411 Metallica Roundtable: Kill ‘Em All

Posted by Mitch Michaels on 09.02.2008

The 411 staff gets ready for the release of Death Magnetic by looking back at each of Metallica’s studio albums, starting with the beginning…


On September 12th, Metallica releases Death Magnetic, their first studio album in over five years. Anticipation for this album among the Metallica faithful, haters and just plain curious has reached a fever pitch over the last couple of months thanks to comments from the band, new live leaks, cover art, track listings and, finally, a pair of official downloads - all leading up to the big Friday drop date.

But why all the hype for a band who, in most folks' opinion, completely dropped the ball on their last release? Well, 411 has decided to find out and tell you all about it. How? By taking a look back at Metallica's other eight studio sets, from the thrash juggernaut of 1983's Kill ‘Em All to the questionable ProTools mess of 2003's St. Anger. Because to understand the future, you need look no further than the past. Or some shit like that. Here's some metal up your ass!



PART ONE: KILL ‘EM ALL

---

In the very early 80's, a sound was coming to the United States care of the UK. It has since been referred to as the New Wave Of British Heavy Metal, or NWOBHM, and it included bands like Iron Maiden, Motörhead, Angel Witch and Def Leppard - working class bands who were more concerned with speed and volume than melody. Because of this, NWOBHM was seen as a more aggressive second generation of early metal bands like Black Sabbath, Deep Purple and even Led Zeppelin.

Once the NWOBHM sound was imported to the US, young metalheads began to embrace it almost immediately. The bare bones metal stood in stark contrast to glam, another subgenre which was standing at the forefront of American metal at the time. But glam's cock rock, spandex and make-up didn't set well with tougher metal listeners, and the disenfranchised began to fill that void with their own version of NWOBHM.

Interestingly enough, the biggest hotbed in the early days of thrash (before the genre had a name), was San Francisco's Bay Area, a geographical neighbor to glam's headquarters of Los Angeles. But from L.A. came a young man named Lars Ulrich, a teenager and aspiring drummer particularly enthralled with UK's new metal sound, so much so that he'd traveled to Europe just to buy records and sleep on Diamond Head's floor. In 1981, Ulrich placed an ad in an L.A. newspaper: "Drummer looking for other metal musicians to jam with." A local metal guitarist from the band Leather Charm named James Hetfield responded and Metallica was born.

Joining the core of Hetfield and Ulrich was guitarist Dave Mustaine. Thanks to some connections through Lars, the trio released the first Metallica track, "Hit The Lights", on a Metal Blade compilation called Metal Massacre I in 1982. The band began to gig around L.A., eventually bringing in bass virtuoso Cliff Burton to round out the line-up. By 1983, they migrated north to San Francisco, a city that was ready to burst at the seams with thrash power.

Also in 1983, Metallica released their debut, Kill ‘Em All on Elektra Records. The debut full length featured new guitarist Kirk Hammett taking over for Mustaine who, of course, would go on to form Megadeth. Kill ‘Em All is considered the true beginning of thrash, the shot fired across the bough.

The 411 Music staff has decided to take a moment and look at just what that landmark set meant to them.



Do You Have This Album?

Mitch Michaels: Of course! I picked this album up used at the once great Cheap Thrills Records in Princeton, WV one day on my way back to college from a weekend trip home. I believe I had my brother in tow. Finding used Metallica albums was always tricky, but there they were in the bin that fateful day - Kill ‘Em All and Ride The Lightning. Priced two dollars higher than other used CD's, I remember. Anyway, I got into Metallica pretty late in the game - not until 1997 or so. I already had the 90's album and Puppets, so this pick-up was all about completing the set. The debut record really blew me away with its absolute rawness. I love it so much I evenly recently scored the remastered vinyl version.

