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photo & text by nacrowe
METALLICA's LOAD (ELEKTRA, 1996) album (along with its sibling RELOAD) is unfairly DISCARDED and critically DERIDED often as the moment the band lost their way from which they have been, in essence, crawling back ever since.
i dont think thats entirely fair. this record was my introduction to the band back in the summer of 1996. at the time i was very much into SOUNDGARDEN, DINOSAUR JR, FAITH NO MORE, ALICE IN CHAINS and NIRVANA as well as a few bands i had discovered in the past year like RAGE AGAINST THE MACHINE and TOOL. to my ears, LOAD sounded like a more than COMPETENT, above average ALTERNATIVE ROCK record that fit well in that milieu. i was of course naive to their history nad previous incarnation, a gap that was filled later that summer when i bought their back catalogue at a local NEW JERSEY record that had a sale on such. it was then that i realized that their past discography was REVELATORY. i still feel that RIDE THE LIGHTNING (review linked HERE) and MASTER OF PUPPETS (review linked HERE) are UNTOUCHABLE and BULLETPROOF even when compared to the likes of peers and contemporaries like SLAYER and JUDAS PRIEST. it was then that i appreciated the distance between those FLEMMING RASMUSSEN-produced 80s records and the revamped BOB ROCK-produced 90s incarnation of their sound. it was like two DIFFERENT bands. and so when i think of LOAD now it is a bit of an expectations game. i think on its own terms there is some great material on this record that saw the band go way outside the sonic palette they permitted themselves beforehand. specifically songs like "BLEEDING ME" and "THE OUTLAW TORN" are EXPERIMENTAL standouts that are singularly EMOTIONAL and EVOCATIVE and definitely hit a chord when i first heard them as an early teenager. i think where the critiques pile-up are often in regards to the string of DERIVATIVE mid-tempo blues-based songs like "2 X 4," "POOR TWISTED ME," "HERO OF THE DAY," "AIN'T MY BITCH," and "THE HOUSE THAT JACK BUILT" that feel LISTLESS and without the punch and unflinching TECHNICALITY that established the band in the 1980s and was their signature pre-METALLICA (review linked HERE). i will say that there are some mid-tempo tracks that work in my opinion like "UNTIL IT SLEEPS," "WASTING MY HATE" and "THORN WITHIN," but really the band should have stopped after those three. the others are completely TIRED and REDUNDANT. unlike other fans and critics, i have no problem with the COUNTRIFIED TOM WAITS-inspired "MAMA SAID." perhaps it shouldve been a b-side or something put on a side project or solo album, but i feel like it is a SOLID song that holds up and adds another facet to JAMES HETFIELD's capacity as a SONGWRITER. as a whole the record just feels like a bit of a LETDOWN relative to their past output. and that is probably the point in the end. the band undoubtedly felt like they were becoming an ANACHRONISM and no doubt paid attention to their new ALTERNATIVE ROCK peers over the previous half decade. i wouldnt say the record is a failure, but it is more of an OUTLIER in their catalogue. and it was done that way by design. relative to the 1990s ALTERNATIVE ROCK pack this record definitely holds its weight in terms of sonic EXPERIMENTALISM and overall SONG-CRAFT. relative to their 1980s THRASH METAL discography, the record is a completely different animal and its a bit UNFAIR to compare it to such. and that is the kicker. LOAD has long been a litmus test for fans about how much they love the back catalogue and wish the band would satisfy that METAL itch. in years since the band has largely listened and attempt to re-ingratiate themselves with varying results. to me LOAD represent the last time the band was UNFILTERED and FREE to pursue their own course before the fans had their say. arguably the later LULU (WARNER BROS, 2011) collaboration with LOU REED was another example, but id argue that such an opportunity was never gonna be curtailed. plus REED was very much in control of that record. do i recommend LOAD. absolutely. but if you are aware of the band's 80s output just go into it with an OPEN mind. im sure thats what any artist wants in the end anyway. 
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photo & text by nacrowe
for me METALLICA's METALLICA (ELEKTRA, 1991) record, more commonly referred to as THE BLACK ALBUM, has always been an interesting topic. this is because on the face of it, the record is an incredibly SUCCESSFUL pop record. and i do not mean that disparagingly. in terms of PRODUCTION, song CONSTRUCTION and SONIC VERSATILITY it is quite a devastatingly POWERFUL record. when i was first introduced to METALLICA during the LOAD-period in the mid-1990s this was the record that caught my attention. it is in fact a great entry-level introduction to METAL end stop.
what makes the record interesting for fans of the genre is the context from which it came out. the previous three records, ...AND JUSTICE FOR ALL (review linked HERE), MASTER OF PUPPETS (review linked HERE) and RIDE THE LIGHTNING (review linked HERE) are a VERITABLE MURDERER'S ROW of classic THRASH METAL records, probably the GREATEST streak of records anyone from the genre has ever produced. now that i am thinking about what i just said, i'm still sticking to it. yeah, i'd put those three up against anything SLAYER or even BLACK SABBATH put out back-to-back-to-back. those three records are what their REPUTATION is built upon. its not that THE BLACK ALBUM is a bad record, its just that it is a victim to the band's discography, something the band has suffered from ever since in all honesty. i think what makes THE BLACK ALBUM so CONTROVERSIAL to some and interesting to me, is how INEVITABLE it was. eventually there was going to be a record that widened the appeal of the genre to a MASS AUDIENCE, if not METALLICA then someone else. at some point someone was going to create a record that softened the harder edges, constricted errant noodling, shortened the song lengths and focused more on TRADITIONAL song-craft to manufacture a product more PALATABLE to radio and global audiences. case in point are traditionally constructed tracks like the singles "WHEREVER I MAY ROAM," "THE UNFORGIVEN," "SAD BUT TRUE," and of course "ENTER SANDMAN." in essence its a victim to its own success. i am of the opinion that this was the record they wanted to make at the time and ultimately it is a great pop record. but as a listener aware of how far they transcended their peers beforehand in terms of TECHNICAL PROWESS, FEARLESS COMPOSITIONS unafraid of lengthy detours, POLITICAL LYRICS and just sheer BRUTALITY; it is in retrospect a letdown. i respect them for following their instincts, i just wish that such had led them down a different path. one that melted my face off like the first time i heard "DAMAGE INC" or "FIGHT FIRE WITH FIRE" or even "DYER'S EVE." and im still waiting. 
