The solos throughout are clear and the production sound is surprisingly bright, unlike a lot of rock albums released around this time that suffered from a muddy, distinctly '80s thud. Future Metallica albums broke up the frantic pace with bombastic instrumentals or epic ballads. Pulling Teeth serves only as a breather to me. It was to be thirteen years until another filler appeared on one of their records, but with a tight budget that debut albums almost always receive and deadlines approaching, this one less than awesome moment is the only slight on an otherwise groundbreaking lp.
The majority of the songs here, in fact you could say the majority of riffs compiled here, have become metal standards that defy age, and although trends come and go in the scene that was spawned from them, they have become for millions of people and I include myself among these , the bar in which to judge all that came after. A few months later in Philadelphia, Whiplash was included into the set list. These songs not only have stood the test of time, but even today are making an impact on a whole new generation of metalheads.
It's the early 80's. Heavy metal is stronger than ever, and an aura of sleaziness and brutality hangs in the air. Guys like Judas Priest, Maiden and Accept were chugging along strong. But a new breed of metal was in development. Faster, meaner, more vicious. They called it thrash. And in it's infancy it was the rawest, fastest heavy metal the world had been exposed to at the time. Arguably at the forefront of this movement was the great Bay Area thrash attack, including supermen Exodus, Slayer and our stars here today, Metallica.
What ever happened to this Metallica? This Metallica was uninhibited, spitfire-ferocious thrash that was ready to ram 50 minutes of metal up your sorry mortal ass and then take more names.
Now they play sloppy elevator music while Lou Reed rants about dogs humping and sucking off colored guys. But for just today, let's live it up in the past, shall we? The Metallica here oft considered to be the classic lineup. First off is Mr James Hetfield on vocals and the rhythm guitar. His voice is the great, classic thrash style; highly aggressive with lots of youthful, somewhat raspy shouts and semi-growls. His actual singing and chanting is pretty solid too, while his guitar work, while a bit hesitant and held back at times, is still well done.
The guy is in love with his fucking solos. Good ol' Kirk Hammett is on lead guitar, and he's probably the strongest here. The guy's a real riffmaster and he just sounds good, heading right into the music without very little flubs. The late great Cliff Burton takes up bass, and when you can actually hear him, he's solid as hell. He can shred the bass, coming up with his own killer riffs while adding punch to the songs' multiple cool solos.
Rounding it out is some Danish guy on drums. I don't want be another one to jump on the "I Hate Lars Ulrich" bandwagon, but on a technical level, the guy ain't that great. He's very uneven and at times downright sloppy. He has a couple fast fills here and there, but he only really works well drumming by himself.
When it comes to drumming along with a speedy Hetfield solo, he obviously can't keep up, so it's just this vague "tap tap tap" that somehow gets higher billing over Burton's bass. It works a little on this album, but overall Ulrich is, and always will be, Metallica's weak link.
The songs all, mostly, kick fucking ass, ranging from bloodthirsty speeders and thrashy epics to an instrumental and even some power metal-inspired moments.
Classic "Jump In The Fire", which was, along with three other songs, co-penned by one-time member Dave Mustaine, is rife with semi-technical aggression, memorable riffage and some of Hetfield's best vox on the album.
A personal favorite is "Phantom Lord", with it's all too brief synth intro, sharp guitar work including a handbangable main riff and it's interesting solo with some time changes. Then there's the epic "Four Horsemen" with its killer galloping riffage, a number of scorching solos, and some of Hetfield's meanest vox. Let's not forget "Seek And Destroy", the least thrashy song on here, but don't hold that against it.
It has probably one of the best choruses due to its inherit simplicity and cooless. Some lesser moments include opener "Hit The Lights" which certainly doesn't suck but it's just kinda so-so and the boring instrumental "Anesthesia Pulling Teeth ", which exists as little more than to show off Burton's great bass skills.