Jesse Coy: Yes, I do, and the "how" is relatively clear, but the exact "when" is a bit of a mystery. For sure, it was before And Justice for All came out, but after Cliff died. I'm guessing I got it on CD around the fall of '87. Yes, they made CD's back then. As to "how" I got it, '87 to '88 was the year I got into a ton of thrash bands. Thrash was the first music I really got into (well, I guess heavy metal Iron Maiden and a bit of Judas Priest was a little before that), so we're talking Nuclear Assault, Testament, Slayer, Megadeth, Overkill, Metallica, Anthrax, Exodus, Death Angel, Voivod, Flotsam and Jetsam, SOD, and a few others all in one clump. While I liked Metallica, they didn't (and still don't) impress me more so than any of these other great acts.

Scott Rutherford: I've owned it on tape, CD and now it lives in my iTunes/iPod. I saved my dollars as a 14 year old (think 1989) to buy the back catalog of this band.

Dan Marsicano: I obtained Kill ‘Em All about six years ago at my local record store. It was my fourth Metallica album, to my knowledge. I got Garage Inc., then Master of Puppets and worked my way backwards through the band's catalog. The album definitely caught me off guard with its violent cover. To a 13 year old casual metal fan, that is about as badass as you can get (not withstanding Slayer's 1986 masterpiece Reign In Blood). I still have the same CD to this day, though the case is in less than stellar shape.

Jeff Modzelewski: I bought this album on tape sometime around 1993, when I was in 7th grade. I honestly don't remember exactly when, and I think I got a copied tape before that.

Dan Haggerty: It was 1985. I had just stumbled across the musical world altering magnum opus that was Ride The Lightning, and I of course had to fan the flames of my new passion by hunting down every sound this band had put out! Not only the sounds of Metallica, but thrash and the very metal underground as well. A pox on the kids wanting to check out the new Crue disaster, I had to run down to the my local record store, who specialized in having imported real vinyl you couldn't find at the local Believe In Music (there is a flash back for you).

Ben Piper: Bought it on vinyl in early 1987 after I became a devout Metalliholic. When I bought it, it didn't have the bonus tracks of "Am I Evil" and "Blitzkrieg" included, so I have a genuine collector's item stored somewhere. I bought the CD just for the upgrade sometime in the early nineties.

Blake Lauderback: Yes, I have the album. I got this (along with most of my Metallica collection) shortly after graduating high school. I played in a band with one of my closest friends that was a life long, die-hard fan of the band. He helped take me from a casual fan to a serious one.


What Tracks Do You Love?

Mitch Michaels: I've always had a soft spot in my heart for "Seek & Destroy". James Hetfield rarely gets enough credit for how amazing he is on rhythm guitar and that beginning riff is fucking thunderous. And of course "No Remorse" is a beast with its "please sing me while pumping in your fist in the air" chorus - "WAR WITHOUT END…No remorse/No repent/We don't care what it meant/Another day/Another death/Another sorrow/Another breath". I might also be the first person in the world to hear Anthrax' version of "Phantom Lord" (from the ECW soundtrack - it was Mike Awesome‘s entrance theme) before the original.

Jesse Coy: My favorite picks are "Jump in the Fire," a nicely unapologetic Satanic ditty (Dave must be happy he helped pen that one nowadays) (snigger) and "Seek and Destroy" (really great tune there).

Scott Rutherford:

"Whiplash": This song fucking rules. From the breakneck simplicity of the chords, the punk "fuck you" attitude, the two-guitars-soloing-at-once chaos at the start of the lead break, this song is essential primer for Metallica fans old or new. Truth be told nothing sounded like it at the time and really, you'd be hard pressed to find another song that completely encapsulated the energy and aggression of this song .

"The Four Horsemen": The key to Metallica's enduring success can be found in soil of this song. From the brutally simple opening riff, the big open chord of the chorus, the intricate change-up into the bridge, the double time riff-o-rama bridge, and back into the intro riff again. This song established the basic song pattern Metallica would follow the rest of their career. However, if you really want to hear this song done properly, check out "Mechanix" off the first Megadeath album. Same song, different lyrics played twice as fast.

"No Remorse"/"Motorbreath": Just fast, nasty, dirty, punk/metal played with bucket loads of give-a-fuck.