photo & text by nacrowe
out of their entire catalogue, ...AND JUSTICE FOR ALL (ELEKTRA, 1988) is unique in that it showcases METALLICA, for better or worse, in a moment of transition. you can definitely see the first three records (KILL EM ALL, RIDE THE LIGHTNING and MASTER OF PUPPETS) as an early version of the band made up of a triumvirate of talented songwriters and composers in that of JAMES HETFIELD, LARS ULRICH and CLIFF BURTON. with BURTON out of the picture due to his tragic untimely passing, essentially the rest of their career has been heralded by HETFIELD and ULRICH, with ...AND JUSTICE FOR ALL their first foray.
and it shows. BURTON arguably was the most versatile musician within METALLICA and the most open to outside influences including CLASSICAL MUSIC. this is pretty much gone and what is left is a epically brutal album filled with complex time signatures that are constantly shifting, lyrics dealing with retribution, pain and suffering, as well as (famously) little to no bass guitar. this is an album that is pretty much all about HETFIELD and ULRICH and thus primarily guitars and drums. it is almost impossible to listen to this record and not think of how BURTON would have made these collections of riffs and song ideas more cohesive and impactful to the listener. taht is not to say that this record does not have standout tracks. "BLACKENED," "DYER'S EVE," "HARVESTER OF SORROW," "...AND JUSTICE FOR ALL" and of course "ONE" absolutely crush and are fan favorites to this day. me included. in fact i wouldnt even say that this record is a disappointment since it shows METALLICA at the their most uninhibited and least restrained peak. where it falls is only in comparison to their stellar previous two records, which arguably (in my opinion) are two of the best METAL albums ever bar none. it is a record only made more interesting given the follow-up a few years later that largely abandoned its complexity and ambition in favor of a more streamlined sound. i agree with those that add this record with the BURTON-era albums as the essential METALLICA records, and its been interesting see the risk-taking and artistic risks the band has made since. its just that the post ...AND JUSTICE FOR ALL output has been not as convincing for fans of their 1980s output. i couldn't recommend ...AND JUSTICE FOR ALL any more strongly. an essential THRASH METAL record that is absolutely required listening. 
photo & text by nacrowe
internal band dynamics are always a tricky thing. there are tons of examples of bands that from the outside looking in seem like a consolidated front made of co-equal partners yet such is far from the case. probably no modern METAL musician is more defined by this in the popular consciousness than former METALLICA guitarist and MEGADETH frontman DAVE MUSTAINE.
his memoir MUSTAINE (IT BOOKS, 2010) written with veteran scribe JOE LAYDEN is very much defined the the shifting internal dynamics of not one, but two iconic THRASH METAL bands and provides a much-needed counterpoint to the popular narrative of this influential yet highly CONTROVERSIAL musician. i'll admit right at the beginning that i am not the biggest fan of MUSTAINE. in interviews he always comes across as a condescending BRAGGART and an unrepentant EGOIST, and that was before his conversion to CHRISTIANITY and conservative politics. his voice and his attitude towards his peers has always been GRATING, but i will say that the dude is supremely gifted as a guitarist and a songwriter. it was no doubt his sense of abandon on his instrument and his reckless behavior that initially lifted METALLICA from obscurity and helped establish the nascent THRASH METAL scene in the 1980s. MUSTAINE as a historical figure is absolutely instrumental in the evolution of METAL music. period. its interesting how much ink in this memoir is dedicated to the internal strifes of both bands. METALLICA was a band of alcoholics that discarded one of their members, MUSTAINE, in essence for being a mean drunk. that is popular story, but its interesting that MUSTAINE points to his substantial songwriting credits during his period with the band to suggest that it may have been more about artistic control. in essence METALLICA had three main songwriters in JAMES HETFIELD, LARS ULRICH and MUSTAINE. one theme that is carried throughout this memoir is MUSTAINE's sense of being an underdog, which is rooted in his growing up very POOR, without a father figure and with a mother whose identity got taken over by the JEHOVAH's WITNESS community. HETFIELD had similar circumstances with his deadbeat father and a mother that passed on after being taken advantage of by the beliefs of her CHRISTIAN SCIENTIST community. he is portrayed as being psychologically WEAK, UNASSERTIVE and essentially a patsy to ULRICH, who in turn is portrayed as privileged, wealthy son of a bohemian DANISH TENNIS professional. ULRICH is effectively presented as being a duplicitous MACHIAVELLIAN figure (which is probably pretty accurate). METALLICA was very much a surrogate family for MUSTAINE and his dismissal echoed the rejection of his father towards his family. no doubt it was a traumatic effect and was a primal event in his career and personal relationship trajectory thereafter. but what i found more interesting was his reaction to this dismissal, fair or not. he created a new family in MEGADETH of which he was the sole leader, whose only other longtime member (absent two breaks of which we are now living in the second) is DAVID ELLEFSON whom he deems as dismissively as "junior." the rest of the band throughout is made of a revolving cast of opportunists, scabs, legends and METAL lifers. what struck me in particular is how MUSTAINE never questions his own motives, paving over bad decisions during his many drug-addled years as MISGUIDED or MISINFORMED but not ill-intentioned. he comes across as incredibly naive and largely absent-minded or uninterested in the financial and emotional needs of his bandmates. throughout the memoir he is his absentee father. he wants the leadership and the acclaim but none of the responsibility that comes with it. its interesting that he, more than any other METAL figure, should have been aware of the trauma that comes with bad leadership in a band setting. yet he just kept the cycle going. the biggest bummer is the whole born again CHRISTIAN nonsense at the conclusion of the book in which he considers whether it is ethical or not to play with "satanic" bands. that is just so beyond LAME. he is an artistic leader who can tour with whomever he wants, but it just feels antithetical to ROCK N ROLL in some basic core manner. it also presumes his own purity as a CHRISTIAN which is beyond DISAPPOINTING and, again, just LAME. thats my reaction to this memoir basically. MUSTAINE is a supremely gifted musician who deserves credit for his achievements and contributions to THRASH METAL, but as a person he just comes across as an ass. even in his own memoir in which he is trying to counteract the popular opinion of him being an ass. its beyond CONFOUNDING. go figure. 
