The Original Horsemen (Kill 'em All - Metallica)

Member Name: Frankingsteins

Product:	Kill 'em All - Metallica
Date:	22/06/04 (178 review reads)
Rating:

Advantages: Some excellent and timeless metal classics, Mixture of emotions and styles, An excellent and inventive debut

Disadvantages: Some weak links, Not as impressive as what was to come, James' voice and the production quality are in severe need of improvement

Metallica’s musical progression has kept them in the spotlight throughout their twenty-year career as they explore all angles of rock music. Their latest release, St. Anger, is a very violent record with which the band intended to capture the hostility and aggression of their early albums, especially the debut ‘Kill ‘Em All.’ While it was musically very different, it’s easy to see why the band wished to return to this style as it has remained incredible popular even to this day.

‘Metallica’ were:

James Hetfield – Rhythm guitar, vocals
Kirk Hammett – Lead guitar
Cliff Burton (R.I.P.) – Bass guitar
Lars Ulrich - Drums


STYLE


This is a pure thrash metal album, and possibly the definitive example of this genre of speed metal, although saying that I’m not too familiar with works of Slayer and the band’s other contemporaries. This means that, for the most part, the melodic touches and orchestral influence on song composition that would make the band’s following albums increasingly impressive is here replaced by speed, aggression, power and energy, although bear in mind that this is an album I am reviewing and not some family’s ‘Robot Wars’ effort.

Although Metallica have grown up, matured and progressed since these early, angry days, many of the songs contained on this album are still live favourites, some being played even more now than ten years ago due to the recent reawakening of Metallica’s interest in metal over hard rock. While ‘The Four Horsemen,’ ‘Seek and Destroy’ and ‘Whiplash’ are fantastic live, they don’t serve to make this disc any more appealing to those who aren’t diehard fans of thrash music.


TRACKS


1. HIT THE LIGHTS

The song that opened every Metallica show for a couple of years, this features forty seconds of build-up in which crashing drums and pounding guitars fade in before a distinctive riff can be heard. The riff itself is not completely original, and has been much-copied since by bands such as Rocket From the Crypt, but this is still a very fun track with fast-paced solos that doesn’t outstay its welcome. Aside from James’ slightly annoying vocals (something present on every track, so not a point I’ll bother coming back to until later), the only fault with this track lies in the weak and cheesy lyrics describing how Metallica are going to “rip right through your brain,” but it’s alright because the fans are “insane.” Such a shame.

“No life ‘til leather,
We are gonna kick some ass tonight!
We got the metal madness,
When our fans start screaming it's right”

2. THE FOUR HORSEMEN

The defining track of this album, this set the standard for the band’s faster tracks over the next few albums, although it was soon beaten by the powerful ‘Creeping Death’ on their next record. Fast, big and full of interesting changes, this is the most diverse track on the album with the guitarists kicking out different riffs before returning to the established rhythms for the verses and chorus. This is a really great metal track and one that outshines the rest of the album; it even has a typically heavy metal theme.

“The Horsemen are drawing nearer
On the leather steeds they ride
They have come to take your life
On through the dead of night
With the four Horsemen ride
or choose your fate and die”

3. MOTORBREATH

The shortest track on the album and a more straightforward offering, but that doesn’t mean it’s the least impressive. I really like the riff in the verses here, and I can imagine the chorus going down very well live, while the drum keeps a great groove throughout. Nothing too special but still highly enjoyable, although it does suffer from coming after ‘The Four Horsemen.’ Oh yes, and it’s no relation to the British heavy metal band of a similar name – this is about drug abuse.

“Don't stop for nothing its 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”

4. JUMP IN THE FIRE

Any claims that this album all sounds the same would be immediately dispelled once the opening riff from this track explodes through the speakers. With James Hetfield taking on the persona of Satan (“down in the depths of my fiery hole”), this is perhaps the closest Metallica have come to a ‘romp’ of a track – it’s incredibly catchy and upbeat, yet doesn’t betray the thrash element still. As it fades out with a guitar solo at the end, it becomes instantly missed.

“So come on -
Jump in the Fire!
So come on -
Jump in the Fire!”

