With the release of Metallica’s tenth studio album, Hardwired… to Self-Destruct on the horizon, we take a look back at their nine previous studio albums in this three part retrospective. We kick things off with their thrash metal years, as they went from young upstarts to big time players over the course of six years.

Kill ‘Em All

It’s difficult to appreciate how much of an impact Kill ‘Em All had upon release. Whilst it might seem slightly bit bare bones in the shadow of Metallica’s subsequent output, at the time it was something truly special. It is Metallica at their most fun and care free, with nearly every song being chock full of quality riffs and leads as they blitz their way through nine adrenaline fuelled thrash anthems. The lack of maturity is plain to see and some of the lyrics are goofy, but there are a few tracks that hint at the brilliance to come. “The Four Horsemen” takes the blueprint of Dave Mustaine’s “The Mechanix” and improves it ten-fold, transforming it into multi-faceted thrash classic; “No Remorse” sees the band effortlessly shift through different tempos, whilst “Seek & Destroy” showcases their knack for writing heavy, yet accessible, material; complete with countless memorable hooks. The only real misstep is the aptly titled “Anesthesia – Pulling Teeth”, which, whilst highlighting Cliff Burton’s considerable talent, is barely one step above a novelty. Kill ‘Em All sometimes gets overlooked, mostly due to the albums that followed, but taken in context, there is no disputing that it’s a thrash classic.

Rating: 9/10

Highlights: “The Four Horsemen”, “No Remorse”, “Seek & Destroy”

Ride the Lightning

What a difference a year makes. Even at such an early stage in their career, Metallica were pushing the boundaries of thrash, with 1984’s Ride the Lightning showing a song writing maturity well beyond their years. The improvements are remarkable, with greater musical variety, fuller production, more ambitious compositions, tighter performances and greater lyrical insight (topics include nuclear war, the death penalty and suicide). The acoustic plucks of “Fight Fire with Fire” usher in the sea of change, with the gentle, multi layered opening giving way to one of the most ferocious thrashers they’ve penned. The title track is a more measured affair, with plenty of nifty riff work and an incredible solo that remains one of Hammett’s finest. “For Whom the Bell Tolls” is both the high point of the album and of their career, Burton’s iconic bass intro leading to a gradual, pensive build up that culminates in a massive, stomping riff and a hugely anthemic refrain. Over 30 years later, it is still the most epic song Metallica has ever conceived, despite its relative simplicity. Other highlights include the thrash balladry of “Fade to Black” and the energetic fan favourite “Creeping Death”. Whether or not you consider Ride the Lightning Metallica’s finest hour, there is no denying that it is an incredible album, and one that would provide the foundations for Metallica to build upon for the rest of the decade.

Rating: 10/10

Highlights: “Ride the Lightning”, “For Whom the Bell Tolls”, “Creeping Death”

Master of Puppets

If there is one Metallica album that is generally considered their magnum opus, above all others, then it is Master of Puppets. Unable to replicate the monumental leap exhibited between their debut and sophomore records, Metallica sought to refine and tweak the template established on Ride the Lightning. Despite the obvious similarities to its predecessor, it doesn’t comes across as a rehash, feeling a touch more progressive and focused. The production is not quite as vibrant as Ride, but it sounds more uniform, with Hetfield’s devastating riff attack underpinned perfectly by Burton’s choppy basslines and Ulrich’s steady drum work. “Battery” again sees an acoustic intro segue into a relentless thrasher, the band also opting to close the record in similar fashion with the relentless fury of “Damage, Inc.” The strongest moment comes in the form of the towering title track, an eight and a half minute monster that is built upon a procession of incredible riff work, slowing down mid way through for a melodic lead break that demonstrates Hetfield melodic sensibilities. It was on this record that Hetfield finally found his trademark vocal style, his barked cadence dripping with venom. Burton once again shines on bass, with “Orion” being his crowning achievement, a wondrous instrumental journey steeped in exceptional harmonies and leads. Sadly, it would be his final album with the band, as he tragically passed away following a fatal tour bus accident in Sweden in 1987.

Rating: 9/10

Highlights: “Battery”, “Master of Puppets”, “Disposable Heroes”

…And Justice for All

Following the recruitment of Jason Newsted (then of Flotsam & Jetsam) on bass, Metallica quickly knocked out the $5.98 Garage Days Re-Revisited cover EP before returning to the studio to work on what would become …And Justice for All. Like Master of Puppets before it, Justice was a refinement of the tried and true formula of Ride the Lightning, seeing Metallica craft their most complex and progressive arrangements to date. It’s over ambitious at times, with a few songs dragging as they veer through multiple sections and tempo changes. It isn’t helped by the now infamous production. Newsted’s bass is rendered mute in all but a handful of sections; Hetfield’s wall of guitars lacking potency in the absence of low end, whilst Ulrich’s bass drums click away meekly, a minor blemish on his otherwise stellar performance. This dry production style does offer a silver lining however, as it greatly enhancing the oppressive, sinister mood the music creates. There is a bleak undercurrent running throughout the album, with Hetfield showing superb eloquence as he delivers his views on the likes of censorship, corruption, insanity and infanticide. The now standard track four thrash ballad, “One”, saw the band shoot their first music video; a sparse, desolate band performance intercut with footage of a soldier locked in a limbless body. Other highlights include the muscular riff workout of “The Shortest Straw” and the sonic assault of opener “Blackened”, the latter being Newsted’s only writing credit on the album. The album is also notable for Cliff Burton’s final song writing contributions in the form of the largely instrumental “To Live Is to Die”, an emotive number that put to use a number of his riffs. Following two thrash classics was always going to be tough, and despite the questionable production and occasional bloated song, Justice still delivers the goods.

Rating: 8/10

Highlights: “Blackened”, “One”, “The Shortest Straw”

Be sure to check out part 2 next week, where we look at Metallica’s ascent to mega star status in the 1990s.