photo & text by nacrowe
while their debut KILL EM ALL (MEGAFORCE, 1983) had a ferocious and immediate spit-in-your-eye aggression and the follow-up RIDE THE LIGHTNING (MEGAFORCE, 1984) a growing compositional and lyrical sophistication, to many fans MASTER OF PUPPETS (ELEKTRA, 1986) is the definitive METALLICA album. in many ways it marries the aggression and sophistication of their previous two releases into a cohesive yet brutal statement dealing with themes regarding ADDICTION, from DRUGS ("MASTER OF PUPPETS"), RELIGION ("LEPER MESSIAH") and SELF-IMAGE ("WELCOME HOME (SANITARIUM)") to our seeming cultural need for AGGRESSION and DOMINATION with regard to foreign conflicts ("DISPOSABLE HEROES"). in my interpretation, this record is about the price we pay at both a societal and individual level for our dependency on PROPAGANDA and SELF-DELUSION. and it still holds up.
i very much see this record in tandem with its aforementioned predecessor RIDE THE LIGHTNING in terms of its track-listing, subject matter and even its artwork. both albums have highly orchestrated opening tracks that devolved in to barn-burning torrents of absolute aggression ("FIGHT FIRE WITH FIRE" vs "BATTERY") as well as CLIFF BURTON-penned instrumentals ("THE CALL OF KTULU" vs "ORION") that showcase his musical dexterity as well as compositional chops. my personal preference is towards RIDE THE LIGHTNING, but many consider the title track "MASTER OF PUPPETS" to be among the best tracks METALLICA ever produced, if not the definitive track bar none. this track is epic in its conception, as it has multiple sections that seem to mirror the stages related to ADDICTION and RECOVERY. the aggressive parts are sonically beyond brutal as if to aurally express the bowels of SHAME, GUILT and SELF-HATRED that come with the pursuit of one's addiction while the middle interlude section with its down tempo and soaring dual guitar leads presents a sense of HUMILITY and COMPASSION towards oneself and gives a sense of HOPE that RECOVERY is an option. again, this is just my interpretation since the song could be about ADDICTIVE BEHAVIOR writ large, but its musical and compositional complexity gives it that deeper MEDITATIVE quality that renders it anything but one-dimensional. sadly MASTER OF PUPPETS is the last METALLICA record recorded with the late great BURTON, who passed away while touring this record in NORWAY in a freak bus accident. in many ways the METALLICA that came after is a different band entirely since BURTON was such a key contributor to the band and was arguably responsible for their sophisticated compositional aesthetic that made them standout from both their THRASH METAL counterparts and the NEW WAVE OF BRITISH HEAVY METAL bands that predated them. their seminal yet problematic next offering ...AND JUSTICE FOR ALL (ELEKTRA, 1988) is a more compositionally complex yet less coherent statement, which really provides an apt metaphor for the band's state of mind post-BURTON. he is dearly missed to date, but in many ways MASTER OF PUPPETS is his lasting statement and legacy within the broader musical community, well beyond the confines of METAL. rest in power CLIFF BURTON. 
photo manipulation & text by nacrowe
one of the DEER GOD RADIO moments that really stands out to me as something particularly special was EPISODE 92 that i conducted with my friend VERONIKA about her all-time favorite band: METALLICA. i should start by thanking KRISTIN & TOM from MAKERPARKRADIO.NYC for making it technically possible behind-the-scenes, because VERONIKA was broadcasting remotely from ARGENTINA. which was so cool.
