Metallica Songs Ranked as well as Tiered

Introduction

My Inaugural post is probably going to be one of my most ambitious; I wanted to start it out with a large part of me. Metallica is one of those bands that got me into music (and rock music and Metal even) and they’ve held a position as one of my top 3 favorite bands all my life when other bands would shift in and out of that top 3. While I’ve grown in what I listen for or hear in music over the years, it didn’t leave Metallica behind but only strengthened my appreciation for the tracks they’ve put out over the years; how they seem to be operating on another level to a lot of their contemporaries, and also how they seem to be mastering a lot of different sounds (or genres even) at a high level. I cannot think of another band to kick off my top song ranking series than Metallica (though other candidates you’ll surely see future articles on).

What makes this post ambitious is the sheer number of songs and amount of content I decided to write about. They have an exceptionally large catalog and bat a good average of the number of songs on each album warrants a detailed analysis. Except Lulu, I’ll leave it up to your imagination on whether I am counting that as a Lou Reed album or if just not one single track makes the top 91 (yes, I wrote about 91 Metallica songs). I decided for this one to give the Tier structure a shot; I suppose just to add more of a subjectivity label that will piss people off and harpoon me in the comments. This in addition to the angry comments I should expect to see with me making up guitar terms instead of using the technical terms, but I actually hope through that I’ll learn the technical terms! I will still try and go in a 1-91 order, but the tiers will give it a bit more grouping since it is not like I strongly think #47 is marginally better than #48. I am not going to do C or D Tier (those I just didn’t include) so just B, A, and S Tier. What does S Tier even stand for; is it Sexy Tier? If Fade to Black is Sexy Tier, I think that would be a serious crime; must be something else.

One last note, you’ll probably notice the style of this to almost be like a synopsis to the sections of each song; which obviously you don’t need that since you can hear the song too; but I did that on purpose to kind of see if you all are connecting to certain parts of songs the same way I am. I don’t know if I’ll keep that style in other posts but since Metallica is a band I’ve connected to for so many of my years, I decided to write this one in that style.

for Part 2 of this post (B-Tier, HMs and Stats) please visit this link.

Also Here is a Spotify Playlist of Each song (in Ranked Order) if you prefer over the Youtube Embeds in this page.

S-TIER

1. Welcome Home (Sanitarium)

Seems like Metallica has a formula of acoustic intro = game changing songs that puts them way above their contemporaries. While perhaps not as popular as some of the other mega popular songs they have (though it is still popular); this may be one of their best songs in my opinion (close with Fade to Black). The slides in the acoustic riffs of the verse (which is also in the intro before the first solo) is just so smooth (and the first solo ends with it too to harmonize with it)  And like with Fade to Black and One, the solos between intro and verse, chorus and next verse; it just gives so much substance and a preview to how epic this song becomes after the verses. One thing this song has above much of their catalog is just how much the lyrics add to the aura this song is putting out. It really feels like we are in the mind of a person struggling with mental lunacy (the favorite line part at the bottom of this song analysis could be half the lines in this song), with strong inspiration from a pretty thought-provoking film. Then we get to the galloping to the final verse you just know you’re getting ready to enter something intense. Honestly, it was so intense that instead of writing through this second half of the song the first time as I am doing with these other songs, I had to stop to listen through 1 time just rocking out. Now that I got through that first run of the “ending” let’s break it down. The backing rhythm pairs perfectly with the emotional cry outs of the final verse and builds up to the blistering solo (which is kind of short comparatively to their other songs). This backing rhythm of course featured heavily in the rest of the song and again just pairs perfectly (3 minutes pairing perfectly with different overtures, which is execution; the isolation after the solo where it’s just silent except that rhythm, gives you a chance to recover). A little twist from their other songs, I would argue this breakdown comes after the main solo. The breakdown enters a harmony and I just want to point out the great drum fills here. I am not going to be pointing out a ton of drum stuff in these reviews probably but sometimes they really stand out, so I need to give him credit. I’ll point out the final thing that I think they don’t do so much on other songs, which is end with a quick rapid picking of that last chord; a lot of other rock groups do it throughout a large portion of their songs, Metallica not so much. Anyways this song is S tier, it just gets me fully jazzed every time.

Favorite Line: Natives getting restless now, Mutiny in the air.