Dan Marsicano:

"Hit The Lights": What a fantastic way to open up the album. It's a monster of a track, fading in to one of those Hetfield riffs that just automatically makes you bang your fucking head. Some complain that the ending solo is too long, but they can kiss my ass, because that solo is Kirk Hammett's way of saying "Hey fuckers, here I am, and this is what I bring to the table" (even though he didn't actually write the solo himself, but let's not get into the whole Mustaine/Hammett topic). My only problem with the song is the weird echoing effect on Hetfield's vocals in the chorus, but that's just a small misstep in a great opener.

"The Four Horsemen": The first "epic" of the band's career, "The Four Horsemen" is one of the band's most famous tracks, and with good reason. While awkward at times because of the band's inexperience at this sort of thing, the band showed that they could be somewhat progressive to match their furious speed. I also have to add, the bass kicks my ass every time I hear it.

"Motorbreath": A solid blast of speed metal that sounded like early Iron Maiden, Motorhead, and Saxon thrown into a blender.

"Jump In The Fire": This track has gotten its fair share of bashing, but I find it to be strangely appealing. It's probably because it's so damn catchy that I can't help myself humming the song at random moments of the day. "Jump In The Fire" showed the band had commercial appeal underneath all the speed and alcohol.

"Whiplash": What needs to be said about "Whiplash?" It's the band's anthem, their motto, their calling card to all the young metal heads out there. If you don't "bang your head against the seat like you never did before" from this track, you don't know what metal is…period.

"Phantom Lord": Still one of my personal favorite Metallica tracks, "Phantom Lord" doesn't get the recognition it deserves, in my opinion. The track's lyrics are laughable and the melodic part in the middle doesn't fit with the rest of the track, but who cares? The track is worth is for the end alone. "FALL TO YOUR KNEES…AND BOW TO THE PHANTOM LORD!" That, my friends, is the definition of metal.

"No Remorse": The classic war tale that's turned on its head by an out-of-control thrash section at the end. Many mosh pits have occurred because of this classic ending, which starts with a crazed Hetfield screeching "ATTACK!" and letting loose with an array of riffs that tear into your flesh and break every bone in your body.

"Seek And Destroy": If it wasn't for "Whiplash," this would be Metallica's anthem. It's played at every Metallica show, more so than any other track. While the song would be turned into a 20 minute jam session during the early 90's (not the best idea), the essence of the song is about getting together and fucking shit up. Who doesn't want to do that?

"Metal Militia": On my list of "Tracks Metallica Doesn't Play Live Enough," the track is the fastest on Kill ‘Em All, and a heart-pounding way to end the album. No fucking weak power ballad here; this is the Metallica we all know and love with a passion. "Metal Militia" is a fantastic closer all around and a great way to end the band's monumental debut album.

Jeff Modzelewski:

"Motorbreath": A really high-energy song. A great riff, spectacular drumming, and I love the groove of the song.

"Whiplash": Total speed metal. Blistering fast verses, and amazing guitar work. This song made me want to mosh before I knew what a mosh pit was.

"(Anesthesia) Pulling Teeth": A spectacular metal bass solo. Probably the first time I've heard a bass solo, and this is one of the best. Burton is a complete bad-ass, and proves it here.

Dan Haggerty: "Hit the Lights" captures many small nuances of the band, plus you've got to love the imprint Dave Mustaine left on the great solo at the end. Although that was the solo, the man only actually helped write the songs "The Four Horsemen", "Jump In The Fire", "Phantom Lord", and "Metal Militia" – All great songs that represent the raw and distilled pure thrash frash, even if that sound is a bit of a drunken case of anger management. Reasons, ironically, that got the man ousted from the band. Add "Seek and Destroy", which is a sneak peak at the sound of Lightning, and a crowd favorite live to this day, or even "No Remorse" with its remorseless drive, or the long complexity of "Horsemen", and you have a slew of winners.

Ben Piper: "The Four Horsemen", "Jump in the Fire", "Motorbreath" and "No Remorse". These songs at least in my own humble estimation are the best of this early crop. Hook-heavy and readily enjoyable.