her and i met in VENEZUELA when we both worked at an international school in the petroleum-rich eastern part of the country. i moved there within six months of the demise of HUGO CHAVEZ, at what was the beginning of the disastrous regime of current "president" NICOLAS MADURO. i basically had a front row seat to the economic and political dismantling of a proud country (which in turn prepared me for the same stateside under TRUMP a few years down the road). the thing that blew me away about VERONIKA (as well as two other local musicians i met) was how they all effectively learned ENGLISH through METALLICA lyrics. the level of PERSISTENCE and RESOURCEFULNESS to pull such off to me is still quite an incredible achievement and showcases a summit of true FANDOM i cant begin to imagine. she even flew alone to BRASIL (first time abroad!) to see them play live in RIO DE JANEIRO. like a lot of admirers of THRASH METAL, post-CLIFF BURTON era METALLICA is a little suspect especially once they hit the 1990s, but meeting my friend VERONIKA kinda changed my view a bit on the global phenomena behind that celebrated by all-too-often derided band. at the very least i wanted her perspective when presenting their music on my show and im still happy we (and by we i mean KRISTIN & TOM at MAKERPARKRADIO.NYC) were able to pull it off. in case you were wondering, like many VENEZUELANS with qualifications, VERONIKA was able to leave VENEZUELA in order to find economic prosperity elsewhere on the continent. in the post-CHAVEZ years when VENEZUELA has truly nose-dived POLITICALLY and especially ECONOMICALLY, many have sought refuge in countries such as CHILE, PANAMA, COLOMBIA, ECUADOR and ARGENTINA. i have other friends from VENEZUELA that have even become long-term refugees in GERMANY. its an absolutely disgrace that the UNITED STATES has not done more in this regard. anyway, definitely check out this special past episode of DEER GOD RADIO co-hosted with my friend VERONIKA. thinking of which, i should probably follow-up and do another show with her... 
photo & text by nacrowe
i should start by stating that BIRTH SCHOOL METALLICA DEATH (DA CAPO, 2014) by PAUL BRANNIGAN and IAN WINWOOD is far from a perfect book. its BRITISH authors have an unfortunate GEOGRAPHIC BIAS towards the supposed importance of their native island in the role of METALLICA's career trajectory and an even more misplaced PROXIMITY BIAS to the role of KERRANG! magazine, of which the both have written for in the past. the authors also tend to be a bit verbose to the point of obfuscation, almost as if this book was written with a word limit in mind. there are also numerous grammatical mistakes (which is hard for me, a former ENGLISH teacher, to forgive).
all that being said, BIRTH SCHOOL METALLICA DEATH does an alright job of relating the narrative of METALLICA and their massive cultural impact on the world of METAL and beyond. being familiar with their many documentaries (CLIFF 'EM ALL, A YEAR AND A HALF IN THE LIFE OF METALLICA I and II, SOME KIND OF MONSTER, etc.), most of this information i was already familiar with. i assume that fans much more... well, fanatic, than me would probably concede that much of this book is rather basic boilerplate knowledge of the band. i think where this book succeeds is in how the authors reveal the interpersonal relationships between band members and those close to the bands orbit including family, managers and, of course, fans. JAMES HETFIELD and KIRK HAMMETT in particular grew up in broken households where music was a respite from conflict and the unfair and undue hardship of being a child dealing with adult problems. in LARS ULRICH you have an only son with a unique upbringing in that he was raised in a progressive, loving family with a wealthy, sophisticated father figure whose profession as a DANISH tennis pro allowed his son access to world travel and an education in the arts that was second to none. original bassist CLIFF BURTON likewise came from a loving family, albeit one that was working-class with no inclination for musicianship. this triumvirate (of HETFIELD, ULRICH and BURTON) after the ouster of original lead guitarist DAVE MUSTAINE, was fairly stable and artistically cohesive. its only after BURTON's untimely passing while on tour in EUROPE that these the new power struggle between HETFIELD and ULRICH is on full display and the victim of such is JASON NEWSTED. its very interesting that the book makes clear that despite lyrics dealing with rebellion and standing up to the man, that when confronted with issues surrounding any semblance of EMPATHY, COMPASSION and basic DECENCY the leadership of the band failed miserably. HETFIELD, ULRICH and HAMMETT come across as victims of a deep trauma that is sublimated onto NEWSTED. they come off very much like small men indeed. and for all the flowery, sentimentalization carried throughout BIRTH SCHOOL METALLICA DEATH, i thought such was quite a statement of fact. no doubt in the wake of his eventual departure in the early 2000s, which is beyond the scope of this book (which ends after their fifth album at the beginning of the 1990s), there very much is an emotional awakening that traces its painful roots back to the chronology of events examined in this book. the book also makes clear that the band in all its lineup variations was in control of its destiny for better or worse. this goes with major decisions regarding personnel, management, booking agents, record labels, touring packages and so on. the notion that somehow the band was pushed to work with BOB ROCK and construct a more streamlined commercial record at the dawn of the 1990s is absolute garbage. the band (and by that i mean HETFIELD and ULRICH) were already there. despite their internal frailties and inherent weakness in acknowledging their own pain to each other in the face of a major trauma, in terms of creative decision-making, METALLICA was their own general. no doubt the METALLICA of today is a very different animal than this period. and kudos to them for having the courage to progress as humans by admitting and vulnerability, and doing so very publicly. its the less celebrated late-career METALLICA that i feel are truly COURAGEOUS and undeniably AUTHENTIC in a genre filled to the brim with pretenders and charlatans. this book only makes that trajectory come into sharp focus and for that i appreciate it despite its many flaws. 
photo & text by nacrowe
in my mind RIDE THE LIGHTNING (MEGAFORCE, 1984) by METALLICA is the best THRASH METAL record of all time (sorry SLAYER). it may even be the best METAL record as well. the jump in technical proficiency and song-craft from the KILL 'EM ALL album released just a year earlier is quite remarkable.