2. Fade to Black

The album has three in a row (this being the third) of just top tier songs and this one is the masterpiece. If Seek and Destroy gave the glimpse that Metallica wasn’t just a thrash band going for speed, Fade to Black just destroys any notion that may have still remained. May recognize the intro tone similar to Unforgiven. Clean tone guitar featured throughout the song while not sacrificing it’s metal tone is just done masterfully; very tricky thing to do (helped by the fact that they overlay powerful mini solos on top of them at times); and is a perfect example of Metallica’s adept touch in incorporating clean tone into their songs (which of course transitions into heavy distortion for the non-verbal choruses between verses, again masterfully). It is their first Ballad after all and perhaps the first time it is a direct line into James’ heart with his music that we do see again in future songs. All this greatness is before the epic bridge into the epic solo; this song has it all. In the bridge it is the initial climax of the song, the lyrical one where the subject matter really hits. Then right into the other climax of the song, the epic solo which builds up to the pull off bend combinations in succession and of course fitting, it fades away to end the song. Absolutely S Tier. Bonus: one of the most fun Metallica songs to play on the guitar.

Favorite Line: Death greets me warm, now I will just say goodbye

3. Nothing Else Matters

Metallica’s (essentially) fully acoustic song; and the pioneers of thrash metal somehow pulled off an amazing ballad. Song has been covered by many different artists in many genres, it just has that quality to transcend their genre. If this is selling out, then why are we upset? It’s also an extremely simple structure (perhaps making it so fun to play and easy to cover). Still, the melody is absolutely beautiful and unique, and James does put the gentleness in his voice required for this song that he hasn’t really done before or even much after. Even as a ballad it does have a crescendo to the solo to remind you this is a hard rock band. I believe this is a James solo, the connection to the song I imagine Is very close to him; as it is his love song. Say what you want about the departure from their normal sound, but I would credit this song as being one of the handful that sets Metallica apart from their contemporaries as being truly generational musicians. To show this range kind of out of nowhere; their approach to music is truly on a more complex level.

Favorite Line: Trust I seek, and I find in you, everyday for us something new

4. Ride The Lightning

Oh man this track is amazing. The imagery of the electric chair is so vivid just in the title alone. Right off the bat the catchy intro, the descending slashing the slamming. Verse has great melody, Chorus you can just feel it. But that all just leads to the bridge verses, the bridge to the solo (the Spider chords that Dave Mustaine never misses a chance to credit himself with contributing); the imagery is just there throughout. But then wow that SOLO! They really take their time with it, starting a bit slow and building up. Builds up, slows down a moment and freezes, then BAM smacks you with the climax of the solo and the climax just keeps going, defying biology hah. This is one of my top 5 solos of any song of any artist. From the first bridge verse through the solo to the end of the bridge back to the ending bridge verse, it is 2 full minutes, the whole thing screams Epic. The song itself is actually very symmetrical. The outro slashing and slamming of course to end it. S tier song.

Favorite Line: I’m through with this, just get it over with, if this is true, just let it be.

5. Astronomy

Blue Oyster Cult Cover. This is one of my favorite songs of all time and probably going to be the biggest surprise for readers on this list. It really turned me onto BOC which became one of my favorite bands (I knew their big singles, but it showed me that there was much more to BOC than just another band with some singles). Comes in soft with the drum hat clicks and low volume lick, setting the tone for a really nice acoustic melody; I think this song signifies as much as any that I have a soft spot for Metallica Acoustic writing. Lyrics are very poetic (though that credit goes to BOC); a little weird and sci-fi too (same credit). Metallica contributes the heaviness really coming in with the HEY transitions into other verses (Song doesn’t really have a chorus; like a poem). James’s softness in his voice really keeps the melodic verses where they need to be before they escalate into the heavier verses (Separated by a transitional riff). From first solo onto the end is really where this song bursts into top tier for me. It just peaks so well and kind of out of nowhere (to then keep that peak going for a couple minutes). Throws in a last verse in the middle of the buildup of the song like their other top tier songs do. Finally, this song revealed to me just how much I love a heavy background solo with lines overlayed on top of it (Spoiler alert that’s why BOC is one of my favorite bands, they do this a ton). Fun Fact: Early on I sang this song to my son (not the track just the lyrics) and it seemed to calm him; he may be a rocker hah).

Favorite Line: Call me Desdanova, Eternal Light

6. Master of Puppets

Real fun one to play (even if just the intro hah), even if trying to do all downstrokes. This song really takes you on a journey much like the title song from the previous album does; is really successful with that. The pre-chorus is pretty epic and really elevates this song. Feels like this song is really full of “time” changes even within the same verse, really keeps you on your toes in a way. This is all before the breakdown to the solo(s). The acoustic melody entering this section as well as backing the first rhythmic solo (which turns to distortion exiting) is an extremely subtle beautiful touch in such a heavy song; almost feels like hope. Not too long after followed by the anguish of the derision he feels and back to that thrashy solo; it’s just all masterfully executed all within the song (again this feels like a journey, even with what feels like roller coaster riffs following back to the intro to the closing verses). Then who can deny the perfect ending touch of maniacal laughter that perfectly embodies a puppet master. There are just so many things top to bottom beautifully executed in this 8.5-minute song (Including a great bassline)! Just a Masterpiece, which is even more demonstrated that for such a heavy song you’ll still see it in mainstream pop culture (recently even with Stranger Things).

