Among the Classic Metal Albums (Master Of Puppets - Metallica)

Name: Frankingsteins

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Product:	Master Of Puppets - Metallica
Date:	20/03/04 (211 review reads)
Rating:

Advantages: Diverse (within the heavy metal genre)

Disadvantages: Although an hour long, eight tracks may seem insufficient to some

Master of Puppets is a landmark metal album, and not one that's particularly accessible to the general public. Their 1991 hit "Metallica," also known as the Black Album, managed to reach this more accessible level leading to its number one spot and successful single releases, while their later albums had their success largely based on the Black Album. Puppets has many elements of fast, heavy thrash metal, but it's the interesting diversity of styles incorporated into songs that makes the album so appealing to me. Whether it's an acoustic introduction, a slow and lengthy solo section or a deep instrumental I find it has much more longevity than some of the band's less complex later work.

Ask any long-haired headbanging American what he was listening to in 1986, and Metallica would be the response; unless he failed to relate the two or just thumped you because you were asking questions. Still going strong today, Metallica are often thought to have reached their musical peak with "Puppets" and it's very easy to see why.

The major factor contributing to the difference between this album and the later releases is the tragic death of bass player Cliff Burton, whose speedy basswork on songs such as "Pulling Teeth," "Creeping Death" and "Orion" etablished him as one of the top bassists in the business. if it wasn't for his death in a tour bus crash in 1986, it has often been speculated that Cliff would have left the band soon anyway, however the loss of a comrade was clearly the inspiration for a number of Metallica's decisions including he mournful black colour they wore through to the 90s.


THE MUSIC:

1. BATTERY

One of my favourite starts to an album, Battery gets the Metallica sound just right. An acoustic introduction leads into a fantastic dual guitar section before the riff kicks in and the song really begins. Coming in at just over 5 minutes it's actually one of the shorter songs on the album, but that doesn't mean it lacks complexity. Seperate sections in the middle lead up to the solo, while the ensemble shouting of "battery" would surely make this a hit when played live. A surprising number of riff and speed changes even in this song alone.

2. MASTER OF PUPPETS

An epic song at 8:35, this is much more detailed and worth listening to than some of the lenghty tracks on the next album, "...And Justice For All." A main guitar riff that's doubtless familiar to millions of people over the world, the lyrics are also handled greatly and the main "come crawling faster" choruses have great but short guitar sections which bring the song closer to perfection. The middle section is unlike anything Metallica have done before or since, apart from sections in instrumentals, in that it includes no lyrics for several minutes and is at a completely different speed. Suddenly changing the tempo from fast and angry to contemplative and mellow shouldn't come out so well, but 'Tallica pull it off so well that it's something to look forward to. By the end of the song the return to the verses and chorus start to drag on a little, but it's clear that the end is nigh and you can feel free to headbang if you like. Every instrument is at its very best here, leading it to become one of the band's deservedly most popular songs. It's certainly one of mine.

3. THE THING THAT SHOULD NOT BE

Starting very deeply and quietly, it's clear from the onset that "Thing" is a darker song. In a way it continues the band's affection for the Cthulhu myths, touched upon in their classic instrumental "The Call of Ktulu" from the previous album, Ride the Lightning. Memorable choruses and dark verses make this another of my favourite Metallica songs although it's clearly one 'for the fans.' The guitar solo is again very interesting and enjoyable; they don't just churn out fast and whiny bits that the average metal fan is used to playing with his air guitar, although not as memorable as some. Still, it's a fantastic song, especially as it comes in the wake of "Puppets" itself. Unusual funky bass-led rock band Primus covered this song for their Rhinoplasty album, however it's the only good song on there so I wouldn't recommend it.

4. WELCOME HOME (SANITARIUM)

A great song that verges on 'power ballad' but doesn't want to give up its catchy riffs, "Sanitarium" would be on all the music channels and known by many more people if the band hadn't been opposed to music videos and single releases in this era. One of the band's very best slow and meaningful tracks along with "Fade to Black" and their first big single "One," this is another of my favourite Metallica songs - they're not all my favourites I assure you, this album just contains a large proportion of them in its eight tracks. As a great rock ballad usually has the ability to greet the general public more than a fast shout anthem, this is probably one of the songs that can be most enjoyed by someone who doesn't usually like them long-haired men. One of the band's great songs dealing with mental instability, something which was expanded upon in the "Justice" album and a couple of others afterwards.