for me it is all about "FIGHT FIRE WITH FIRE," "RIDE THE LIGHTNING" and "CREEPING DEATH" which are virtuosic exemplars of brutality, musicianship and song-craft without losing a sense of urgency and focus that happens when technically gifted musicians seek to show off their proficiency. it really hones in on the intention and drive of HARDCORE with the next level savage riffage and aggression of NWOBHM in a hybrid that has been copied but not matched (again, in my estimation) since. these three songs also tackle disparate subject matter regarding the likes of NUCLEAR WARFARE, CAPITAL PUNISHMENT and the BOOK OF EXODUS which showcases a progression in broader interests beyond that displayed on KILL 'EM ALL, which was a METAL record largely about, well, playing METAL. RIDE THE LIGHTNING is also the first METALLICA record where the band consciously sought to throw a curveball at its audience by including, gasp, a ballad. albeit it is a ballad about suicide. "FADE TO BLACK" is a now a long-running staple of their live shows that foreshadowed similar fare like "WELCOME HOME (SANITARUIUM)" off of MASTER OF PUPPETS and "ONE" off ....AND JUST FOR ALL which similarly utilize a sophisticated sense of extreme song dynamics to carry a narrative. fairly or unfairly, i identity this fearlessness to buck listener expectation with CLIFF BURTON, whose musical lexicon and appreciation far exceeded the METAL genre. the dynamism of "FADE TO BLACK" and the instrumental "THE CALL OF KTULU" are a testament to such. my middle school band in NIGERIA also covered the ERNEST HEMINGWAY-referencing "FOR WHOM THE BELL TOLLS" so that opening dual guitar-line will always have a special place in my heart. at the time the lyrics that dealt with complicated themes regarding organized violence and state motivations for war were beyond me, but those riffs were not. viscerally i cant still visualize playing this song publicly and getting a reaction from the crowd in the cramped gym. so yeah, im a bit biased. one other thing i want to mention is the classical influence on RIDE THE LIGHTNING. when i first heard this record in the mid 1990s that sense of sophistication in the arrangements and even orchestration of parts sonically differentiated this record. when "FIGHT FIRE WITH FIRE" kicks in it really punches because of how its unrepentant aggression contrasts with the opening orchestrated prelude. that trick will be repeated to similar effect with "BATTERY" and "DAMAGE INC" off of MASTER OF PUPPETS. that classical influence gave this record, as well as the aforementioned follow-up MASTER OF PUPPETS, a distinct feel and sophistication that resulted in the pronounced aggression and heightened lyrical themes hitting that much harder. i cannot recommend this record highly enough. easily one of my favorite METAL records of all-time. if only they left off "ESCAPE." 
parodies by nacrowe
check out HERE this recent streaming video episode of DEER GOD RADIO celebrating the influential MUSIC PRODUCTION career of the legendary RICK RUBIN!
​ ​​past episodes of DEER GOD RADIO are available here at the DEER GOD website as well as in the MAKERPARKRADIO.NYC archives. and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience! 
photo & text by nacrowe
KILL 'EM ALL (MEGAFORCE, 1983) is just fun. it is not the most polished, accomplished or sophisticated METALLICA record, but it is the most enjoyable. i think part of that is the fact that it was a recording that had everything to do with the lifestyle of the then burgeoning THRASH METAL scene, from the opener "HIT THE LIGHTS" to "WHIPLASH," "NO REMORSE," "MOTORBEATH" and "SEEK & DESTROY." those songs are all about the ethos of going out and unapologetically slaying the competition and your audiences with the power of METAL. alright, yes that lyrical conceit describes any number of JUDAS PRIEST songs of the same era but there is a certain hungry street-level desperation in these songs. they are immediate and precise, almost a RAMONES meets MOTORHEAD kind of vibe.
after KILL 'EM ALL the band understandably grew into and eventually expanded their sound on THRASH METAL classics like RIDE THE LIGHTNING (MEGAFORCE, 1984), MASTER OF PUPPETS (ELEKTRA, 1986) and ...AND JUSTICE FOR ALL (ELEKTRA, 1988), but this is the one record in their catalogue that has that spit-in-you-eye, devil-may-care, lay-it-all-on-the-line sense of abandon. it also has some gnarly riffs like "JUMP IN THE FIRE" and "THE FOUR HORSEMAN" courtesy of DAVE MUSTAINE, who was famously dismissed before the recording and replaced by KIRK HAMMETT of EXODUS. another standout track is "ANESTHESIA (PULLING TEETH)" by bassist CLIFF BURTON which displays his impressive compositional chops which would pay dividends on subsequent records. you really got the sense with BURTON that he was a student of his craft and took it very seriously, and this track is early evidence of such. ultimately this a great record of a band exploding its way out of the gate. most definitely required listening for fans of THRASH METAL or really any METAL genre in general since this is such a pivotal record and longtime fan favorite. 
photo manipulation by nacrowe
based on the excellent book of the same name, MURDER IN THE FRONT ROW (BONDED BY BLOOD, 2019) is a documentary that tackles what made the BAY AREA THRASH METAL scene of the early 1980s such a potent breeding ground for some of the most enduring bands in METAL including EXODUS, DEATH ANGEL, TESTAMENT, POSSESSED, VIOLENCE and FORBIDDEN and a scene of influence and import for those not from the region like ANTHRAX, SLAYER, MEGADETH and METALLICA.