Favorite Line: Chop your breakfast on the mirror.

7. One

The epic of the album, one of their best epics to be sure (and duly recognized by winning the first grammy for Best Metal Performance). Once again Metallica masterfully integrates acoustic into their heavy metal riffs like few bands pull off regularly. Intro solo also mixing into their formula; but honestly it never got old. This song gets a bit of bonus points for being fun to play. I still don’t know how they truly pull off the two guitars playing different notes for that one riff but mixing together. The lyrics are extremely heavy; soldier vegetable, gives you chills if someone truly so incapacitated still has complete awareness of whats going on with him; so bad he hopes it’s a dream almost (the accompanying Music video which is an extremely famous one in all of music also hammers this imagery home). All this going on over a lot of acoustic ballads it’s just an incredible build up to the blitz at the second half of the song. Bridge to this second half again with the two guitars playing the different notes over the same riff mixed so well together. After seeing the video it’s hard not to bob your head way up and down during this half. So many muted open e string notes in this part but it works. Breakneck speed of this solo is just what this song deserves to climax this epic. Finally, the rolling wave licks paired together is a fantastic way to go into the outro again still bobbing your head (depending on what mood I am in this song may give me a neck crick hah). This song pulls off the epic with style. I think the success of this song, paired with the flack they got for St. Anger album, Metallica felt they had to essentially borrow this formula for the Day that never comes; they seem like brothers.

Favorite Line: I cannot live, I cannot die, Trapped in myself, body my holding cell.

8. For Whom the Bell Tolls

Another Great song. Long intro with great build up and honestly refreshing repetition.  Cliff Burton’s Iconic Bass riff in the intro (most don’t realize it is a bass because it is just a very uncommon thing in a rock song for a bass riff to be featured alone and not supporting the guitar rhythm). Same 2 second lick played over and over again for 35 seconds, how monotonous… NO somehow it completely pulls you into the body of the song. I think you can credit this riff with Cliff’s trajectory in the industry of a bassist to really follow (though tragically never was able to realize it). I think one of the things that makes the song so special is just how memorable the verse and lyrics are; it is generally not my top criteria in a metal song, but James does some of his best work in this song. It is a lot slower, and the chords/riffs are much more basic than a lot of their stuff up to that point but really the power behind what they are doing just overshadows it (and at the same time kind of feels like a Black Sabbath song than the Thrash Metallica has established.) My only tiny detractor (subjective opinion) is the minute long outro, purposely just sounds like chaotic noise (though that may be in step with the chaotic sound just the quarter step tune change contributes), but I could use it for maybe 30 seconds less. But it is still a very great top tier song.

Favorite Line: Stranger now are his eyes to this mystery, Hears the silence so loud!

9. Hero of the Day

This is another beautiful song; Really has an inspirational feel to it even if it is more of a satire on it. The drums don’t try and do much until it’s time to pick up the tone. I think the lyrics do a good job telling a little story. The two guitars complement each other pretty well often playing different licks at the same time. Each chorus does a great job climaxing and going into the heavy breakdown; after the second chorus the song never really lets back down, going from breakdown to solo to an even heavier chorus to an extended breakdown to an outro that once again just builds up exceptionally to the lyrical climax; a little bit of a turn from the tone of the beginning of the song. May have been right in the midst of their switch to hard rock but it’s a very quality song; this is probably one of the first songs I’d play to a non-metal head if I wanted them to like Metallica hah.

Favorite Line: Mama, they try and break me

10. Fuel

Metallica starts their Reload album with a bang, establishing the hard rock shift once again with a rather good song. This was actually one of the first few Metallica tracks I had ever heard. This one just emits a lot of raw energy with its quick repeating rolling riffs throughout much of the song. This one is pretty noisy too, there are a lot of guitar licks going on throughout the background and lyrics of the song. They include a breakdown which is a bit of a slowdown, but their best songs usually have some sort of breakdown to the solo at some point. This one actually has one after the solo as well. I like the background melody to that second breakdown which kind of mimics the chorus lyric melody. The solo I am glad didn’t use wah wah on I don’t feel like that would’ve fit; the cleaner tone I think fits the song better. The lyrics are a bit cheesy (could probably be the theme song to a racing organization) but ultimately don’t take away from the song. Very solid track.