Blake Lauderback:

"Hit the Lights": To me, this track does all that an opening track on an album like this should. It hits you right between the eyes and continues to beat you into submission.

"The Four Horsemen": This is our first look at an "extended" Metallica song, as well as an early taste of Kirk Hammett's mastery of the guitar solo.

"(Anesthesia) Pulling Teeth": Little known personal fact - I avoid listening to Metallica at night while I am driving because it relaxes me so much that I get sleepy. Also, my little girl went through a stage where all that would put her to sleep was Metallica. I think I have pinpointed why this is so (at least for me). My aforementioned bandmate and friend used to play the beautiful bass solo from the intro of the song during breaks in our marathon practice sessions. I cannot tell you how many times I have drifted off to an amazing afternoon nap while listening to this song.

"No Remorse": There is something about this song that makes it seem like the most "mature" track on the album. While I was not able to experience Metallica as they happened, I certainly think that there is a lot in this song that foreshadows where the band was headed.

"Seek and Destroy": An absolute classic in my eyes (and ears). An outstanding track that is my personal favorite on the album, not to mention also being one of my favorite "early era Metallica" tracks.


What Tracks Do You Skip?

Mitch Michaels: I love Cliff Burton and everything, but once you've heard the 4 minute+ bass solo that is "(Anesthesia) Pulling Teeth" a few times, you're pretty much done with it.

Jesse Coy: Nothing, really. I think these tracks fit together quite well. As far as the CD goes, it's quite obvious that "Am I Evil" and "Blitzkrieg" are cover tack-ons, back in the early days of luring folks from tape to CD. They're fine covers, but it's best to program the CD to play without them from time to time, to keep the original album consistency. I certainly wouldn't do without them... er, wait... you can just get the Garage Inc. double CD, and take these two tracks off Kill 'Em All.

(Ed. Note - "Am I Evil" and "Blitzkrieg" were included as bonus tracks on the 1988 re-release of KEA. They were originally B-Sides to the "Creeping Death" single and also the first volume of the "Garage Days Revisited" theme. Newer pressings of KEA do not feature the tracks.)

Scott Rutherford: "(Anesthesia) Pulling Teeth". Most people call this song ground zero for modern bass playing. As someone who considers himself a student of music history I have to say I think that statements bullshit. Chris Squire from Yes had been doing much the same thing for years and players like Bootsy Collins and Jim Jameison have been pimping atonal melodic bass playing since the 60's. This song is like a guitar solo done on a distorted bass. His work on the Master of Puppets masterpiece "Orion" is more groundbreaking and much better realized.

Dan Marsicano: "(Anesthesia) Pulling Teeth". Cliff Burton is a superb bassist, there is no questioning that. Having a four minute bass solo on your debut album? Eh, not the best idea. I respect Cliff as a bassist and think the instrumental is great, but I find myself skipping it if I am running low on time. I don't loathe it, and couldn't imagine anything else replacing it, but I find myself skipping it more so than listening to it.

Jeff Modzelewski: I really can't say that there's anything that I could do without on this album. "Phantom Lord" and "Metal Milita" are probably my least favorite songs, but I'm not gonna skip them if they come up on my iPod. Like the rest of Metallica's early work, this album is solid front to back.

Dan Haggerty: Honestly, as much as I hate to pimp the man's only solo track, but Cliff's "(Anesthesia) Pulling Teeth" just doesn't work for me. The song is obviously a display of inspired playing, but the net effect is not good. Call it bad production(, or at least poor mixing of the instruments, but meh.

Ben Piper: None. Okay, I take that back. "Seek and Destroy" simply because I've heard it too many times drawn out into 20-minute time killers during live shows.

Blake Lauderback:

"Motorbreath": Now, I certainly don't hate this track (or any of them for that matter), and I personally love the drum intro, but I find myself skipping this one every once in a while because it just doesn't stand out in my mind. My biggest personal issue with thrash metal is that it is so hard to differentiate the songs from one another. This one gets lost in the mix to me.

