Metallica's Black Album (1991): Track by Track!

<v Speaker 1>Hey, everybody, welcome back to the show you can't be
<v Speaker 1>serious podcasts. This week, d we are going to continue
<v Speaker 1>our study with Metallica and we are going to go
<v Speaker 1>track by track to the Black album.
<v Speaker 2>Yeah. This album was the album that changed the direction
<v Speaker 2>of the band. It offended a lot of their hardcore fans,
<v Speaker 2>but it also introduced them to a whole spectrum of
<v Speaker 2>new fans, including yours, truly and me. I can probably
<v Speaker 2>play more songs off of this album than any other
<v Speaker 2>album On the guitar. I learned just about every song
<v Speaker 2>that I could on this album. But the other reason
<v Speaker 2>for that is these songs were easier to play than
<v Speaker 2>what they had been playing before. These were some simple, straightforward,
<v Speaker 2>good melody songs.
<v Speaker 1>I'm not a guitar player, but I can tell that
<v Speaker 1>they're simpler. Yeah, but they are awesome. Yes, I mean
<v Speaker 1>there are some grand slams on this.
<v Speaker 2>Album, absolutely five of them, at least at least five.
<v Speaker 2>So let's let's dive into it. Man.
<v Speaker 1>This album, as you said last time, it was remixed
<v Speaker 1>three times, it cost one million dollars to make and mix,
<v Speaker 1>and it ended three marriages.
<v Speaker 2>Yeah. It literally like Lars Kirk and Jason all got
<v Speaker 2>divorced while this album was going on, which is tragic,
<v Speaker 2>and they ended up putting a lot of those guilt
<v Speaker 2>and emotions into the songs, which may be part of
<v Speaker 2>why it's so good. But as we talked about last time,
<v Speaker 2>Lars said, I wanted to do something that was less
<v Speaker 2>technically difficult, but more soulful and something that I could
<v Speaker 2>feel more than think about. And boy, they hit it
<v Speaker 2>on the head. Before we get going, I just want
<v Speaker 2>to point something out. We have been talking to each
<v Speaker 2>other now for a couple of years face to face,
<v Speaker 2>and one of the reasons that I can do that
<v Speaker 2>is because you don't have nose hair. Have you been
<v Speaker 2>talking to people and like you can't even concentrate on
<v Speaker 2>what they're saying because of their nose hair.
<v Speaker 1>Absolutely, they like tuck to you.
<v Speaker 2>It dangles, Yes, it wiggles. It's a total distraction. Absolutely,
<v Speaker 2>And so let me let me say if you are
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<v Speaker 2>guys who's self conscious about my nose hair. So somebody
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<v Speaker 2>easier to see in the planes than it is in
<v Speaker 2>the forest. That's wonderful. Yes, yes it is.
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<v Speaker 2>Yeah. They have also an entire shavekit called the Ultra
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<v Speaker 2>order and free ship and whack it perfect time. They
<v Speaker 2>shouldn't but as simple as it was, and as soulful
<v Speaker 2>as it was, it was really difficult to make. I
<v Speaker 2>mean we talked about it took eight months of recording,
<v Speaker 2>and they're working with Bob Rock, who was a guy
<v Speaker 2>that they had hesitation about, and he was a guy
<v Speaker 2>that put the thumbs to him man. I mean, he
<v Speaker 2>pushed hard against what they had gotten used to in
<v Speaker 2>their previous recordings, and he's he's very much in that
<v Speaker 2>school of Mut Lang of you don't have it right yet,
<v Speaker 2>you don't have it right yet, We're gonna keep record
<v Speaker 2>it until you get it right. So they did take
<v Speaker 2>after take after take and sometimes almost on all of
<v Speaker 2>these songs. Actually it was the other Mutt Lang approach
<v Speaker 2>of all right, well we had a good you know,
<v Speaker 2>first four measures in this recording, we have a better
<v Speaker 2>sounding second four measures in this recording. And so it
<v Speaker 2>was a mix and match. And there's a movie that
<v Speaker 2>came out that was a documentary called A Year and
<v Speaker 2>a Half in the Life of Metallica, where you watched
<v Speaker 2>them go through this very difficult process with Bob Rock.
<v Speaker 2>They did not like each other at the end of
<v Speaker 2>all of this, right, Yeah, there's a point where Kirk
<v Speaker 2>has recorded something over and over and Lars is listening
<v Speaker 2>to it and they're like, well, we want to use
<v Speaker 2>this here and then plug this a little bit right
<v Speaker 2>in here, and we'll grab this other piece and plug
<v Speaker 2>it right in here. And he's like, you know, hey, guys,
<v Speaker 2>that's great. You know, I can't wait until you're able
<v Speaker 2>to do that with the drums and I don't even
<v Speaker 2>have to show up. He's like, pretty soon we're going
<v Speaker 2>to be like giving you guys the music and we'll
<v Speaker 2>be able to come back and get the money whenever
<v Speaker 2>you know you've recorded it all. It's kind of scary
<v Speaker 2>how prophetic that was, because that's the way it is now. Yeah.
<v Speaker 2>I saw the meme today where it was like rock
<v Speaker 2>band in the nineteen eighties and it was this band
<v Speaker 2>inside a garage, and then rock band in the twenty
<v Speaker 2>tens and it's this guy with a guitar in front
<v Speaker 2>of his computer. Yeah, we're ready for another revolution, folks.
<v Speaker 1>So one of the things she talked about was who
<v Speaker 1>knows when in the timeline this was, but it was
<v Speaker 1>late in the game. Yeah, and Lars is like, you know,
<v Speaker 1>I and bout Rock's like what Lars, what what? Just
<v Speaker 1>spit it out I mean he doesn't even say anything bad.
<v Speaker 2>He's just kind of.
<v Speaker 1>Like I think maybe you know he had had it,
<v Speaker 1>but it was it was really funny. So this is
<v Speaker 1>their fifth album. Yeah, as we said, it was released
<v Speaker 1>August twelfth of nineteen ninety one. We just hit the
<v Speaker 1>thirtieth anniversary of this album. This album's thirty years old.
<v Speaker 2>Crazy, I can't believe it.
<v Speaker 1>And they've played Inner Sam added every single football game
<v Speaker 1>ever since.
<v Speaker 2>If you have one song to pick, that is the
<v Speaker 2>Hey flagpole song for every you know, take a take
<v Speaker 2>a survey of all human beings who have heard of Metallica,
<v Speaker 2>and say, what's the one song that you think of.
<v Speaker 2>It's going to be Inner Sad.
<v Speaker 1>It's Sam and without a doubt. So this was released
<v Speaker 1>August twelfth, nineteen ninety one. On August second of nineteen
<v Speaker 1>ninety one, they had the listening party. I thought this
<v Speaker 1>was super cool if you're in and around New York
<v Speaker 1>City in nineteen ninety one. Yep, they gave out nineteen
<v Speaker 1>thousand free tickets to go to masson Square Garden. The
<v Speaker 1>band was not going to play live. They were just
<v Speaker 1>going to play the album and let fans hear it
<v Speaker 1>and there's sort of judge feedback wise what they thought,
<v Speaker 1>which I thought that was super cool and I would
<v Speaker 1>love to.
<v Speaker 2>Have been there during that time. When this album was released,
<v Speaker 2>debuted at number one in ten different countries. It sold
<v Speaker 2>six hundred and fifty thousand copies in the first week,
<v Speaker 2>like it was, and it started just going a million
<v Speaker 2>a week, a million a week, a million a week,
<v Speaker 2>knowing it knocked out of the number one spot. Oh, okay,
<v Speaker 2>this is going to blow you away. Yeah.
<v Speaker 1>This is the music scene in nineteen ninety one, which
<v Speaker 1>we've already said was not good until fall.
<v Speaker 2>Right. Unforgettable, that's what you all.
<v Speaker 1>Unforgettable Natalie Cole's unforgettable. Unforgettable.