5. (ANESTHESIA) PULLING TEETH

This oddly named track expands even further on the album’s diversity by offering the most diverse track of the lot: a bass solo from Cliff Burton! Not being a bass player myself there really isn’t much for me to gain from this, but I still (occasionally) enjoy listening to it for its comedy value; the early eighties production quality makes the majority of it sound like Nintendo game music (in particular, those underground levels on Mario with the dingy music). After two and a half minutes, Lars joins in with a drum beat to speed things along and is quite welcome, however this is a good example of a track that is probably best off played live. Thankfully it doesn’t seem over-excessive or self-indulgent though.

6. WHIPLASH

Cutting off the last note of the bass solo comes a long-overdue guitar riff, although this soon gives way to a section dominated by Lars’ rolling drums. This is a very fast thrash track in the vein of ‘The Four Horsemen’ and is another track that has survived into the band’s current live sets, although I don’t have the same fondness for it as many other tracks on here. The riffs are powerful and very energetic but still sound a little uninventive, while the chorus section seems a little too contrived. I don’t know what I’m saying really, but I still don’t think it’s as good as it’s made out to be. It’s also the worst offender in terms of James’ vocals, which I’ll elaborate on afterwards. Just enjoy the music first.

“Bang your head against the stage
Like you never did before,
Make it ring, make it bleed,
Make it really sore”

7. PHANTOM LORD

Another of my favourites along with ‘Horsemen,’ this is the only track that gives a clue of the band’s later offerings. Despite beginning with a very speedy and heavy riff that leads into great metal choruses and verses, this then becomes darker and much more mysterious with the move into a slower tempo with clanking, acoustic-sounding guitar licks reminiscent of their later hit ‘One.’ It’s this sole part of the song that endears it to me, being a fan of their deeper and darker offerings, and while I don’t consider this in the same light as ‘The Thing That Should Not Be’ and ‘Sanitarium,’ both from the Master of Puppets album, it is an excellent addition to the second half of this record. Plus it’s got a great title.

“Victims falling under chains,
You hear them crying death pains.
The fists of terrors breaking through,
Now there's nothing you can do”

8. NO REMORSE

This is a bit of an atypical track structurally, in that a guitar solo breaks out after only a few seconds, but it’s still a heavy thrash number, although slightly slowed to continue the darkness of the seventh track. Although I wasn’t impressed by this track at first it did grow on me over time and is one of the most complex on here due to the changes in tempo and rhythm, but it still has a killer chorus with some of the best sounding guitars on the whole album. At six and a half minutes this is unfortunately a track that drags on past its own ability to stay interesting, and the last couple of verses and choruses are a little unwelcome, but in many ways this is an unrecognised gem of the album along with ‘Motorbreath’ and ‘Jump in the Fire.’

“War without end -
No remorse, no repent,
We don't care what it meant.
Another day, another death,
Another sorrow, another breath”

9. SEEK & DESTROY

The most well-known track from this album due to its popularity as a live track, and although it’s not one of my favourites I can easily see why. The opening riff is insanely catchy and the drums keep a very upbeat atmosphere throughout, however listening to it on a CD rather than at a live show means that it does drag on towards the end after a brief drum solo from Lars Ulrich. I’d definitely recommend this as a live track, but on the album it seems a little stale in comparison.

“Running,
On our way
Hiding,
You will pay
Dying,
One thousand deaths –
Searching,
Seek and Destroy!”

10. METAL MILITIA

The fastest and hardest track on the album comes at the end, and although it’s not one of my favourites I still enjoy it. The guitars sound similar to those of ‘Seek & Destroy,’ although a little less effective, but the speed and rhythm of the verses sounds excellent. In my opinion this would be more effective if it were a little shorter, but there’s still enough in the way of guitar solos to keep it interesting. A good ending to the album, however it could have been done better – and the fade-out to the sounds of marching at the end is a little cheesy.

