Balladic Black Album
It is hardly surprising that this is my favourite of
Metallica’s albums. their fifth from 1991, coming as it does in the break-out
from the 90s and the emergence of grunge, retro-rock, and this distinctive
crossover, a bridge that carries its heavy load with the band’s signature
chugging rhythmic riffs; favourite also for its melodic tones, the ballad Nothing Else Matters exemplifying this
above all – with strings too – and it is a commercial move that embraces the
inevitable accessibility at the expense of a former harder, complex edge which
will, I am sure, have alienated more knowing and dedicated fans following the
band from their start.
Songs like Hotter Than
Thou seem to retain some of that edge, though it is more formulaic rock
overall, with its quick but not supersonic riff, and the guitar solo placed
near its end. When this is followed by the acoustic start of The Unforgiven and then the melodrama of
its balladic core, we are in that commercial arena where melody matters more
than power. It is a rousing, consummate Metal ballad.
Opener Enter Sandman
is probably the quintessence of the band’s move to a simpler Metal sound, both
heavy in its brooding riff, the pounding drums and guitar overlay all rising to
the chug-chug-chug-chug and James Hetfield’s vocal smoothed with light harmony
as he urges us with some gusto into never
never land, the parent/child
praying adding just enough nightmarish undertone to keep it sinister.
Don’t Tread On Me
is like some slowed-down training demo for constructing a riff and letting it
exude its hypnotic pulses! Through the
Never then demonstrates what happens when you turn up the speed: the same
effect, just quicker. In so many ways, it is as simple as this, and these songs
become headbanging connectives – albeit at their differing paces – between the
more commercial headliners.
So we then come to the sparkling gem that is Nothing Else Matters with its Zeppelin-esque
[Stairway…] acoustic opening, and
then the beginnings to the ascension of its sweet melody, slow-stepped
drumming, sweeping strings, tight harmonies and then reaching the plain of its
expansive chorus – repeating. Hetfield’s vocal acquires more gruff emotion as
the song continues, and the guitar solo is kept in check rather than expanding,
before returning to the acoustic line. It is a classic from the band, and in
songwriting terms in general.
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