<v Speaker 2>Oh the copy that she did with her dad from
<v Speaker 2>like one hundred years ago.
<v Speaker 1>Yeah, wow, there's a duet with her father, her dead father.
<v Speaker 2>Kind of forgettable.
<v Speaker 1>It's kind of neat. Yeah, not my favorite, No, it's not,
<v Speaker 1>certainly not. When I was eighteen, I liked.
<v Speaker 2>It when he sang it. Anyway, back to Metallica, Okay, okay,
<v Speaker 2>just a couple more things before we dive in.
<v Speaker 1>Track by track, Bob Rock thought this was going to
<v Speaker 1>be easy until he met the guys and realized they're
<v Speaker 1>all perfectionists, yes, and of course he's a perfectionist, yes,
<v Speaker 1>And so it was a lot harder than he thought.
<v Speaker 2>For example, kirk Ham is a very spiritual guy, right,
<v Speaker 2>and so he's very touchy feely does it feel right
<v Speaker 2>in the moment kind of deal, and Bob Rock is right,
<v Speaker 2>is like, this isn't good enough. You have to do more,
<v Speaker 2>do it more, do it more, do And Lars starts
<v Speaker 2>to stand up and he's like, well, you know, this
<v Speaker 2>just isn't the way that he is. You know, this
<v Speaker 2>isn't the type of guy that he is. And he's like,
<v Speaker 2>but it's not to the quality that it needs to
<v Speaker 2>be and he goes, yeah, but you just can't. You
<v Speaker 2>can't push him. He goes, I can't push him to
<v Speaker 2>be good. You want me to have him not be good?
<v Speaker 2>Is that what you're suggesting? He's like, no, I'm not.
<v Speaker 2>He's like, well, what are you suggesting? It is? I'm
<v Speaker 2>not suggesting anything.
<v Speaker 1>Yes, that's exactly right, And I want to talk about
<v Speaker 1>that and more and depth when we get down forgiven. Yeah,
<v Speaker 1>so the tempos were slowed down, as you said, they
<v Speaker 1>turned the bass up because.
<v Speaker 2>And Justice Frock said Hey, you guys know this thing
<v Speaker 2>called bass it exists.
<v Speaker 1>There was almost no base on Injustice for All is
<v Speaker 1>kind of a way of punishing Jason for being the
<v Speaker 1>new guy guy. James Hetfield was inspired by Bob Dylan,
<v Speaker 1>Bob Marley and John Lennon when he wrote this album. Okay,
<v Speaker 1>the more beatlesque, yeah for sure, and more melodies. You
<v Speaker 1>have James Hetfield singing instead of screaming on this album.
<v Speaker 2>Yeah.
<v Speaker 1>This is the untitled Metallica album. People referred to it
<v Speaker 1>as the Black album. It was almost called five because
<v Speaker 1>it was the fifth album.
<v Speaker 2>So you know the bit about Spinal Tap thing, right, Yeah,
<v Speaker 2>so Spinal Tap came out in eighty four. But in
<v Speaker 2>Spinal Tap they were like, I think we just do
<v Speaker 2>an album that's just all black. Just the whole album
<v Speaker 2>is black. It's like a white album, except he's black.
<v Speaker 1>It was the guy on Laverne Shirley who starred in
<v Speaker 1>Spinal Tab and he's talking to Lars and James and
<v Speaker 1>he's like.
<v Speaker 2>We've got a bound to pick with bass. You know,
<v Speaker 2>it's cool black album. It's a cool black album.
<v Speaker 3>Now, where did the idea come from?
<v Speaker 2>Do an all black album? Metallica representing Tato. Well, I'll
<v Speaker 2>tell you something, if it had been a really pissed
<v Speaker 2>cool album, then we would have gotten right TikTok.
<v Speaker 4>You know, if they would have bought it was off.
<v Speaker 5>It was a jacent album, didn't sell badly, so we
<v Speaker 5>figured yeah, yeah, we took it as a trivia.
<v Speaker 1>But when you said that this album hit number one,
<v Speaker 1>this I thought this quote was gold from Lars. He's like,
<v Speaker 1>you know, you think one day somebody's going to tell
<v Speaker 1>you have the number one record in America and the
<v Speaker 1>whole world will And I just stood there in my
<v Speaker 1>hotel room and there was this facts that says you're
<v Speaker 1>number one, and I was like, well, okay, it was
<v Speaker 1>just another facts from the office and standing there in
<v Speaker 1>his underwear like hey, I'm number one.
<v Speaker 2>Awesome. Okay. So we're about to have the slower, heavier,
<v Speaker 2>more refined and not nearly as thrash Metallica, but man,
<v Speaker 2>we still start kicking button.
<v Speaker 1>Let's go track by track, starting with one of the
<v Speaker 1>most well known rock songs of the.
<v Speaker 2>Nineties, of ever, of ever, of ever, the defining Metallica
<v Speaker 2>song Enter Sandman. It's amazing.
<v Speaker 1>I saw d Snyder talk about this song one day. Yeah,
<v Speaker 1>he said that the intro to the song is so
<v Speaker 1>good you don't want to get to the chorus.
<v Speaker 2>That's true, that's exactly right. That is exactly right. So, yes,
<v Speaker 2>this is more melodic, Yes it's more basic, but man,
<v Speaker 2>it's still kicks some butty, are you kidding me?
<v Speaker 1>This is maybe the greatest rock song since Welcome to
<v Speaker 1>the Jungle.
<v Speaker 2>Woo okay, interesting all right, and commenced to head beannging.
<v Speaker 5>Yeah uh yeah.
<v Speaker 2>So this song is about nightmares. This song they had
<v Speaker 2>started with it very early. It started with it back
<v Speaker 2>in nineteen ninety. But it was just the music. They
<v Speaker 2>knew that it was good. It had come from a
<v Speaker 2>riff that Kirk Khanmon had done. He talked about how
<v Speaker 2>he you know, he just records. You've got the recorder
<v Speaker 2>next year, and you just play and then you listen
<v Speaker 2>to it and sometimes you go, hey, that sounded good.
<v Speaker 2>I'm gonna go back and figure out what I did
<v Speaker 2>right there the original way it was right, except with
<v Speaker 2>this one. He did that and Lars was the one
<v Speaker 2>that was listening to it and he's like, hey, you
<v Speaker 2>had this one part that was done. No, no, no, I
<v Speaker 2>think you should play it three times and then do
<v Speaker 2>that little break that that after that, and that's how
<v Speaker 2>the song looked. So I repeated the.
<v Speaker 1>You can actually see that happen when you watch that
<v Speaker 1>documentary and you have the birth of the greatest rock
<v Speaker 1>anthem of all time.
<v Speaker 2>It is a one riff song. It's a one riff song,
<v Speaker 2>like that's it, but it is amazing. So they started
<v Speaker 2>off with the music in ninety but this was one
<v Speaker 2>of the very last songs to have the lyrics really. Yeah.
<v Speaker 2>So James Hetfield had written some lyrics that was talking
<v Speaker 2>about basically the destruction of the perfect family, like there
<v Speaker 2>was a crib death involved in all that, like sids. Yeah,
<v Speaker 2>and it's bob Rock and Laura's Alrich said that's not good.
<v Speaker 2>You can do better than that, and so that's how
<v Speaker 2>he came up with the nightmares themed song that we
<v Speaker 2>have before us. Yeah.
<v Speaker 1>I heard somebody describe it as the world's first metal lullaby.
<v Speaker 2>Here's something interesting. The music part of it, Kirk Hammon said,
<v Speaker 2>was inspired by Sound Gardens Louder than Love.
<v Speaker 1>Soundgarden another album that came out Fall of ninety one, incredible,
<v Speaker 1>So they use that poem.
<v Speaker 2>Now I lay me down.
<v Speaker 1>To sleep, and it's like a father teaching a child
<v Speaker 1>what to say as you're going to sleep, because the
<v Speaker 1>Sandman he's coming.