"Jump in the Fire": My biggest issue with this track is that it just seems a little too Megadeath for me (And yes, I am well aware that Mustaine co-wrote this song while he was with the band, and that I know that he co-wrote two of the songs that I enjoyed as well). It isn't a bad song, but it just doesn't fully sound like them to me.



Final Thoughts

Mitch Michaels: Kill ‘Em All is a landmark album, the birth of thrash, but not my favorite Metallica set. Still, it's an interesting look at the US metal scene circa-1983 and a reminder of the true sea change Metallica began. If it wasn't for this band, metal may have never went mainstream and you could still be trading shitty cassette tapes just to hear the new Motorhead tune. Fans of "Black Album"-era Metallica and later may have to work to enjoy this stuff, but once you give in to the banging of your head you'll find it's worth the effort.

Jesse Coy: Like many bands of a genre, Metallica was not the first. There were other bands doing similar stuff. Metallica just happened to make some savvy maneuvers throughout their career and were maybe at the right place at the right time here and there. Anyone who says they invented thrash (Kirk... forgetting your Exodus stint?) is either lacking in history or a little hazy on dates and times. Around '81 and '82, the following bands were all formed: Anthrax, Death Angel, Exodus, Metallica, Slayer, and Voivod. There were others, too, that I'm less aware of. The geography of these bands was somewhat spread out. So to say Metallica influenced Voidvod or Anthrax, for example, doesn't hold water. These bands were eventually all somewhat influencing one another through tape trading. But thrash did not begin with Metallica. They just happened to nudge their way ahead of this pack, evolving differently.

Scott Rutherford: This is a rare album, it redefined music but did it in such a way that this industry took nearly eight years to catch up. Call it what you will (ground zero, the beginning, the end, the best, the birth), this is one shit hot blast of aggression and speed. It has many faults (the ideas are there, the skill of the players…not so much) but the rawness of this album was as new as when Iggy and his Stooges created their noise in the 60's.

Dan Marsicano: Kill ‘Em All is one of the best heavy metal debut albums of all time. I don't care what anybody says; Metallica released an album that started their quest for world domination. The production isn't great and the musicianship ranges from god-like to mediocre, sometimes in the same song, but the youth, hunger, and energy of this quintet overshadowed the flaws of their debut. This would be the start to one of the most storied careers in metal.

Jeff Modzelewski: Kill 'Em All holds up today as a great thrash metal album. It's fast and heavy for the entire album. Well written, great riffs, great solos, and great vocals. It's hard for me to find anything to criticize about this album.

Dan Haggerty: Thrash at its purest, home spun from the metal underground of the early 80's by a band that was by fans making music for the fans. They were just a bunch of metal dudes in jeans who would play their guts out, then join you in the crowd for the next act. It's raw, rough, and beyond what the band would do later. Thrash purists will point to this as the apex of the bands true thrash sound, while the mainstream will see this as a cheaply mixed extreme beginning. Really, it' a cool piece of history and a solid thrash album in its own right, a snap shot of the underground in ‘83 that still kicks ass.

Ben Piper: While not my first exposure to Metallica, it was interesting at the time to pick this first album up after becoming completely addicted to them following two albums and listening to the band's first recording that comes off as raw and somewhat unrefined when compared to their later works (For obvious reasons). However, the songs still hold up remarkably well twenty-five years later (Wow, I'm freakin' old!). A very solid debut album that showed the promise of this young band and what they could potentially grow into being.

Blake Lauderback: Now this album is very hard for me to put into the appropriate perspective because I am looking back at it retroactively since I wasn't around to witness it the first time through. While I am sure many people still see this album as a truly innovative album (which I won't deny, it is), I see it more as a great but very raw and youthful start to a brilliant band. They certainly have albums that are stronger overall performances, and that are loaded with much improved songwriting in comparison, but it is still amazing to hear where they came from.

---

Join us tomorrow as we take a long, hard look at Metallica's follow-up - Ride The Lightning!