't rant on about St. Anger, though.

"P.S.: Anyone noticed how James Hetfield is becoming similar to Dave Mustaine in some ways? Mustaine was kicked out of the band for being a junkie, but Hetfield went to an "alcohol deintoxication and rehabiliation" thing too. Oh, the irony!. Mustaine is also known for his whining and moaning, and things like "Boohoohoo, Kerry King hates me" have become his trademark. So, we get an entire record of James Hetfield whining, or in other words, "expressing his inner feelings". And, as a bonus, we get to see Mustaine whining in the DVD too! Isn't this awesome? It's a shame to see a once good band become a joke."

Whoever said this was some cheap tough-guy competition? It's not like Dave and James were trying to be tougher or more dishonest than the other. Still, at the bottom line, are you not irrationally whining about a band changing their style and line-up?

To conclude, I would like to say that I am by no means a fanboy or someone trying to 'defend Metallica to the death'. But hey: They are my favorite band, and I wish to deduct this argument because I personally think what's being said is illogical and unrealistic.

Considering this album has never actually been real news musically even at the time in which it was released, Metal Magic nonetheless has enough killer riffs, blazing power and sex/metal worshipping anthems worthy of hair metal image (Tell Me If You Want It, Sad Lover, Rock Out) to satisfy just about any 80's rock purist, featuring a rather thin sound and sharp, echoey production. Pantera know for sure how to deliver the goods: Diamond Darrell's blazing rifftastic techniques that switch off from quick chugging to casual melodic scathing to solos that stutter and skip back and forth with focused agility beautifully co-riff with Rex Brown's turning and facelifting bass chops, topped off with a soothing layer of light keyboard skithering found at some parts of the album. Of course, the first grab to my ears came from Terry Glaze's crisp, exaggerated yet melodic shouting voice blurting out charismatic 'YEAH, baby' style verses in a Motley Crue/RATT spin-off. The simple loudness aside, however, Metal Magic also shines because of its fitting grooves: At many points Diamond isn't afraid to go into a breakdown of swishing guitar hooks that are immediately countered with drummer Vinnie Paul's bits-n'-pieces picketing. The band puts a reasonable amount of effort into keeping a consistent back-up from the rhythm section and having Diamond and Rex hack away to find some point to wrap around with a cutting-edge roll, having the band take their time in trading off putting down bursts of energy that wrap together with Terry's singing.

All in all, Metal Magic is a solid, competent hair metal album, refusing to plunge into any overly extended playing and keeping an all-around midtempo routine clocking mostly between 3 and 4 minutes (minus some of the ambient-sounding intros). In addition to the usual grooving cock rockers (Ride My Rocket and Rock Out being a fine example), the title track is very mystical and guitar-driven, Widowmaker has a very nerve-driving skithering riff sequence and Biggest Part of Me softens it all up with its longing, depressive, keyboard-laden feel. Arguably the best track on this album is Sad Lover, for its loud Crue-style vocal belting and twisting but still catchy instrumental sequence stuttering a hard drive and then exploding into tight blazes. Admitted, Metal Magic's sound isn't very original or groundbreaking and is VERY cheesy. But hey, it's alright: The songs are loud, fun, soul-driven, and the band certainly know how to rock and play their instruments right. Dig this up.

Sound: The quick, fast and urgent shout-to-the-world punk debut, the Beastie Boys tally off around 10 and a half minutes of fast, shredding hardcore fury, lightly mixing ingredients from other legendary hardcore artists such as Minor Threat, Reagan Youth, Bad Brains and The Germs and then supercharging it into a form of frenzy never done before. While the idea presented in all of these tracks is essentially the same, the catchy melodies help divide them and keep the listener hooked this way and that. Guitarist John Barry is relentless, playing fast, urgent power-chords and being so swift at switching from one note to the next that it sounds like all the spontaneously-strummed notes are beautifully slurred together in all their electrifying glory, churning out one simple but catchy and well-played melody string after another and being quick to either pick outlining the Darby Crash style seething vocals of Michael Diamond or quickly thinking up fun counter-melodies. This is made very complete with Kate Schellenbach's drumming sounding like a precise and tired drum solo, stringing together quick clips and drum-rolls to push through all of each song. As a whole this idea may sound like a cop-out, but the Beastie Boys keep it all together at the right time to avoid making it seem sloppy and still manage to push it to an aggressive, fun, shredding extreme never explored before.

Lyrics: It's all fun, determined party punkin' cliches right here, served on an even poetic platter! Lyrics here perfectly match the urgency of the music, from the valiant riot-inducing urgency of songs like Beastie Boys ("B-e-a-s-t-i-e/cops just don't have respect for me/world is filled with tyranny/all across the stormy sea/b-e-a-s-t-i-e/b-e-a-s-t-i-e/who the hell are we off to see?/let's just come and take unique/now b-e-a-s-t-i-e go/b-e-a-s-t-i-e go") or Riot Fight ("Riot fight, no we don't go fight on friday night/find a trail so that we can all feast on mighty might/riot fight, no we don't fight on friday night/on again, all my life, forget to take the house of white") to the snarling, snotty satire in songs like Jimi ("Oh whoa, let's like, get my bong/and do up some heavy weed, man, I got some really/heavy megsy meg stuff... stone joints... it's totally lost/it's totally... all the time") and Michelle's Farm ("Yee ha, oh shut up you pig fucker, you're so ugly/you're like a zebra adam you're so ugly/you're a pony ass motherfucker/why don't you get a haircut, farm boy?").