<v Speaker 2>Now down ray ther.
<v Speaker 4>My die before I rave my die.
<v Speaker 1>The So they did say that they wanted to incorporate
<v Speaker 1>some more adult nightmare images into it, but they didn't
<v Speaker 1>want anything stupid like Frankenstein, you know, jumping around the
<v Speaker 1>corner and scaring you. This song reached number sixteen on
<v Speaker 1>the Hot one hundred.
<v Speaker 2>Okay, So in watching A Year and a half in
<v Speaker 2>the Life of Metallica, it shows the part where they're
<v Speaker 2>recording the Little Kid, and this just is another example
<v Speaker 2>of Bob rockness. He's like, now I lay me down
<v Speaker 2>to sleep. Now I lay me down to sleep. I
<v Speaker 2>pray the Lord myself. Okee, I pray the Lord myss.
<v Speaker 2>And he goes through the whole thing and Bob Rock's like,
<v Speaker 2>all right, let's do it again, and he guds like,
<v Speaker 2>what did I do wrong?
<v Speaker 1>That kid's now approaching forty whoosh? Have you ever heard
<v Speaker 1>this song tapping into the emotional void?
<v Speaker 2>Only because you played it for me about twenty minutes
<v Speaker 2>ago and I was like, oh, this is somebody covering
<v Speaker 2>inner Sandman acoustically and you said, no, no, this was before.
<v Speaker 1>Let's hear it.
<v Speaker 2>You're really pretty on the nose. Sounds a little bit familiar,
<v Speaker 2>doesn't it. Yeah, it really does.
<v Speaker 1>So that's a group named Excel, not Microsoft Excel, just
<v Speaker 1>regular Excel, and the members were considering legal action. Don't
<v Speaker 1>know whatever happened to that. Let's talk about the video
<v Speaker 1>for a second. Okay, So the video was directed by
<v Speaker 1>our guy named Wayne Eisham.
<v Speaker 2>Yes, we've talked.
<v Speaker 1>We've talked about him a bunch. He directed all the
<v Speaker 1>Bonjovie videos. He's directed a billion videos.
<v Speaker 2>But it was.
<v Speaker 1>Recorded in Los Angeles and in premiere July third, nineteen
<v Speaker 1>ninety one, two weeks before the release of the album.
<v Speaker 1>And you have this kind of nightmare scenario. But you
<v Speaker 1>have this really cool scene where there's a semi bearing
<v Speaker 1>down on a bed in the middle of the highway.
<v Speaker 1>And when James Hetfield goes at that part in the
<v Speaker 1>song where he goes boom, the semi truck hits the bed.
<v Speaker 2>Oh all right. So there's an old man, there's a
<v Speaker 2>little kid who's praying, and then there's an old man.
<v Speaker 2>You know, the old man is old, crinkly faced dude.
<v Speaker 2>You know who it is, tell me who is I
<v Speaker 2>don't who's it? Okay, So the guy's name is R. G. Armstrong. Okay,
<v Speaker 2>you'd know him if you saw him, but I'm going
<v Speaker 2>to give you some clues. He was in Dick Tracy.
<v Speaker 2>He played prune Face, but you probably know him as
<v Speaker 2>General Phillips from Prederick Get to the Chopper.
<v Speaker 1>This one Best Hard Rock Video at the nineteen ninety
<v Speaker 1>two TV Music Awards. Besides being played at every single
<v Speaker 1>football game ever known demand since nineteen ninety one, all
<v Speaker 1>their live shows too. Oh yeah, I mean they have to.
<v Speaker 1>This is one of those must plays the Yankees. The
<v Speaker 1>New York Yankees would play this song whenever their all
<v Speaker 1>time great closer, Mariano Rivera took the mound, and they
<v Speaker 1>did it so like he's recognized as being the.
<v Speaker 2>Greatest relief picture of all time.
<v Speaker 1>It coincided so much with him, he became known as
<v Speaker 1>the Sandman.
<v Speaker 2>Oh nice, kind of like wild thing. Yeah nice.
<v Speaker 1>When Mariano Rivera retired, Metallica came and played live inside
<v Speaker 1>Yankee Stadium when he took the mound for the last time.
<v Speaker 2>That's the best thing of the show. How about that?
<v Speaker 2>We can stop now because that's the coolest thing of
<v Speaker 2>the show.
<v Speaker 1>How about that this has been covered a million times.
<v Speaker 1>I listened to one today by Weezer, and of course
<v Speaker 1>Pat Boone has covered this.
<v Speaker 4>Song with.
<v Speaker 2>The've been Your Pillow tide head Boon never afraid to
<v Speaker 2>steal something and make it terrible, So you sent me
<v Speaker 2>this thing that was There's this huge, like tribute album
<v Speaker 2>that's coming out, like fifty three different artists playing their
<v Speaker 2>favorite songs off the Black album. Yes, it's called Blacklisted.
<v Speaker 2>That's it Blacklisted? Yeah, Yeah, And I'm excited to hear it.
<v Speaker 2>I haven't heard it yet, I've just I just saw
<v Speaker 2>the preview and it looks exciting. There are a couple
<v Speaker 2>of bands, there's some of it is available on Spotify
<v Speaker 2>if you want to listen to the who Hu Not
<v Speaker 2>Right Who? Which is a band I saw with my
<v Speaker 2>dad that I've mentioned in a podcast in the past,
<v Speaker 2>the ones that do the double vocaling like Bill and
<v Speaker 2>Ted do at the beginning to face the music. I'm
<v Speaker 2>really excited to hear whatever version. And then I've also
<v Speaker 2>seen Cage the Elephant, who's done one of the best
<v Speaker 2>live shows I've ever seen. I can't wait covering too. Yeah.
<v Speaker 1>Well, and I think like Darius record does cover of
<v Speaker 1>nothing else matters that I can't wait to hear.
<v Speaker 2>Oh yeah, we don't say. Man, it's unfortunate because it
<v Speaker 2>is a tent fole song. But guys, so good. We're
<v Speaker 2>moving into something that's still pretty friggin' awesome.
<v Speaker 1>Here it comes track number two, Sad but True.
<v Speaker 2>Dude, you got the incredible use of the silent break
<v Speaker 2>right before I love Love Love, the way that it stops,
<v Speaker 2>and the drums. Oh man, too good.
<v Speaker 1>You have that crunchy guitar at the beginning.
<v Speaker 2>Just oh so good.
<v Speaker 1>Sad but True was the fifth single, released February eighth,
<v Speaker 1>nineteen ninety three. This is one of those five singles
<v Speaker 1>that was an absolute home run.
<v Speaker 2>Okay, so what do you think the son's about?
<v Speaker 1>Okay, So this is the interesting thing about their music
<v Speaker 1>now they do have more serious tone stuff. It's not
<v Speaker 1>girls and booze and the typical party rock that you
<v Speaker 1>and I like.
<v Speaker 2>Right, it's not the Motley Crue sex stuff all of
<v Speaker 2>the time, sex, drugs and sex. Yes, right, how about
<v Speaker 2>some more sex stripper music. So I thought it was
<v Speaker 2>interesting the way they weart their music is they come
<v Speaker 2>up with a riff, a riff that they can build
<v Speaker 2>a song on, and then they sort of grow it
<v Speaker 2>from there. But they have a running title list, so
<v Speaker 2>they just have words that they think sounds cool. So
<v Speaker 2>they had a list that had sad but true. Enter Sandman,
<v Speaker 2>nothing else matters, uh huh, and they're like, hmm, this
<v Speaker 2>sounds like sad right true. And then they take that title,
<v Speaker 2>they take the riff, they mash those together, and they
<v Speaker 2>build a song of pain while you're you know, okay,
<v Speaker 2>so we really don't know what it means. I don't.
<v Speaker 2>I mean, I'm looking at these lyrics and I can
<v Speaker 2>understand that it's like, I'm the evil side of you.