Overall, while there are some problems in the performance of the band and that a few of the songs don't stick out as much as they should, this is still a hell of a worthwhile addition to your metal collection. Forget what the band has become and instead try to focus on what they once were: true heavy fucking metal.
Well in this era of heavy metal Metallica was considered not only to be thrash metal, but speed metal as well. Finely produced by Paul Curcio and Jon Zazula, this entire release is something easy to get into if you're a fan of these genres of music. Metallica circa I'd say put out uncompromising metal which during the 80's was considered pretty extreme. As to what road they went during the 90's to present day does not reflect anything at all like "Kill 'Em All".
It was blatantly obvious with the release of "The Black Album" they simply abdicated their thrash metal roots and completely sold out. But focusing on this album, the rhythms and leads are innovative, Hammett simply shredding on lead and Cliff Burton RIP puts out his talent on bass with "Anesthesia - Pulling Teeth".
You could actually hear the bass guitar not only on that track, but all of them entirely. Fuzzy bass tone. There really aren't many thrash acts during the 80's that were more innovative in songwriting quality than Metallica. Although I do consider Slayer, Exodus, Testament and Anthrax were also some damn good thrash bands as well.
But Metallica reigned superior over these other bands. Musically "Kill 'Em All" has guitar riffs that are simply unique, awesome, distorted as all hell and memorable tracks from beginning till the end of the album. I would consider this album to be one of my most played out records that I've heard, but I still am not sick of these songs. It's a shame that a band that displayed so much potential which is evident on this release all the way up till " And Justice for All".
I think that if Cliff Burton was still around they probably wouldn't have taken their thrash roots away and become a total waste musically. The lyrical aspect of this release has nothing really to do with Satanism, just filled however with hatred towards humanity without any compromise in that respect.
Hetfield's vocals go well with the music especially the high-end screams. I don't consider this release their best of the 80's I'd say "Ride the Lightning", "Master of Puppets" and " And Justice for All" were their absolute best releases. However, this was a beginning for the band and showed their awesome potential at such a young age. Metallica used to scoff at the idea of making videos.
However, after "One" came out they began to make more music videos to make more money obviously. That's why I'm reiterating the point that if Cliff was still around they wouldn't have become "Metallisux" as coined by most old fans of the group. Well some would agree, some would disagree. I think we can all agree that this album is one the most important thrash metal albums of all time.
Introducing the masses to this new thing called thrash metal with some help from Overkill and Exodus, but demos aside, Metallica, for me at least, takes the glory when it comes to first full length thrash album ever.
This album has the most thrash ever put on a Metallica album. This song should be the thrash metal anthem. Production on here is awesome. Raw, aggressive, thrash metal sound. Those crunchy guitars made famous from this album sound amazing. The drums sound really good. The bass is audible the whole time and the bass sounds really good. Kirk pulls off some awesome solos, and there are a lot of them on here. This is easily my favorite Metallica album for two reasons.
The music of course and this is the album that I fell that the members were most passionate about music. Lars played with the most feeling on here and he did a really good job. Yes, but amazing? Also, yes. Overall, an amazing album.
The first full length thrash metal album and it kills. Many people say that thrash metal was born with this album. Many people claim that this album has an important role for the history of metal music. Many people argue that this album was the first step of a famous legend. All of those things are true but when it comes to review Metallica's debut album, I would like to leave the nostalgic feelings away and concentrate on the music.
That's where I must admit that this album is rather one dimensional and has a few fillers in here. Many people may now contradict me by saying that thrash metal must sound exactly like this. But the debut albums of "Overkill" or "Voivod" prove that bands can already innovate within their first albums and sound rather diversified.
The only time Metallica try out something else is during the memorable bass solo " Anasthesia Pulling teeth" which may be one of the greatest bass guitar solos ever recorded in the metal genre. It's simply experimental, diversified and technically of a pretty high standard and one of my favourite tracks in here.