“On through the mist and the madness
We are trying to get the message to you,
Metal Militia
Metal Militia”


VERDICT


Opinion is divided amongst Metallica’s huge fan base regarding this album, as it is clearly an incredibly strong and successful debut – even managing to earn tenth place in the US album charts on its release despite a complete lack of radio play for any of the songs – but I don’t appreciate the less sophisticated, more brutal style over the more impressive music they would go on to create. Several songs here are still very worthy of a place in any Metallica set list however, although there are a few reasons why they don’t live up to my personal view of what Metallica’s later standards would be:

The ‘Whiplash’ Factor

The main issue I have with this album is that James Hetfield’s vocals do not suit the music, as his voice has not yet dropped sufficiently to the trademark growl and deep American singing of the later albums. There’s a hint of annoying AC/DC-esque gravely screaming in many of the songs, especially ‘Whiplash,’ that was very soon eradicated from the band’s music between here and 1986. Speaking of ‘Whiplash,’ that song is based around a fairly tired and unimpressive theme – heavy metal being great, and Metallica being the best there is. This slightly arrogant attitude is more suited to lesser bands such as Manowar and Kiss, making this track as well as the opening and closing songs a little unnecessary.

Cliff ‘Em All

Personally I find that the more straightforward thrash approach to this CD counts against it when compared to the likes of 1983’s ‘Ride the Lightning’ and 1986’s ‘Master of Puppets,’ as the influence of bassist Cliff Burton is not that prominent here; Burton’s interest in classical music led to more intricate and ultimately more enjoyable metal tracks once he was fully integrated into the band, however his late addition to the original line-up meant that most of the tracks here were already completed and only needed to be recorded. Even his bass solo track was reportedly composed by the previous bassist.

Cliff Burton died in a bus accident while the band were on tour in 1986, and although their popularity has soared since then through successful music videos and moves towards a more commercial style, the talent and re-listen value of the Cliff Burton era has never been matched. Due to the rather moderate production quality of Kill ‘Em All, Cliff Burton cannot be heard throughout as much as on the band’s later offerings, but his skills still contribute to the pulse of the tracks.


Anyone who has been introduced to Metallica through some of their successful singles such as ‘Enter Sandman,’ ‘One’ or ‘Nothing Else Matters’ should hesitate before stepping this far back in the band’s discography in case you don’t like what you hear. I listen to this album a lot, but I still don’t regard it in the same light as everything released afterwards, until the decline during the nineties that is. Following is my rough and possibly unfounded opinion of Metallica’s albums that may not help you in your quest to find the perfect ‘Tallica album, but which at least gives me something else to write about. And I am the new music guide so I’m obviously right.

1983 – Kill ‘Em All ***

The thrash debut that I’ve just explored at length, as you should be aware.

1984 – Ride the Lightning *****

Cliff’s influence brings the music to a grand scale, with many classic tracks. One of the most acclaimed metal albums ever made, ranging from power ballads to heavy thrash metal.

1986 – Master of Puppets *****

Even more successful than ‘Ride,’ this expands on that album’s strengths to produce the biggest selling Metallica album overall. Their true classic, every single song is a killer.

1988 – …And Justice For All ***

Cliff’s death meant that this record was less impressive, and largely attempted to return to the band’s roots. Some excellent songs and brilliant guitar work throughout, but a change of direction was needed.

1991 – Metallica (aka the Black Album) *****

The change of direction had finally come, and produced an immediate bestseller. A distinct change in style from the early albums, but nonetheless a true classic of rock. More accessible, but still energetic.

1992 – Live Sh*t: Binge & Purge *****

Three CDs and two videos (now DVDs) capturing the band at their prime. Features songs from all the previous albums, meaning this one purchase could technically satiate your Metallica thirst.

1996 – Load **

The band’s controversial change to a more traditional hard and soft rock approach. This still sold well as it was Metallica, and is quite skilled, but many fans including myself were disappointed.

1997 – Reload **

An effort to bring back some of their metal elements, but this ends up sounding even weaker than ‘Load’; while Load was at least consistent in its averageness, the last half of this is fairly dire.

1998 – Garage Inc. **

A double CD of covers of other bands. A bit of a cheap shot but some songs are good; nevertheless, not an album I’m fond of and one that I’ve avoided buying.

1999 – S&M ****

The band’s live collaboration with the San Francisco Symphony orchestra, this is very interesting and features songs from many of their albums that combine with the orchestra in varying degrees of success. Nothing from ‘Kill ‘Em All’ though.

2003 – St. Anger ***

The most recent release that has received mixed reviews. It’s not particularly skilful or a painless listen, but it at least shows promise that the band have got back in touch with their metal origins and angry messages of the past: kill ‘em all!

(Albeit not literally).

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