<v Speaker 2>That's kind of the impression that I get. And that's
<v Speaker 2>the idea is that's sad but true, but I'm you.
<v Speaker 1>Well, Hatfield has talked about how in this song it's
<v Speaker 1>about his duality, right like inside of me, there's the
<v Speaker 1>public me and there's the the me me, you know,
<v Speaker 1>and how there's one good and one evil and they
<v Speaker 1>kind of wrestle with you.
<v Speaker 2>I'm the hate when you want love. So musically, there's
<v Speaker 2>an interesting thing that happened on this one. So Bob
<v Speaker 2>Rock is looking at their songs and looking at all
<v Speaker 2>of the chord progressions, and he's like, these songs are
<v Speaker 2>all in. What's up, guys, you know? And they're like, well,
<v Speaker 2>we're a heavy metal band. Turns out we like E
<v Speaker 2>Shocker And he's like, yeah, but you know the bass.
<v Speaker 2>Remember what he said he introduced the bass bob, He's
<v Speaker 2>lowest note. He's like, you can tune it down. People
<v Speaker 2>do it all the time. You know that album that
<v Speaker 2>you called me because you liked the Doctor Feel Good album. Wow,
<v Speaker 2>drop D. You know, take that E note and tune
<v Speaker 2>it down a full step. And that's where we get
<v Speaker 2>the music for Sad but True. That's where that's why
<v Speaker 2>it sounds so heavy and full on that base side
<v Speaker 2>of things. It's because they're doing a drop D tuning.
<v Speaker 1>Thank you Motley Crue for giving us Sad but True.
<v Speaker 2>Oh my gosh, we're gonna get a fire. Okay. So
<v Speaker 2>the solo that happens in this one is pretty freaking awesome.
<v Speaker 2>All right. So, just before you can hear this double track,
<v Speaker 2>guitar and then they do that stop that I was
<v Speaker 2>talking about. Stop drums come in. And this is a
<v Speaker 2>great solo because instead of doing the metal style leads
<v Speaker 2>that he's done in the past, Kirk is doing something
<v Speaker 2>far more blues based like this. It sounds like he's
<v Speaker 2>almost playing with a slide. I'm not sure if he
<v Speaker 2>is or not, but it sounds so more blues scale,
<v Speaker 2>blues riff than any of the stuff they've done before.
<v Speaker 2>And it's one of those solos that you're going to
<v Speaker 2>play along the air guitar with because it's memorable. It
<v Speaker 2>sticks in your head and it kills it kills it.
<v Speaker 1>We were talking about that documentary earlier, Bob Rock said,
<v Speaker 1>Kirk is one those guys you have to push right
<v Speaker 1>and so he'll just throw out some crap and you're like,
<v Speaker 1>what do you think and he's like, no, not good enough,
<v Speaker 1>keep going. Yeah, So clearly he was being pushed on
<v Speaker 1>this song for sure. All right, but don't saba true.
<v Speaker 1>It's Saba true, all right. Song number three, this song
<v Speaker 1>is called Holier than Thou.
<v Speaker 2>All right, So just when you thought we had moved
<v Speaker 2>into the blues, let me bring back the thrash metal
<v Speaker 2>right now. Yeah, this one's really heavy. It starts off
<v Speaker 2>super heavy, yeah, and repetitive. I mean that.
<v Speaker 1>Little loop I counted it. It's twenty four times.
<v Speaker 2>This is really long, over and over and over again,
<v Speaker 2>which I understand the build. You know what, Bob Rock
<v Speaker 2>wanted this to be there first.
<v Speaker 1>This is a great story.
<v Speaker 2>Yeah. So they're sitting in a restaurant and he's like,
<v Speaker 2>you know, guys, obviously the first song, first single that
<v Speaker 2>needs to be released soldier than that. And they're like, really, Bob,
<v Speaker 2>tell us why just the way that it builds and
<v Speaker 2>you start, You've got the drums, then the guitars build
<v Speaker 2>on top of it, and you've got the dynamics in
<v Speaker 2>the song. And he's yeah, he was. He was selling
<v Speaker 2>it hard.
<v Speaker 1>You can see it in the documentary him actually say
<v Speaker 1>these words with songs like Unforgiven and Enter Sandman and
<v Speaker 1>Wherever I May Room.
<v Speaker 2>Which is nuts because he's the guy that like like
<v Speaker 2>led them away from the thrash metal sound. But he's
<v Speaker 2>suggesting that the thrash metal be the first song that
<v Speaker 2>comes off the album. It's it's just interesting. I don't
<v Speaker 2>know if they turned him or if he just thought,
<v Speaker 2>you need to have this as the first single because
<v Speaker 2>your fans will buy in that way. I don't I
<v Speaker 2>don't know, I don't know. So here's the thing.
<v Speaker 1>Okay, I thought this was great, and he's probably protecting
<v Speaker 1>himself a little bit because he does seem a little
<v Speaker 1>silly when he when he said those words, he said,
<v Speaker 1>this was before there were words laid down for any track,
<v Speaker 1>including Samon, right, and so he just thought he liked
<v Speaker 1>the crunch and he said it was early on, and
<v Speaker 1>the songs later sort of blossomed into these mega songs,
<v Speaker 1>and so it was a little early.
<v Speaker 2>In the game.
<v Speaker 1>And he's like, but yeah, So the band whenever they
<v Speaker 1>see him, like they'll be like, hey, Bob.
<v Speaker 2>How's it going.
<v Speaker 1>He's like, fine, guys, how's it going. They're like, holyer
<v Speaker 1>than now? Huh? That was early in the game. I
<v Speaker 1>think that's hilarious.
<v Speaker 2>The lyrics.
<v Speaker 1>Bob initially thought it might even be about him being
<v Speaker 1>holier than now.
<v Speaker 2>Oh interesting, Okay, what do you think you like this one? Well,
<v Speaker 2>I hate to judge it lest I judge myself. That's good. Yeah,
<v Speaker 2>I mean I could see it being about Bob or
<v Speaker 2>anybody else who's probably given them trouble along the way.
<v Speaker 2>This is a I don't need your attitude and your opinions, right,
<v Speaker 2>you're thinking you're better than me. Good song. There's better
<v Speaker 2>songs there. I'm ready to jump to track number four
<v Speaker 2>for sure. I'm listening to the album. I'm like, I'm
<v Speaker 2>hearing the same thing. I'm like, Okay, you've played it
<v Speaker 2>too long. I don't care what the words are.
<v Speaker 1>Moving on the next song on the album, track number four,
<v Speaker 1>the Unforgiven.
<v Speaker 2>Okay, throw back to Van Halen sound effect at the
<v Speaker 2>beginning of the song. What Doppler effect of the thing
<v Speaker 2>going by card going by? Yeah? But then we come
<v Speaker 2>in after we've had this thrash metal song. We come
<v Speaker 2>in with a classical guitar playing a almost Spanish style balad. Yeah,
<v Speaker 2>it's sweet and sad. It is sweet and sad, and
<v Speaker 2>then you get a little lead over the top and
<v Speaker 2>it's beautiful. It's hooky. This song is gold and they've
<v Speaker 2>totally stolen it from themselves. I've brought you this today
<v Speaker 2>because and I wish I could say, you know, I
<v Speaker 2>wish I could say, well, I recognized the song when
<v Speaker 2>I heard the Black Album for the first time, because
<v Speaker 2>but I didn't, because I've already said I came through
<v Speaker 2>the Black Album and then went back to the other albums.
<v Speaker 2>And this morning, as I was working out listening to
<v Speaker 2>Fade to Black, I was like, this is the same
<v Speaker 2>chord progression as Unforgiven. And I said to you, and
<v Speaker 2>you're like, I'm too familiar with Fade to Black to
<v Speaker 2>hear it. But I looked it up. Literally exactly the
<v Speaker 2>same chords. There's a bit of a twinge difference at
<v Speaker 2>the end of a line or two, but it is
<v Speaker 2>the exact same chords from beginning to end. It's not
<v Speaker 2>where Fade to Black first starts, but once you get
<v Speaker 2>down at the intro guitar intro on theta black and
<v Speaker 2>then go into the more acoustic sound, Yeah, it's the same.