This courage, this open minded creativity, this last little kick of genius is what is a little bit missing in here. The other nine songs are mostly straight forward thrash metal tracks with sharp riffs, aggressive but melodic vocal lines, fast guitar solos, a pumping bass guitar and a tight drumming. The sound is raw and aggressive and fits perfectly to the songs and the album title itself.
The band employs the technical qualities of the heavy metal genre and mixes them with the fast paced energy of the punk wave and unites two genres that were very distinguished at the time and didn't seem to match together.
The birth of thrash metal was a first step of the approach of the two genres and their fans. The great opener "Hit the lights" hits right my nerve and is a perfect definition of the Bay Area thrash metal genre.
A little bit more elaborated tracks like the great grower "No remorse" or the catchy band hymn "Seek and destroy" work even better and are still a great definition of its genre almost thirty years after the initial release. The killer track "Whiplash" is also one of my favourite tracks on the record and varies a little bit more than some too generic songs its riffs, drum loops and melody lines.
The song gives you no time to breathe and delivers everything the band stood for back in time. The guitar solo is simply outstanding and proves us that Kirk Hammett was the ideal choice for Metallica and delivers already here a better job than the overrated and arrogant egoist and former guitar player of Metallica Dave Mustaine would ever do.
Sorry for the attitude and I apologize to all the "Megadeth" maniacs, but that's something where I just felt the need to write it down. Anyway, all those songs can without a doubt be called some classics. But next to many catchy and great songs, there are also a few fillers on here that can't hold the high level. The single "Jump into the fire" was not the best choice to spread the name about this young band and the new genre and is a rather overrated track.
It's difficult to criticize this bunch of motivated and energized teenagers for some repetition but that might be the only weak point of this album and where there is a thin line between a very good album and an outstanding or even perfect record.
That's in the end why my rating is really just slightly below the highest degrees of amazing and absolutely outstanding metal music. Nevertheless, any metal fan should have this great thrash metal record in its collection even if Metallica created even better albums in the next few years in my opinion.
This album is a raw definition of the birth of thrash metal with some great and unforgettable classics. But only a few years after, the concurrency and Metallica itself showed us that the summit of thrash metal has not yet been reached yet.
They showed us that there was far more to discover than just this respectable beginning of an era. By the way, this album is a grower and gets really addicting and catchy with its simplistic but effective attitude. Anyway, anybody that would like to metal up its ass in an old school way has the perfect record for this right here. One would be hard-pressed to find any Metal fan that is not aware of the story behind this classic album.
Metallica spent a couple years making a name for themselves, playing live and releasing demo tapes, joining bands such as Exodus and Overkill in creating the sub-genre known as Thrash Metal.
And while the band would later go on down a path that most true Metal fans found disgusting and horrible, it would be unwise to discount their early accomplishments. Many seem to forget that, when Kill 'Em All was released, it was considered quite fast and aggressive, even surpassing the mighty Venom.
The original title was to be Metal Up Your Ass, with ridiculous artwork to accompany this concept. This was shot down by the record label, thinking that it may cause problems with distribution, as far as I recall.
In the end, it turned out to be a positive thing as the aesthetics of an album aid the music in creating the atmosphere. The artwork for Kill 'Em All was, definitely, more striking and appeared more serious than the proposed cover image. This record was a very important part of my early musical development. Despite growing up with Rock and Metal, I didn't begin working on my own music collection until around , and this band was the catalyst for that.
In the beginning of my search for similar music, terms like "Thrash Metal" didn't mean very much to me. All I knew was that I had to find more music like this, which eventually led me to discover bands like Anthrax, Overkill, Megadeth and, of course, Slayer.
Metallica was responsible for me seeking out more Thrash Metal which, in turn, would take me on to discover Death and Black Metal; as well, it was because of Kill 'Em All that I desired to look into the bands that had influenced them in the first place, opening up the gates to the NWOBHM bands and so on.