5. DISPOSABLE HEROES

As it deals with the futility of war and the a**-hole nature of the arrogant officer classes, this is Metallica entering territory that is familair to the metal genre of post-Vietnam. Along with "Puppets," this is a song that links to the album's cover, which features numerous ready-made graves, one of which has a soldier's hat hanging from it. Oh, and there's a big Master of Puppets pulling their strings. This isn't one of my favourites off the album as it seems unnecessarily long at 8:16 and the main riff isn't particularly original, but nevertheless it's a great listen with some interesting lyrics and rhyme schemes. And it's always worth holding on to the solo section, which is very memorable and fast here.

6. LEPER MESSIAH

The overlooked king of shorter tracks, "Messiah" is another of my favourite Metallica etc. At 5:39, the song is in the same league as "Battery," however I find this the superior track. Everything is again at its very best, with guitar riffs that are unbeleivably catchy and my favourite guitar solo section of any song; this means a lot as I really like solos! This is a Metallica song that is rarely mentioned, but which I have listened to as much as any of my other favourites. An unrealised metal classic here, which features more changes and progressions than anything else would have successfully managed in 5:39.

7. ORION

Metallica's three great instrumental tracks, the afore-mentioned "Ktulu" from Ride, this song, and "To Live is to Die" from Justice, do not have the same capacity for headbang as their lyrical angry songs, but are still fantastic and intricate songs which can create as many feelings. Orion builds up with a slow and memorable drum beat and whiny guitar before the song starts to get going, and there are literally far too many different riffs and tunes for me to mention here. It's got the heaviness of the other songs as well as some of the best guitar and basswork of the album, and there is a strange section that conjures an image of a swampy marsh in my head for some reason. One advantage of instrumentals is that you can listen to them while writing Dooyoo reviews and appreciate them fully without getting distracted by lyrics and choruses. Fading out at the end also, Orion is another track I would describe as 'epic,' and it's a chance to hear james Hetfield try some guitar solo as he did in "Master of Puppets" itself.

8. DAMAGE INC.

A slightly disappointign end to the album is my least favourite track, although I can see the need to put another thrashy song after the long and sombre Orion. Describing an organisation which I assume is fictional, and seems akin to the "Fight Club" in that film I can't remember the name of, Damage Inc. builds up with a very interesting bass section that sounds a little like whalesong before kicking it with the heaviest riff of the album. The solo section is good and the choruses are enjoyable, but the song could have been better.


Although the album only features eight tracks it comes in at just under 55 minutes and there is so much diversity on the album, in terms of heavy metal in any case, that it was a guaranteed success even when he band was relatively low-profile in the mid-80s. Aside from changing bass players, the band's line up is the same here as it has been on all of the albums with James Hetfield's vocals in a good stage that's not quite as good as his deeper voice later on but at least isn't as screechy as his unbroken voice's screams on some of the earlier songs. His rhythm guitar work is impeccable as always. Kirk Hammet's lead guitarwork is diverse and he provides metal with some of its greatest solos here, while drummer Lars Ulrich's drums aren't as pouding as they should be, although this is more due to the production than anything else.

The only flaw I have with this album is the production value, as it could have been made so much clearer if it had been better produced or brought out later. It isn't noticeable on many songs, and doesn't dampen the enjoyment of the raw sound. Compared to Metallica's other albums, you'll know whether you prefer thrashy heavy metal or their later work, but aside from the music I get a lot of good vibes off the album. The dark red and orange colour scheme looks great, while the photos of band members clearly enjoying themselves inside is a great touch before the death of Cliff on this album's later tour.

Whether you love or hate Metallica, this album is very important in their discography and is my personal favourite. They're clearly making music because that's what they love to do, and this is always easy to tell on albums.

Summary: Metallica's third studio album (1986)