<v Speaker 1>Interesting. Well, they're both wonderful songs. Yeah, and you know,
<v Speaker 1>if it works, keep going to it. You sure they
<v Speaker 1>reused it again Unforgiven Part two. This song has sequels. Yeah,
<v Speaker 1>it has an Unforgiven Part two and an Unforgiven Part three.
<v Speaker 2>Oh my gosh.
<v Speaker 1>This was released October twenty third of ninety one. This
<v Speaker 1>is the second single. I thought it was interesting that
<v Speaker 1>they wanted to do something with a heavy verse and
<v Speaker 1>a soft chorus running out. That was the goal when
<v Speaker 1>they made this song.
<v Speaker 2>Yeah, and it's such heartbreaking lyrics. I mean, the New
<v Speaker 2>Blood joining the earth and immediately he's subdued and he
<v Speaker 2>has pain and discrace and he has to learn the rules,
<v Speaker 2>and it's just, you know, the whipping void done wrong.
<v Speaker 3>It is tragedy of a beaten down life shot.
<v Speaker 1>Okay, d I want to talk about the guitar solo
<v Speaker 1>on this song Unforgive. This is the song where Bob
<v Speaker 1>Rock was like Kirk that that solo is not good enough.
<v Speaker 1>Go back and try again. And he kept trying and
<v Speaker 1>and he kept sort of browbeating him to.
<v Speaker 2>Come up with something better.
<v Speaker 1>He's like, you have to respect the song. The song
<v Speaker 1>is too good for you just to throw out a
<v Speaker 1>crappy the solo. And Kirk had said, I just don't
<v Speaker 1>really have the feel. He's like, that's what all lazy
<v Speaker 1>players say. I don't have the feel. Go back and
<v Speaker 1>come up with something better.
<v Speaker 6>And and so that's why we have this screaming awesome
<v Speaker 6>guitar solo is because Kirk was pushed to the edge
<v Speaker 6>and he was breaking emotionally.
<v Speaker 1>You know you mentioned that horn at the very beginning.
<v Speaker 2>Yeah, that horn.
<v Speaker 1>They actually reverse it so that people can't recognize it.
<v Speaker 1>It was stolen from a Western movie, although they haven't
<v Speaker 1>really named it because for you know, legal reasons, they
<v Speaker 1>don't like to get sued, right, And most people think it's
<v Speaker 1>from the Clin Eastwood movie for a few dollars more.
<v Speaker 2>Which is interesting that the clinicst Wood then came out
<v Speaker 2>with a movie called The Unforgive Ah.
<v Speaker 1>Yeah, I mean you think about that there, you got
<v Speaker 1>good job?
<v Speaker 2>Yeah, all right, I told you I had.
<v Speaker 1>I had a cool story about this, right, So listen
<v Speaker 1>to this. When Dave Mustaine was fired from Metallica, yep,
<v Speaker 1>he could not bring himself to listen to them, look
<v Speaker 1>at them, think about them.
<v Speaker 2>Mention their name.
<v Speaker 1>He was very bitter, right, yes, And we talked about
<v Speaker 1>how he felt like Kirk took his job and stole
<v Speaker 1>his riffs right and still his riffs right. But when
<v Speaker 1>he finally got around to listening to Metallica and he
<v Speaker 1>listened to this album and this was the song that
<v Speaker 1>he gravitated towards. This is the lead singer of Megadeth.
<v Speaker 1>When he was talking to Revolver magazine, he said, I
<v Speaker 1>remember hearing this song when I was talking to Lars
<v Speaker 1>One and telling him this was my favorite song off
<v Speaker 1>the Blackout, and he's like, wow, really, that's surprising, and
<v Speaker 1>he said I liked it because this is the first
<v Speaker 1>time I'd ever really heard him sing.
<v Speaker 2>It's awesome. Yeah, he's He definitely brought vocals in this one.
<v Speaker 1>Okay, I got something for you on the music video. Okay, okay,
<v Speaker 1>this video was directed by a guy named Matt Maharan.
<v Speaker 1>I'm not sure I'm pronouncing it.
<v Speaker 2>It's easy for you to say, Matt Mcharran. Okay.
<v Speaker 1>Now, he's a video director, he's a photographer. He has
<v Speaker 1>done a number of things, but you will know him.
<v Speaker 1>He's the guy who took the picture of OJ Simpson's
<v Speaker 1>mugshot that Time magazine then sort of filtered to make
<v Speaker 1>him look darker. Yeah, and it was a very controversial picture.
<v Speaker 2>This is the guy who took that picture.
<v Speaker 1>Oh wow, So that picture that he took ended up
<v Speaker 1>on the cover of Time magazine. We don't get into
<v Speaker 1>politics on here. Moving on this song number five, This
<v Speaker 1>is Wherever I May roam.
<v Speaker 2>Okay. This is a different sound. Yeah, that's sitar at
<v Speaker 2>the beginning. Yeah, it's got a very middle least kind
<v Speaker 2>of sound to it. And while they were recording this album,
<v Speaker 2>Lars came in one day and they had an entire
<v Speaker 2>table full of different percussive instruments, and so the little
<v Speaker 2>see the two hear he I'm sure pulled off of that,
<v Speaker 2>and you get some knocking here and there. At one
<v Speaker 2>point it showed James Headfield cocking a gun as one
<v Speaker 2>of the right. They added a lot of sound samples
<v Speaker 2>in this one, but it's weird to hear Metallica coming
<v Speaker 2>in with the sitar. Now. The Beatles way back in
<v Speaker 2>the sixties had done citar music. It pops up with
<v Speaker 2>Led Zeppelin from time to time, something like that, but
<v Speaker 2>not something I was expecting from Metallica. But then they
<v Speaker 2>take that very Middle East sound and then they drill
<v Speaker 2>the drums and they make it a booming guitar lead,
<v Speaker 2>booming guitar riff, and I love it. This is my
<v Speaker 2>favorite song on the album.
<v Speaker 4>Back.
<v Speaker 2>It's favorite song phantomas album. I'll listen to the beginning
<v Speaker 2>over and over again. I don't even need to listen
<v Speaker 2>to the rest.
<v Speaker 1>It's like, like you said, I don't even want to get.
<v Speaker 2>To the chorus. I just want to listen to the
<v Speaker 2>intro to the song over and over.
<v Speaker 1>The lyrics of this song and what really speak to me.
<v Speaker 1>This is like a road Dog song. Right, there's this
<v Speaker 1>line in where he's like roamer, wanderer, nomad, vagabond, call
<v Speaker 1>me what you will. But that's the idea of I
<v Speaker 1>get everything I need.
<v Speaker 2>From the road. It's a love song to the road.
<v Speaker 2>It is the road becomes my bride, and the road
<v Speaker 2>becomes my bride.
<v Speaker 1>This was the fourth single released October nineteenth, ninety.
<v Speaker 4>Two, abut on a Lawn, Road.
<v Speaker 2>Lawn. Such a good song.
<v Speaker 1>Kirk Hammitt talks about when he talks about this song,
<v Speaker 1>he remembers at the time being on tour. He said,
<v Speaker 1>I bought a house last year that I haven't even
<v Speaker 1>seen yet.
<v Speaker 2>Yeah. So the tour after this was called the Wherever
<v Speaker 2>I May Roam Tour. Yeah, a great name for a tour.
<v Speaker 7>Yeah.
<v Speaker 2>I mean, if the road is going to be your bride,
<v Speaker 2>it's gonna be where you're on tour. Right. Such a
<v Speaker 2>great song. And so the music video is it's their
<v Speaker 2>road video. Man, it's the one that's got to have video, yeah,
<v Speaker 2>to have it. So the Wherever I May Roam Tour
<v Speaker 2>is where they got the video for the Wherever I
<v Speaker 2>May Roam video. Yeah, you've got to have it.