For those who were in the underground scene back then, these songs were already quite familiar, due to the number of demos that were released. However, the versions found on Kill 'Em All possess a decidedly harder edge, and a lot of this can be attributed to the vocals. Prior to this, James Hetfield utilized a style very reminiscent of Sean Harris, which was most evident on the various Diamond Head songs that they covered. In my opinion, the weaker vocal approach was one of the things that really killed some of the NWOBHM bands, or at least made a few of them take a little longer to get used to.
Thankfully, here we find that Hetfield was discovering his own voice, developing a more aggressive sound. While he didn't stray into Cronos territory, his approach was more raw than melodic and this helped the overall feeling of the album. The sound quality isn't as much of a jump as one might expect, but that's actually a good thing. They retained the dingy and raw sound from the demos, while simply improving the execution. It's interesting to follow the development of these songs, from the early demo stages to the L.
The arrangements are, more or less, the same. Obvious differences would include the extra parts added to "The Four Horsemen" originally known as "The Mechanix" and the intro bit to "Phantom Lord". Some lyrics have been changed as well, which only benefits the band.
Still, some ridiculous lyrics remain. Listening back to the version that appeared on the Metal Massacre compilation, it's amazing how the song had evolved by the time they recorded Kill 'Em All.
Hetfield's more aggressive vocals definitely save this song from ruining the album, as it's earlier incarnations would not have suited the record at all.
The general atmosphere of the album is more energetic than anything else. Despite some of the lyrics possessing a darker tone, there's never really a feeling of darkness or dread to be found here. Of course, the band were certainly never attempting to create a dark atmosphere, so this is only detrimental in the minds of those who would prefer this.
The record is filled with great songwriting, with the fast riffs that get your adrenaline pumping and the more mid-paced riffs that still manage to embed themselves in your brain. Even though they surpass Venom when it comes to speed and even had an influence on Slayer, there's a somewhat upbeat feeling that permeates this album.
And that's not, necessarily, a bad thing. It adds a level of intimacy between the band and its audience, in a strange way. When analyzing this album and its impact on the Metal world, one has to acknowledge the contributions of Dave Mustaine.
Some would say that, since he wasn't even in the band for a full two years, that he can be relegated to being a mere footnote. This asinine opinion is actually very aggravating, as it shows a lack of understanding that Mustaine was a very crucial part of this band at a critical juncture in its development.
It was in those earliest stages that things could have gone down a variety of paths and had they chosen a different guitarist, they might have ended up being yet another dead end band that only hardcore collectors ever heard of.
Not only did Mustaine co-write several songs on the album, but his skilled playing helped bring those songs to life, in their earlier versions. In my opinion, regardless of any personal issues, he should have been allowed to play on Kill 'Em All.
Those were his songs too, and his efforts helped lead them to the point where they could even record an L. If they wanted to eject him from the band as soon as they exited the studio, that was up to Hetfield and Ulrich. But it seemed wrong to go ahead and use his songs, without allowing him to take part in recording the album. It's heavier, faster and a little nastier than most of the bands that had influenced them.
The same type of melodies are still to be heard, but with a sharper edge. The album is not one-dimensional, in any way. The pace varies throughout and the more atmospheric bits are already there, just not as prominent. Just listen to the middle section of "The Four Horsemen" for an example. And, for perhaps the most vicious-sounding song on the album, one need look no further than "Metal Militia", which I've always viewed as Metallica's own "Witching Hour" and one of the true highlights of the record.
Needless to say, this album comes highly recommended. If their later atrocities have kept you from exploring the old stuff, you're certainly missing out on a true classic. Written for. In , Metallica was just a modest and unknown band, in love with the aggression of Motorhead and with the speed and complexity of many of the british heavy metal acts, most notably Iron Maiden and Diamond Head. This marriage of styles originated this album, which emerged from an american scene still dominated by glam rock bands.
Although this album is hailed as one of the first thrash metal albums ever released, it still doesn't sound like pure thrash metal in my opinion, as all the songs aren't JUST made of speedy guitar work and basic song structures. In fact, there are lots of progressive elements here and there, like tempo changes and breakdowns. The Four Horsemen, Seek and Destroy and the underrated Phantom Lord are examples of that, as they all have amazing middle sections.