its an interesting conceit to base a film on since most of the conversation historically regarding THRASH METAL is centered THE BIG FOUR, i.e. the aforementioned ANTHRAX, SLAYER, MEGADETH and METALLICA. by providing a community of promoters (WES ROBINSON), venues (RUTHIE'S INN and THE STONE), meeting places/record stores (THE RECORD VAULT) managers (DEBBIE ABONO) and rabid fans (SLAY TEAM), SAN FRANCISCO basically provided the supportive environment that allowed the scene to thrive and punch much beyond its weight culturally over time and serve as the focus of this documentary. the TAPE TRADING scene also served as a vehicle for the underground decimation of music both nationally and globally, which served the scene well as a cheap and efficient means of promotion to the most hardcore of audiences. gaining notoriety with this audience allowed foreign promoters the opportunity to gain familiarity with their sound far in advance of their arrival. this of course was in the days of snail mail and letter writing, decades before e-mail or internet searches were a thing. luckily these bands had a work ethic to engage with this community. i found the most interesting part of this documentary was the idea of the SLAY TEAM, who were scene enforcers at shows who confronted charlatans and "posers" that would show up at shows wearing shirts of HAIR METAL bands or wearing the wrong attire. on one hand they served as gatekeepers and a check on the intentions of the audience. on the other hand the idea of being accosted at a show by a team of vigilante fanatics sounds terrifying and an extreme form of bullying and thuggish behavior. its indicative of the extreme insularity of a scene that at once nurtured the artists but eventually stifled them creatively, as THRASH METAL became rather confined to a sound that few attempted to move beyond. and when one did (i.e. METALLICA), they paid for it dearly with their core audience. but that downside is never explored. this documentary mearly provides information and withholds judgement. one downside to this documentary is that it minimizes the influence of bands outside he scene like SLAYER (LOS ANGELES) and ANTHRAX (NEW YORK CITY). METALLICA and its cousin MEGADETH are both presented as hybrid LOS ANGELES / SAN FRANCISCO bands since they either moved to the bay area and/or poached musicians from the scene. i think minimizing SLAYER's influence on THRASH METAL is almost discrediting in hindsight, since the film only presents one side of this cultural dialogue by exploring the scene's influence on the band's look. i imagine the mark of SLAYER on the scene far surpasses the scene in SAN FRANCISCO's imprint on the band. but that is just my opinion. this is an interesting documentary about a place and time and the birth of modern stateside METAL. definitely required viewing for the uninitiated. worth checking out. 
photo manipulation by nacrowe
there's something to be said about musicians interview musicians. there is a telepathy and a common wavelength at work that transcends superficial aspects like genre and style. it probably comes from a rooted common experience and mentality of persistence that comes with "making it" in a band setting. IT'S ELECTRIC! (APPLE MUSIC) was a in-person, pre-pandemic podcast where METALLICA drummer LARS ULRICH interviewed peers like JERRY CANTRELL (ALICE IN CHAINS), NOEL GALLAGHER (OASIS), JAMES MURPHY (LCD SOUNDSYSTEM), MAYNARD JAMES KEENAN (TOOL/A PERFECT CIRCLE), BILLY CORGAN (THE SMASHING PUMPKINS), LES CLAYPOOL (PRIMUS), GREG PUCIATO & BEN WEINMAN (THE DILLINGER ESCAPE PLAN), DAVE GROHL (FOO FIGHTERS/NIRVANA), JOAN JETT, JACK WHITE (THE WHITE STRIPES) and TOM MORELLO (RAGE AGAINST THE MACHINE) among many others.
whats interesting is that ULRICH, despite his notorious reputation for talking (and talking and talking), within the confines of these interviews he is mostly listening. in fact, i'd argue he is an incredible astute interlocutor that gently guides his subjects through insightful productive conversations. most teachers know that the longer you speak the less impact each word has on your students. i was really taken when recently rewatching these interviews to see just how gifted an interviewer ULRICH was and how engaged his follow-up questions were. you didnt get the sense that he had a list he wanted to get through, rather in an almost HOWARD STERN-like manner allow the subject free reign to drive the conversation as he gently steers it. to pull this off you must be a really good listener, which in popular culture i think ULRICH never gets credit for. makes sense though, given the fact that he is often a key composer within METALLICA who often deals with arrangements, a practice whereby you need to listen with intention to surmise the best presentation of musical ideas for maximum impact. i hope he gets back to this podcast post-pandemic, because it felt like he was really on a roll with it. and it seemed like he was genuinely in his element and having fun. selfishly i just found the conversations compelling and insightful, more so than the vast majority of ROCK AND ROLL interviews you find online. 
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for the past couple months the legendary, and recently troubled, guitar manufacturer GIBSON has been publishing a series of long-form interviews on its YOUTUBE page. in keeping with recent efforts by other leading manufacturers of musical products like ERNIE BALL and FENDER, GIBSON has used legacy artists to reconnect with their core, and often overlooked, HARD ROCK / METAL audience.
it is probably a smart move of having JERRY CANTRELL (ALICE IN CHAINS), KIRK HAMMETT (METALLICA), and TONY IOMMI (BLACK SABBATH) out front speaking about their careers then having GIBSON themselves selling themselves, especially given the company's recent heavy-handed and notoriously misguided PLAY AUTHENTIC debacle. i also find it interesting that they chose these four players as three of them are well-known endorsees of other manufacturers, CANTRELL with G&L and HAMMETT with ESP, and DAVE MUSTAINE (MEGADETH) with just about everyone (JACKSON, ESP, DEAN and now GIBSON). IOMMI of course is synonymous with the GIBSON SG model. apparently last year CANTRELL became a brand ambassador, whatever that is, but then again live and in the studio he has been known to use LES PAULS. HAMMETT likewise is famous for his use of LES PAULS as well as FLYING Vs, especially in METALLICA's early years. whomever jumped on this trend at GIBSON of created thoughtful interviews and mini-documentaries on legendary players deserves kudos because these are great. they have only released a handful but they are well worth investigating. 