<v Speaker 1>Every band in the early nineties late eighties had to
<v Speaker 1>have this this video.
<v Speaker 2>So normally when they would play this song live, they
<v Speaker 2>would start it off with the recording of the sitar
<v Speaker 2>and they would let everybody walk out to this song
<v Speaker 2>because they didn't typically have a gitar right playing. All right,
<v Speaker 2>we got to move on, Okay, moving on.
<v Speaker 1>The next song on the album is a song called
<v Speaker 1>Don't Tread on Me.
<v Speaker 2>Okay. The song starts off with a lot of but kicking.
<v Speaker 2>It's the headbanger. It is. We're back to our thrash now.
<v Speaker 2>This is almost like a thrash metal anthem. It's like
<v Speaker 2>a patriotic metal anthem kind of yeah it is. I
<v Speaker 2>would say of all of the songs that were not
<v Speaker 2>singles on this album, this one's the best. Okay, interesting,
<v Speaker 2>I think it's better than any of the other non
<v Speaker 2>single this is. This is a really good pump your fist,
<v Speaker 2>bang your head. It's not quite tapped your foot, but
<v Speaker 2>it's the lyrics are so on point that you're just
<v Speaker 2>you're still singing a lot.
<v Speaker 1>Some people felt that this was a very pro America song,
<v Speaker 1>and Halfield has him backed down for that. He's like,
<v Speaker 1>you know, I've been out touring I've seen a lot
<v Speaker 1>of places, and let me just say, America is really
<v Speaker 1>a great place. Yeah, so you know, come to appreciate America,
<v Speaker 1>even with its warts. You know, America is pretty awesome.
<v Speaker 2>Yeah. He's not saying so be it. By the way,
<v Speaker 2>it's so be it, so be it, so be it. It's
<v Speaker 2>not so Soviet. It's not saying so okay, it's not
<v Speaker 2>the US song that's involved. It's not the USSR that
<v Speaker 2>you said threatened no more. It's interesting because ninety one right,
<v Speaker 2>that having that just happening could have been Soviet. Sure, yeah,
<v Speaker 2>it's so be it. There were some people that were shot.
<v Speaker 1>They thought they were a pro war band after the
<v Speaker 1>song came out, after thinking they were an anti war band,
<v Speaker 1>and I got to think that. You know, we talked
<v Speaker 1>about they were recording this during the Persian Gulf War
<v Speaker 1>and people in America felt a lot of American pride
<v Speaker 1>at that moment in time.
<v Speaker 2>Well, I mean, you say never surrender, showing the fangs
<v Speaker 2>of rage, and then you say to secure peace is
<v Speaker 2>to prepare for war. It's hard to say that.
<v Speaker 1>They're all right, So don't tread on me is a
<v Speaker 1>very popular term from colonial America. You have that famous flag,
<v Speaker 1>the Gadsden flag. Yeah, the snake, the snake that's on
<v Speaker 1>the front cover of the album. If you can make
<v Speaker 1>it out, it's barely on there.
<v Speaker 2>Oh yeah, it's the same snake.
<v Speaker 4>Yep.
<v Speaker 2>I like this one.
<v Speaker 1>I got no problems with it.
<v Speaker 2>It's a butt kicker, all right.
<v Speaker 1>So here's a great story for you about this song.
<v Speaker 2>Okay.
<v Speaker 1>So there's this Canadian woman named d Gallant. So she
<v Speaker 1>was walking. She lives in British Columbia. She was walking
<v Speaker 1>on a hike and there was a cougar that was
<v Speaker 1>coming after her. It's not the car, a real live
<v Speaker 1>mountain lion, right, a cougar, right, And so she started yelling,
<v Speaker 1>making noises, trying to scare this cat away, and it
<v Speaker 1>wouldn't go, and so she pulled out her phone. She said,
<v Speaker 1>I was just looking for the loudest thing I could
<v Speaker 1>possibly play Don't Tread on Me by Metallica, and the
<v Speaker 1>cat left.
<v Speaker 2>Oh my god.
<v Speaker 1>And so a week later she gets a phone call
<v Speaker 1>from mister James Heap. Oh wow, how cool is that?
<v Speaker 2>That's freaking awesome? All right? We done with this one,
<v Speaker 2>I think so. And I think if this was a
<v Speaker 2>tape this would be the end of side one, right.
<v Speaker 1>Yep, push stop in your tape player, pick it out,
<v Speaker 1>flip it over. Side two we start off with Through
<v Speaker 1>the Never, one.
<v Speaker 2>Of the songs where Third Rock from the Sun got
<v Speaker 2>their name. What do you think about this one? Well,
<v Speaker 2>I think that they tent pulled this album with their
<v Speaker 2>thrash metal songs, which thrash metal is not my thing, right,
<v Speaker 2>I mean, innerstand man, Obviously you've got to put that first, right,
<v Speaker 2>it's going to appeal to everybody, even thrash metal, non
<v Speaker 2>thrash metal. It doesn't matter. It's a winner. Right. But
<v Speaker 2>they end side one thrash metal. They begin side two
<v Speaker 2>thrash metal. Not anything, but it's not.
<v Speaker 1>Bad, okay, Metallica name there twenty thirteen Imax concert.
<v Speaker 2>Film Through the Never. Did you watch that? No? I
<v Speaker 2>haven't figured you would watch that. No, really bad movies.
<v Speaker 2>I try to.
<v Speaker 1>I try to watch as many bad movies on the
<v Speaker 1>stuff as I can.
<v Speaker 2>You've seen any about it at all. It's supposed to
<v Speaker 2>be like surrounding their concert, but there's like a thriller
<v Speaker 2>movie going on, like a storyline going on as well.
<v Speaker 1>I saw the trailer. I watched the trailer. Yeah, there's
<v Speaker 1>like some movie plot around their concert.
<v Speaker 2>All right, d so you watch the trailer. What do
<v Speaker 2>you think. I'm intrigued, legit, I thought, Okay, a thriller
<v Speaker 2>surrounding a concert movie that can't really be pretty cool setting? Right?
<v Speaker 7>Good?
<v Speaker 2>It looks like a mad Max style, like suddenly there's
<v Speaker 2>an attack and there's, you know, this apocalyptic event that's
<v Speaker 2>going on all during this concert. It's got the guy
<v Speaker 2>from The Amazing Spider Man like the second not philby maguire,
<v Speaker 2>but Andrew Garfield. Yeah, he's the guy that was the
<v Speaker 2>bad guy in that one is kind of the main
<v Speaker 2>character and he's doing something for the band when all
<v Speaker 2>of literally hell breakslus. It looks like and it looks
<v Speaker 2>an interesting and IMDV gives it a seven point two,
<v Speaker 2>which is not a bad rating. I want to go
<v Speaker 2>watch this. That's interesting. I will be back with my
<v Speaker 2>report later. Okay.
<v Speaker 1>When they were talking to James Heffeld about the naming
<v Speaker 1>of this movie, right yeah, he said, well, I was
<v Speaker 1>looking at the movie and people were like, well, what
<v Speaker 1>is this? Is this a documentary? Is this a concert movie?
<v Speaker 1>Is that an action movie?
<v Speaker 2>Is a thriller? Said?
<v Speaker 1>So we wanted to choose a title that was as
<v Speaker 1>vague as we could possibly be, so we chose our
<v Speaker 1>own through.
<v Speaker 2>The Never It's a good one. It's a head banger.
<v Speaker 2>It's not a single, but it's it's good. Yeah, all right.
<v Speaker 1>Next, this song is called Nothing Else Matters.
<v Speaker 2>So this was the first Metallic song I don't learned
<v Speaker 2>how to play. Okay. I was like, this is awesome.
<v Speaker 2>I got to figure this out. This is a love song.