Don't get me wrong though, this album is one of the first thrash metal albums, but it isn't THAT aggressive, especially if we compare it with the early works of other thrash acts like Overkill and obviously Slayer.
The tunes here are all pretty fast but the riffs kind of retain a somewhat happy and triumphant vibe, something absent on, for example, Show No Mercy. Obviously, the most important thing of this album is the guitar work. The riffs are the meat of Kill'em All, and there's a lot of good ones here. Almost every tune has a memorable main riff or an interesting solo, which is great. Phantom Lord is an authentic thrash monster, with its NWOBHM-influenced main riff; Motorbreath follows the same path and Whiplash also contains some of the most aggressive and inspired riff ever crafted by this american act.
James had some ideas, I had some ideas, eventually Mustaine came in with some ideas. And then, yeah, we took those ideas and glued them together, added little things like picking technique, heavied it up and made it fast, put some energy and some youthful punkish enthusiasm behind it, and out came this Metallica thing. There were lyrics about taking the hose and sticking it in the tank — a gas station stop disguised as sexual engagement.
Was the music you were making a reaction to everything else that was happening in rock and metal at the time? We were finding our own voice.
It was purely coincidental. If we had walked into the studio halfway through the sessions, what would it have smelled like? We had four or five weeks in a place called Barrett Alley — it was like an old furniture warehouse. There was no money and everything was a struggle.
We drank the cheapest, shittiest beer we could get hold of and ate the worst fast food, and Cliff and a few other people smoked cigarettes. We were there for two or three weeks.
And we totally destroyed his house. Sunday 27 October Monday 28 October Tuesday 29 October Wednesday 30 October Thursday 31 October Friday 1 November Saturday 2 November Sunday 3 November Monday 4 November Tuesday 5 November Wednesday 6 November Thursday 7 November Friday 8 November Saturday 9 November Sunday 10 November Monday 11 November Tuesday 12 November Wednesday 13 November Thursday 14 November Friday 15 November Saturday 16 November Sunday 17 November Monday 18 November Tuesday 19 November Wednesday 20 November Thursday 21 November Friday 22 November Saturday 23 November Sunday 24 November Monday 25 November Tuesday 26 November Wednesday 27 November Thursday 28 November Friday 29 November Saturday 30 November Sunday 1 December Monday 2 December Tuesday 3 December Wednesday 4 December Thursday 5 December Friday 6 December Saturday 7 December Sunday 8 December The first band that frontman Tom G.
Warrior and bassist Martin Ain formed, death-metal forerunners Hellhammer, was a humiliating experience. What they made with their debut LP, Morbid Tales , would shape extreme metal for years to come. Celtic Frost never adhered to a specific genre; they played fast like thrash groups but also wrung out their riffs slowly like doom acts. Before grunge hit the mainstream, the movement owed more to metal than any other rock subgenre.
The heaviness of Black Sabbath and Metallica directly informed how the leaders of the Seattle scene approached songs that tackled depression, drug addiction, death and disillusionment. Nobody was quite ready for Rage Against the Machine when they exploded onto the rock scene in with their self-titled debut, least of all their record company. By the time he formed his eponymous band in , Glenn Danzig was already an underground hero, having spent the prior decade grinding it out with horror-punks the Misfits and gothic hard rockers Samhain.
But what made Danzig an instant classic was the sturdiness of the songs, which definitively demonstrated that he was moving closer to the hallowed territory of idols like Elvis and Bo Diddley. The four L. The imitators would sell millions of records and wind up all over MTV, but none of them came close to capturing the startling originality and energy of Too Fast for Love. It was also about equality. By definition, metal bands are heavy musically, but Tool is also heavy in the emotional sense.