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this is pretty cool.
the MUSEUM OF POP CULTURE in SEATTLE recently did their annual fundraiser for local music education and community engagement initiatives by celebrating the work of regional favorite sons ALICE IN CHAINS. aside from their performance at the event, there were also performances both on-site and via video submissions by various peers and artists, many of the METAL and ALTERNATIVE ROCK persuasion. while i am pretty on the fence about music-related museums in general (in my mind movements are only truly dead once you can visit an exhibit), these performances by the likes of MARK LANEGAN of SCREAMING TREES, MASTODON, HEART, FISHBONE, KORN, SOUNDGARDEN, TAD DOYLE of TAD, KRIST NOVOSELIC of NIRVANA, DAVE NAVARRO of JANE'S ADDICTION, COREY TAYLOR of SLIPKNOT, METALLICA, BILLY CORGAN of THE SMASHING PUMPKINS, TAYLOR HAWKINS of the FOO FIGHTERS are amazing and serve of evidence of the cultural impact ALICE IN CHAINS had on their peers and the next generation of musicians. makes me miss LAYNE STALEY and MIKE STARR all the more deeply. not to mention their fallen peers in CHRIS CORNELL and KURT COBAIN. rest in peace brothers. 
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in the wake of the suicides of both CHRIS CORNELL of SOUNDGARDEN and CHESTER BENNINGTON of LINKIN PARK in 2017, a conversation about MENTAL HEALTH in the METAL community was long overdue. obviously in a music genre that seemingly openly cultivates an exaggerated, almost cartoon-like, depiction of masculinity, the idea of publicizing a sense of self-reflection and being vulnerable is quite revolutionary. and that was what this 2018 four-part video series produced by REVOLVER MAGAZINE sought to accomplish. raising awareness about MENTAL HEALTH treatment, as well as the adjacent issue of SUBSTANCE ABUSE (which really only exacerbates the former).
JOHN DYER BAIZLEY from BARONESS, JESSE LEACH of KILLSWITCH ENGAGE, ZAKK WYLDE of BLACK LABEL SOCIETY/OZZY OSBOURNE and ROBBIN FLYNN of MACHINEHEAD all present testimonials about how they went about addressing issues surrounding their MENTAL HEALTH, whether that be ANXIETY, DEPRESSION, ADDICTIVE BEHAVIOR or issues of self-worth leftover from their formative years. the courage on display is astounding and it will no doubt pay forward in terms of raising awareness and elevating the consciousness of their audience. not only that, i think this conversation will save lives. period. i've written before and spoken on the air about the fact that the most impactful thing JAMES HETFIELD of METALLICA has ever done is being open about his issues surround MENTAL HEALTH and ADDICTION. when he returned to rehab in 2020, after years of sobriety since his previous stint in 2001, it took real bravery to take ownership and responsibility of his problems. and stop the machine to address such. the fact that his band supported such and didn't let financial or non-health related considerations influence his decision is a testament to their values and an example of human empathy. this has long not been the case. people will stay on the road so that the crew will get paid. because of that, the grind and pressures of the road and the music industry have claimed actual lives and anything that contributes to an atmosphere of less toxic masculinity in METAL is great, long-overdue thing. if anything, i think it may actually assist in attracting a more inclusive and tolerant audience as well as fostering a more empathetic touring industry. how METAL would that be? 
parody by nacrowe
check out HERE this recent streaming video episode of DEER GOD RADIO dedicated to the early METALLICA albums and the memory and enduring creative legacy of CLIFF BURTON.
​past episodes of DEER GOD RADIO as well as other MAKERPARKRADIO.NYC shows like MAKE HER SPACE, NOWHERE FAST, THE SYNTHESIZER SHOW and CLASSICAL-ISH WITH NUTMEG are available here at the DEER GOD website. and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience! 
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as corporate propaganda goes, ERNIE BALL MUSIC MAN's online STRING THEORY video series on YOUTUBE is pretty effective. they basically created extended interviews with such notable players as JOHNNY MARR, DAVE NAVARRO (JANE'S ADDICTION), JERRY CANTRELL (ALICE IN CHAINS), KIRK HAMMETT (METALLICA), DARON MALAKIAN (SYSTEM OF A DOWN), JADE PUGET (AFI), TOM DELONGE (BLINK 182), STEPHEN CARPENTER (DEFTONES) and J MASCIS (DINOSAUR JR) among many others, all explaining how they came to play guitar and what being a musician / songwriter means to them. somewhere, of course, they mention the strings.
there has definitely been a move towards these types of online cross-promotional infomercials (well-produced as they are) by various companies in the retail guitar space, each showcasing how their product in concert with products by other notable manufactures support recording and touring musicians and allow them to pursue their art. and just in terms of marketing i think that is a smart move since it equates your product with the quality of other well-known brands, in this case guitar manufacturers like FENDER, GIBSON, IBANEZ, G&L and PAUL REED SMITH and amp companies like MARSHALL, MESA-BOOGIE, FRIEDMAN, FENDER, DIEZEL, ORANGE and BOGNER among others. in terms of each artist, hearing them talk about their influences and how they came about playing guitar as they strum off iconic riffs through their live rigs is just such a sweet spot to hit for any fan of guitar playing. i can never hear enough of "THIS CHARMING MAN" or the solo from "THREE DAYS" in its entirety, no matter the context. kinda feel guilty for showcasing blatant, unapologetic corporate propaganda, but oh well. enjoy! 
parodies by nacrowe
tonight's new episode of DEER GOD RADIO at 8PM EST on MAKERPARKRADIO.NYC is dedicated to the early career of THRASH METAL icons METALLICA, especially their work with legendary bassist/songwriter CLIFF BURTON (RIP). guest hosting tonight will be my friend VERONICA (biggest METALLICA fanatic i've ever met) who will be broadcasting live from ARGENTINA! gonna be fun, make sure to tune in!