<v Speaker 2>This is I this is the song that made me
<v Speaker 2>fall in love with them. I remember hearing that's for
<v Speaker 2>the first time and just immediately falling in love with
<v Speaker 2>the song it is. It's so good. It's sweet, and
<v Speaker 2>it's mysterious and it's amazing and I'm gushing, but yeah,
<v Speaker 2>this is this is the song that I fell in
<v Speaker 2>love with Metallica on Community the.
<v Speaker 4>Trusted and.
<v Speaker 2>This is interesting.
<v Speaker 1>So James Hetfield wrote this, he thought for himself. He
<v Speaker 1>didn't anticipate it being on the album. He was kind
<v Speaker 1>of bummed out. He's missing his girlfriend, wrote this for
<v Speaker 1>her and never really intended it to be on the album,
<v Speaker 1>and then Lars heard it and was like, no, that
<v Speaker 1>needs to go on the album.
<v Speaker 2>Yeah, I mean the lyrics are this beautiful opening up?
<v Speaker 2>I mean never, I've never opened up to somebody like
<v Speaker 2>I've opened up to you, And to have that kind
<v Speaker 2>of vulnerability in a heavy metal song is unexpected.
<v Speaker 1>Yeah, I think he was a little bit afraid the
<v Speaker 1>guys are gonna laugh him out of the room when
<v Speaker 1>he presented this one. What about a song about your girlfriend?
<v Speaker 2>Come on, what are we here? This was a crew.
<v Speaker 1>This was the third single reached number eleven on the
<v Speaker 1>mainstream rock trikes.
<v Speaker 2>Epically beautiful song, love it Okay, So the intro to
<v Speaker 2>the song, it's a very acoustic, beautiful lead, but then
<v Speaker 2>toward the end of the song we get the guitar solo,
<v Speaker 2>which is this screaming but still amazingly beautiful solo. Let's
<v Speaker 2>listen to it now. And so this again, he's gone
<v Speaker 2>back to this blues bass lead. We're not we don't
<v Speaker 2>have the speed metal. We've got a song that you're
<v Speaker 2>gonna air guitar with, You're gonna thrash and you're gonna
<v Speaker 2>know every note to This is one of a couple
<v Speaker 2>of songs on here where you have the guitar solo
<v Speaker 2>that you could hum the whole thing without you know
<v Speaker 2>without it being there, and again it kills it. I
<v Speaker 2>love love love it.
<v Speaker 1>I guess for you on that guitar solo. Okay, that's
<v Speaker 1>not Kirk Hammick playing that guitar solo. James Hephil Yeah,
<v Speaker 1>how about that.
<v Speaker 2>That's awesome.
<v Speaker 1>A couple of things on this song besides it being
<v Speaker 1>amazing and beautiful and a definite change in.
<v Speaker 2>Tone for the band. Yeah.
<v Speaker 1>This song hit one billion views on YouTube August first,
<v Speaker 1>twenty twenty one, just a few weeks weeks ago. Yeah, yeah,
<v Speaker 1>making it Metallica's first music video to ever hit one billion.
<v Speaker 2>Views on YouTube.
<v Speaker 4>Oh wow.
<v Speaker 2>Okay it was awesome.
<v Speaker 1>And this music video had a part in being very
<v Speaker 1>detrimental to another musician's career.
<v Speaker 2>Do you know this?
<v Speaker 1>No, there is a clip that they play in this
<v Speaker 1>music video from the documentary we talked about where Lars
<v Speaker 1>is throwing darts at a poster of Kip Winger.
<v Speaker 2>Oh yeah, yeah, that's the that's in the documentary as well. Yeah.
<v Speaker 1>That, plus Beavis and Butt turned against Winger and made
<v Speaker 1>them the uncool rock band.
<v Speaker 2>Oh my god, I like Winger. Can tell me Stewart,
<v Speaker 2>I know I know you like Winger, So I've played
<v Speaker 2>this song on guitar. Hero, Yeah, it's easier to play
<v Speaker 2>it on the guitar. I don't know. What they're doing
<v Speaker 2>is hard hard.
<v Speaker 1>James Hefhel talks about how he went to a Hell's
<v Speaker 1>Angels get together in New York City, Okay, and they
<v Speaker 1>showed him a video that they had made of their
<v Speaker 1>Fallen Brothers set to this song.
<v Speaker 2>Oh wow, And James said.
<v Speaker 1>That it was much more meaningful than just a love
<v Speaker 1>sick boy talking.
<v Speaker 2>About his girlfriend. Wow. So he said, anybody could use,
<v Speaker 2>the army could use. That's awesome. We've done with this one.
<v Speaker 2>I hate to be but yes, we got to move on,
<v Speaker 2>all right.
<v Speaker 1>The next song is called a Wolf and Mend Miss Run.
<v Speaker 2>So of wolf and men, what do you think?
<v Speaker 4>Eh?
<v Speaker 2>Eh, yeah, it's it's okay.
<v Speaker 1>I know James Heffer was kind of getting into the
<v Speaker 1>hunting thing during this time. Yeah, and so it talks
<v Speaker 1>about kind of living off the land a little bit.
<v Speaker 2>I know.
<v Speaker 1>Our buddy James Buckley loves this song. This is one
<v Speaker 1>of his favorites that is a non single off this album.
<v Speaker 2>Yeah, it's it's just not my cup of tea. It's
<v Speaker 2>all right, Yeah, it's I mean if it was used
<v Speaker 2>in a werewolf movie, then maybe, right, maybe that's what
<v Speaker 2>it is. Yeah.
<v Speaker 1>Bob Rock even thought this song was silly, like he's like,
<v Speaker 1>what are we doing here?
<v Speaker 2>Guys were sinking about a wolf? Okay, that's it. Yeah,
<v Speaker 2>so that's all for that song. We're moving on the
<v Speaker 2>God that Failed. Okay, have we had a song yet?
<v Speaker 2>It just starts off with the drums and a bass line. No,
<v Speaker 2>all right, let's do this. Let's go ahead and build
<v Speaker 2>it up with the guitar like every good rock song should.
<v Speaker 2>I don't know. I think this was like the best
<v Speaker 2>of the non singles. Yeah. Yeah.
<v Speaker 1>James Hetfeld wrote this about you know, he grew up
<v Speaker 1>Christian scientists.
<v Speaker 2>Yeah yeah, which his mom died of cancer, I believe,
<v Speaker 2>and so that not taking medicine, not going to the
<v Speaker 2>hospital had to be a rough experience.
<v Speaker 1>He was a firm believer that you just prayed and
<v Speaker 1>that God would would take care of your medical issues,
<v Speaker 1>and when that didn't happen, it left him bitter.
<v Speaker 2>Yeah, then you end up with songs like this.
<v Speaker 4>Yep.
<v Speaker 2>But we don't talk religion either. Nope, we don't moved on. Yeah,
<v Speaker 2>all right, So the next one is my friend of Misery.
<v Speaker 2>By the way, we are almost to the end of
<v Speaker 2>this album and we have not had yet an instrumental song,
<v Speaker 2>which I believe could be wrong, but I believe every
<v Speaker 2>single Metallica album before this album you had at least
<v Speaker 2>one song that was instrumental. This song, My Friend of Misery,
<v Speaker 2>was supposed to be an instrumental song. It was one
<v Speaker 2>that came from a groove that Jason Newstead did. He's
<v Speaker 2>the only one that he gets some writing credit on
<v Speaker 2>on this whole album. But then ultimately they put these
<v Speaker 2>words to it and here we go awesome.
<v Speaker 1>When Bob Rock talks about this song, he said, this
<v Speaker 1>song is all about mood, which is very cinematic in feel.
<v Speaker 1>Metallica knows how to play their strengths, dishing out raw power,
<v Speaker 1>but on this song we went more for atmosphere. It's
<v Speaker 1>ominous and it works.
<v Speaker 4>Man, Okay.
<v Speaker 1>One of the cool things about My Friend of Misery.