Satan may not be real, but King Diamond is. Guitarist Randy Rhoads, who died in a plane crash while touring for Diary in , had already proven himself a virtuoso on Blizzard ; here, he worked even harder to find the rare nexus between showboat chops and clever songwriting.
On their fourth album, Black Sabbath departed from the straightforward bludgeon that defined their early career and arrived at a sound that was somehow even heavier. Coked out of their minds they even thanked their dealers in the liners , the group recorded in L. Phantom Lord 8.
No Remorse 9. Metal Militia Am I Evil? Hit The Lights [James Hetfield] [Lars Ulrich] No life till leather We are gonna kick some ass tonight We got the metal madness When our fans start screaming It's right well alright When we start to rock We never want to stop again Hit the lights Hit the lights Hit the lights You know our fans are insane We are gonna blow this place away with volume higher Than anything today the only way When we start to rock We never want to stop again Hit the lights Hit the lights Hit the lights With all our screaming We are gonna rip right through your brain We got the lethal power It is causing you sweet pain Oh sweet pain When we start to rock We never want to stop again Hit the lights Hit the lights Hit the lights 2.
Motorbreath [James Hetfield] Living and dying laughing and crying Once you have seen it you will never be the same Life in the fast lane is just how it seems Hard and it's heavy, it's dirty and mean Motorbreath It's how I live my life I can't take it any other way Motorbreath The sign of living fast It is going to take Your breath away Don't stop for nothing it's full speed or nothing I am taking down you know whatever is in my way Getting your kicks as you are shooting the line Sending the shivers up and down your spine Motorbreath It's how I live my life I can't take it any other way Motorbreath The sign of living fast It is going to take Your breath away Those people who tell you not to take chances They are all missing on what life is about You only live once so take hold of the chance Don't end up like others the same song and dance Motorbreath It's how I live my life I can't take it any other way Motorbreath The sign of living fast It is going to take Your breath away 4.
Mustaine] Down in the depths of my fiery home The summons bell will chime Tempting you and all the earth to join our sinful kind There is a job to be done and I'm the one You people make me do it Now it is time for your fate and I won't hesitate to pull you down into this pit So come on Jump in the Fire So come on Jump in the Fire With hell in my eyes and with death in my veins The end is closing in Feeding on the minds of man and from their souls within My disciples all shout to search out And they always shall obey Follow me now my child not the meek or the mild But do just as I say So come on Jump in the Fire So come on Jump in the Fire Jump by your will or be taken by force I'll get you either way Trying to keep the hellfire lit I am stalking you as prey Living your life as me I am you you see There is part of me in everyone So reach down grab my hand walk with me through the land Come home where you belong So come on Jump in the Fire So come on Jump in the Fire 5.
Anesthesia Pulling Teeth [Instrumental] 6. Mustaine] Sound is ripping through your ears The deafening sound of metal nears Your bodies waiting for his whips The taste of leather on your lips Hear the cry of War Louder than before With his sword in hand to control the land Crushing metal strikes on this frightening night Fall onto your knees For the Phantom Lord Victims falling under chains You hear them crying dying pains The fists of terrors breaking through Now there's nothing you can do Hear the cry of War Louder than before With his sword in hand to control the land Crushing metal strikes on this frightening night Fall onto your knees For the Phantom Lord The leather armies have prevailed The Phantom Lord has never failed Smoke is lifting from the ground The rising volume metal sound Hear the cry of War Louder than before With his sword in hand to control the land Crushing metal strikes on this frightening night Fall onto your knees For the Phantom Lord Fall to your knees and bow to the PhantomLord 8.
Thankless little bitch, for the tears I cried.Kill 'Em All is the debut studio album by the American heavy metal band Metallica, released on July 25, , by the independent record label Megaforce Records. Kill 'Em All is regarded as a groundbreaking album for thrash metal because of its precise musicianship, which fuses new wave of British heavy metal riffs with hardcore punk bluesrock.granilargardajindforcerunner.infoinfo: Thrash metal.