past episodes of DEER GOD RADIO as well as other MAKERPARKRADIO.NYC shows like MAKE HER SPACE, NOWHERE FAST, THE SYNTHESIZER SHOW and CLASSICAL-ISH WITH NUTMEG are available here at the DEER GOD website. and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience!
photo manipulation by nacrowe
what was originally intended as behind-the-scenes footage to be utilized as extra content for their upcoming release transitioned into a seminal documentary about the dissolution of a band in real-time, something that has not been documented before or since to my knowledge.
controversial at the time of its release among METAL fans, the documentary SOME KIND OF MONSTER (THIRD EYE, 2004) by directors JOE BERLINGER and BRUCE SINOFSKY (BROTHER's KEEPER, PARADISE LOST trilogy) has proven in retrospect to be arguably their highest achievement (other than those perfect string of legendary CLIFF BURTON albums in the 1980s). i say this because there is a lot of posturing and machismo bullshit in METAL. it is by far the aspect of the genre i dislike the most and for years METALLICA were the pied pipers of this toxic brand of masculinity. that was until their second bassist JASON NEWSTED departed in order to claim the freedom of pursuing other projects. this was the first domino in a series of internal debate and reconsiderations that led to group therapy and lead singer/rhythm guitarist JAMES HETFIELD's admittance into rehab for alcoholism. again, given their history with these issues it was a brave move. original lead guitarist DAVE MUSTAINE of MEGADETH fame was booted out for his behavior when intoxicated. he wasn't afforded a second opportunity. to interview him and put all the cards on the table in such a public manner really altered the culture in my opinion. none more so than the issue of therapy. METALLICA was mocked extensively for going in to group therapy as such was perceived (moronically) as being weak, passive and not metal. if anything this was a power move that took incredible courage. i look back now at a seminal band like PANTERA who had internal struggles that were never dealt with out of a sense of toxic masculinity and they broke up out of spite with one another. they battled each other in the press and ultimately cowered to their corners with their respective enablers and hangers-on, never addressing anything in person, man-to-man. in my mind stepping up and speaking your truth and probably more importantly, the act of listening would have been more METAL. but what do i know? i feel as our culture becomes ever more coarse and driven by wedge issues that seek to divide us, here is an example of a group of men looking each other in the eye dealing with their internal issues directly with begrudging respect. taking control of their behavior. being adults. thats what this film represents to me. too bad the album ST. ANGER sucked. 
photo & text by nacrowe
its been over 15 years since DIMEBAG DARRELL's murder, but he's seemingly been omnipresent in the METAL community in spirit ever since. OFFICIAL TRUTH 101 PROOG: THE INSIDE STORY OF PANTERA (DA CAPO, 2013) is PANTERA/DOWN bassist REX BROWN's attempt at making sense of his former band's legacy and laying bare the warts-and-all narrative of how their insatiable drive to succeed over time alienated themselves from each and ultimately led to their estrangement and break up. the bizarre, unforeseen shooting of guitarist DIMEBAG by a mentally ill midwestern fan in DECEMBER 2004 only further heightens the loss felt by fans for this once indomitable juggernaut of a band that basically single-handedly maintained METAL as a cultural entity in the ALTERNATIVE ROCK doldrums of the 1990s.
in essence, BROWN promotes his perspective that PANTERA fell apart due to over touring over a 15 year career that found them rarely taking extended breaks. initially this was due to their commitment to each other to make it in the business, but later it seemed they were worried about maintaining their lifestyle and appeasing fans worldwide. the narrative forwarded by fans in the years after DIMEBAG's murder there has been much blame and consternation being forwarded singer PHIL ANSELMO's way for his issues with heroin and dalliances with DOWN, SUPERJOINT RITUAL and various other side projects. BROWN counters this line of thinking arguing that the reality was that they needed a break and the brothers ABBOT (DIMEBAG and drummer VINNIE PAUL) by the end did not have communication with ANSELMO enough to come to that sort of conclusion. its funny how many people mocked METALLICA for their documentary SOME KIND OF MONSTER (THIRD EYE, 2004) in which they hired a group counselor to work through interpersonal issues, but they had the last laugh as they are still together performing almost 20 years later. for all their macho, alpha-male posturing, PANTERA couldn't look each other in the eye and admit they needed help reevaluating their business choices in light of physical and mental health concerns. speaking of which, one repeated line of criticism for this book are the shots BROWN takes at VINNIE PAUL for his immaturity and stubbornness. nobody argued that such were untrue, just that they didn't see the point in kicking a guy down after a family tragedy. i disagree, if anything BROWN comes across as a pretty relaxed, even-keeled and not particularly emotional narrator. i found him to be pretty reliable, but what do i know? his criticism of VINNIE PAUL was done in order to relate accurately the internal dynamics of the band and how there was a clear dividing line between the brothers and BROWN and ANSELMO. what comes across glaringly is the idea that BROWN served as a middle man in PANTERA. a middle man between the band and management, accountants, lawyers and even feuds between members themselves. lots of tough choices that needed an unemotional adult participant often found their way to BROWN, which was ironic given that he rarely talked in interviews, leaving the rest of the band members to give off the impression to their fanbase that they were in control. this book is sort of his take on everything, and given ANSELMO's reluctance to speak on the issue and the recent passing of VINNIE PAUL years after his brother's murder, this book will likely be the final take on that issue by an actual band member. tragic story about a great band that i really enjoyed as a teenager. its well-written and overall comes off pretty level-headed. if you are a fan of PANTERA or a lover of METAL in all its forms, SLUDGE METAL, DEATH METAL, THRASH METAL, NWOBHM, DOOM METAL, BLACK METAL, METALCORE and beyond, this book is worth your time. 
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