<v Speaker 1>Jason Newstead felt particularly proud about this song. He felt
<v Speaker 1>at the moment that this was finally him getting in
<v Speaker 1>with the band. They came to him and said, hey, Jason,
<v Speaker 1>what do you got for us? Man, Let's let's throw
<v Speaker 1>your song in and he really was proud that he
<v Speaker 1>was able to contribute one of his songs to Metallica.
<v Speaker 2>All Right.
<v Speaker 1>The last song on the album is called The Struggle Within.
<v Speaker 4>Okay.
<v Speaker 2>Immediately starting out, I'm thinking about one and I'm thinking, okay,
<v Speaker 2>this is very one ish. It's just ish so far,
<v Speaker 2>and as we keep getting more and more into it,
<v Speaker 2>it's like, I think this was a swing and a miss.
<v Speaker 2>It was like, you're trying to get that vibe of
<v Speaker 2>one from Injustice for All and you missed it. Well,
<v Speaker 2>i'll tell you why. You want to know why? Yeah, sure, Okay.
<v Speaker 1>This song was written and sung on Metallica's Last Day
<v Speaker 1>in the studio.
<v Speaker 2>Oh, they were done. They were done, so.
<v Speaker 1>They needed one more song and they're like, uh, well,
<v Speaker 1>what's some looks like something like one, except I only
<v Speaker 1>have thirty minutes to do. So it was a song
<v Speaker 1>James Haffo couldn't come up with lyrics. So the song
<v Speaker 1>is about struggling within yourself to come up with lyrics.
<v Speaker 2>Familiar. Well, it worked for Bruce Springsteen, it did not
<v Speaker 2>work for Metallicy. Yeah, last day in the studio and.
<v Speaker 1>It sounds like it.
<v Speaker 2>Unfortunately. I love this album. I love it, but there
<v Speaker 2>are certainly some filler and some skipper songs in here.
<v Speaker 4>For me, it.
<v Speaker 1>Starts off so strong, maybe the best side to any
<v Speaker 1>album in the nineties, the first five songs.
<v Speaker 2>Really, really, really really if they.
<v Speaker 1>Had moved nothing else matters and moved holier than now
<v Speaker 1>to the other side. We're a little tough on songs
<v Speaker 1>at the end, so I think it faded in its strength.
<v Speaker 2>Yeah, it faded to black and faded to black. One
<v Speaker 2>of the things I want to throw in real quickly.
<v Speaker 1>We have this new thing we're doing called the Shirley
<v Speaker 1>Spotlight or surely shout Out.
<v Speaker 2>I can't remember what we're calling it.
<v Speaker 1>This week we've got Brandon Hostlton, who's been a fan
<v Speaker 1>of the show. He's a good friend of mine, and
<v Speaker 1>he wanted to weigh in on Highlander versus Flash Gordon.
<v Speaker 2>Here's what Brandon had to say.
<v Speaker 7>Hey, good evening, Shirley Podcast fans. Brandon Hoslton here to
<v Speaker 7>give you my personal final judgment between the movies Flash
<v Speaker 7>Gordon and Highlander. Before I do that, I want to
<v Speaker 7>thank Dee and Jason for allowing me this opportunity. Guys,
<v Speaker 7>you have a fantastic show. I look forward to it
<v Speaker 7>each week. Keep up the good work. Okay, So my
<v Speaker 7>personal final judgment, and I'll just tell everybody right up front.
<v Speaker 7>Highlander is my personal favorite movie of all time. I've
<v Speaker 7>seen it many many times. This movie allows the viewer
<v Speaker 7>to thank and ponder what life for him was like
<v Speaker 7>in the periods of time that we don't see. You
<v Speaker 7>wonder what's the backstoryline? Who did he run across in
<v Speaker 7>all of his travels, and all while doing so, he
<v Speaker 7>had to keep a low profile. He had to learn
<v Speaker 7>to be a superior swordsman. He had to prepare himself
<v Speaker 7>to battle a fellow immortal in what will be the
<v Speaker 7>ultimate battle of good and evil. He has to do
<v Speaker 7>that in total secrecy. He has to do that knowing
<v Speaker 7>that anybody he cares for likely will die before he will.
<v Speaker 7>And there's just a lot of open questions that this
<v Speaker 7>movie allows the viewer to answer in their own way
<v Speaker 7>and in their own mind. Flash Gordon, on the other hand,
<v Speaker 7>it's it's basically Captain America, Tony Stark, all the Avengers
<v Speaker 7>characters rolled into one where they come and kick butt
<v Speaker 7>of fantoms, right, I mean, that's basically what you have here.
<v Speaker 7>You have Planet Earth, under attack by a mean, dark
<v Speaker 7>hearted villain, you have Flash Gordon. He quickly determines, hey,
<v Speaker 7>there's a problem here. We've got all these other groups
<v Speaker 7>of people that just simply can't figure out how to
<v Speaker 7>get along with one another, and so he bans them
<v Speaker 7>together as any good team captain, any quarterback would do,
<v Speaker 7>and basically says, hey, look across that field, we're going
<v Speaker 7>to go kick their butt and then when we're done,
<v Speaker 7>we're all going to go have a beer. And by
<v Speaker 7>the way, the chick over there in the corner, I'm
<v Speaker 7>going to take her home later tonight. That's basically what
<v Speaker 7>Flash Gordon is. So there you have it. Both movies.
<v Speaker 7>I highly recommend Flash Gordon is just pure entertainment. Okay,
<v Speaker 7>sit back, enjoy it. Highlander, on the other hand, it's
<v Speaker 7>a little slower pace, it's a little deeper thought. It's
<v Speaker 7>equally fun in terms of the action sequences. But the
<v Speaker 7>thing that sets it apart is it allows the viewer
<v Speaker 7>to think about and imagine what could be the additional
<v Speaker 7>storylines within the movie. All right, So that's it. That's
<v Speaker 7>my final judgment. I hope everybody enjoys it. D Jason,
<v Speaker 7>thank you again for this opportunity.
<v Speaker 2>Okay, I wish that he was my friend. I need
<v Speaker 2>to meet this guy because obviously he knows what he's
<v Speaker 2>Brandon Rayman loves Highlander.
<v Speaker 1>It's like his favorite movie all time. Brandon, Thanks, buddy,
<v Speaker 1>appreciate you. If you want to be a part of
<v Speaker 1>the Shirley Spotlight, just email us an audio clip less
<v Speaker 1>than three minutes of what you've thought on any of
<v Speaker 1>our previous episodes. Weigh in with your own final judgment,
<v Speaker 1>tell us how great we are, whatever, and send us
<v Speaker 1>candy and maybe we'll put you on. All right, So
<v Speaker 1>this is one of the big albums for the fall
<v Speaker 1>of ninety one.
<v Speaker 2>Oh yeah, you were hearing all songs from this for
<v Speaker 2>the next two years at least.
<v Speaker 4>Yeah.
<v Speaker 1>We talked about how they had nineteen thousand people at
<v Speaker 1>the listening party for this album the listening party, it
<v Speaker 1>was hugely anticipated. However, we're going to cover two more
<v Speaker 1>albums that were even more anticipated than this album.
<v Speaker 2>Yeah. We've spoken before about how Metallica made its name
<v Speaker 2>from being a rebellion against a certain style of music
<v Speaker 2>and then a lot of people felt like this is
<v Speaker 2>where they transitioned, and this is where they became mainstream
<v Speaker 2>and we're going to have the same kind of situation
<v Speaker 2>in our next show when we see and Roses move
<v Speaker 2>from dirty Hollywood strip crime written band to pianos orchestras.
<v Speaker 2>It'll be interesting. It's still gonna be some good music.
<v Speaker 1>Oh there's some gems come back. Next week, we're going
<v Speaker 1>to dive into usually illusion one.
<v Speaker 2>Don't forget to hit that subscriber button before you go
<v Speaker 2>so that you're sure not to miss it.