Favorite Line: Swallow future, spit out home, burn your face upon the chrome

11. Wherever I May Roam

I really like this song. I don’t know if I can call it underrated because it is well known and received but this song is just catchy to me. From the first Twang note (Is that even a Guitar?), I am in. almost like teleporting to a more ancient time (thinking something like 1001 Arabian Nights for some reason). I feel like catchy in this context is a great compliment because if you breakdown the song by individual parts, there is nothing exceptional, but it comes together as a really pumping up song. The quick to slow pace shifts in the chorus and verses just again keep us engaged. The lyrics themselves are a bit cheesy but they just pull it off great (I feel like another band’s attempt at these lyrics would be a bit comical). Well timed breakdown in between choruses is a nice touch. Good solo but nothing transcendent, again this song doesn’t try to be a Magnum Opus, it just rocks you. Then another chorus, they sneak 3 choruses in a row between fills. Enters the outro with the statement line “Body Lies but still I Roam” which gets essentially repeated for the rest of the outro. By the way they sneak a bit of face melting solo into this outro that I am not sure you realize you are listening to if you aren’t paying attention to it. Great song to amp you up.

Favorite Line: Rover, Wanderer, Nomad, Vagabond, Call me what you will

12. Halo On Fire

The last song on Disc 1 where after the album nose-dives a bit but this one does not start that trend early. Title conjures a pretty sharp image. Every time I hear this song it grows on me. The opening verses have a sincere tone to them before exploding a bit into the next verse; stark contrast (both in vocals and rhythm section). It carries a new life once it transitions to the middle rhythm; which is a bit catchier; really the song takes on a whole new tone after this transition; This song is the Epic of the album. I wonder how this song would feel without the first 3 minutes actually; not suggesting it because the beginning isn’t bad, just thinking about it. It’s after this point I feel like the song gets a lot of personality. Sure, it takes a softer tone and tempo, but I think it fits more of the rest of the song than the beginning; and it feels almost like a reverse of their other epic songs, starting harder and ending somewhat softer. Doesn’t really feel like the breakdown to the solo but just a lengthy verse shift; what follows it feels like the actual breakdown to the solo with the licks right before, which kind of is actually better than the solo itself. Then when they start to throw in some clean tone notes in the middle (which acoustic seems to be part of every epic Metallica does); the song really takes off. The licks going into the last vocals are just so legendary (as are the vocals themselves); the lick sounds like it could accompany such a heroic or redeeming moment in an awesome adventure movie; and Outro solo is probably better than the main solo (or maybe it is the main solo, it does have some length to it). Clearly the strongest song on the album and I’d say actually almost single handedly escalates this album to the next level (Like ‘Too Far Gone’ on 72 Seasons), it’s that good. Metallica still has it after all these years!

Favorite Line: Hello Darkness, Say goodbye

13. No Leaf Clover – Live with the SFSO

I’ve always liked this song. It’s almost got ancient Arabic vibes (like 1001 Arabian nights) to it in some ways. String section behind most the song really fits very well with the verse and Chorus. I am so glad they wrote original music with the album with the symphony; unlike the other live covers of their own songs, the guitar compliments the other instruments rather than plays over it; and in that way this song is very innovative. The lyrics are great, like getting too high to be struck right back down; I think a lot of us can relate to it. Has a face melting Wah Wah solo with strings laid out over top (how often do you hear a metal solo with that rhythm section behind it?). The breakdown out of the solo with the (I think) horns and the muted guitar go seamlessly. And then after that the way James changes the inflection in his voice almost gives it a second song, and it sounds just as good as the first part if not better. I think this may be one of their most underrated songs and probably just because it is buried on a Live album. Surely influenced by the collaboration with an orchestra, I give this one high marks.

Favorite Line: Don’t it feel right like this?

14. Too Far Gone?

I want to call this the Epic of the album though I am not sure it is long enough so maybe that honor goes to 72 Seasons but this song I think is the best one on the album. The whole second half of the song is just so Epic as is the chorus, so it is just an incredibly good song. The Chorus (and song title) makes it seem like this is a song about losing hope but if you listen it’s actually about keeping hope; took me a couple listens to get that. You kind of hang on every turn in the riff; even in the first part. The rolling of the drums during the chorus again good touch. I’d argue Lars has gotten much better at the drumming contributing to the songs in the last 2 albums. When it breaks down and transitions to the second half of the song it just takes off for me. The riff goes down, then it goes up again, then it goes up again, Yah! That riff alone made me replay this song repeatedly after I discovered it. Then the lyrics/verse during this section is such a stark contrast to the rest of the song and just has such emotion (as are conveyed in the lyrics with desperation, isolation, agitation). I think this would’ve been a great album ender but who really cares where they put it, it’s so good.

Favorite Line: I’m never too far gone to save, I can make it through the day

A-Tier

15. The Unforgiven II

This one maybe gets a nostalgia boost for me because it may have been the first one of couple songs I’ve ever heard from Metallica; But I also really like it. The gentle tone crescendo in the beginning to match Unforgiven I, I am often glad it’s II that plays when I have a playlist on shuffle (though not by much as Unforgiven I is a great track too). And I think Unforgiven I Is a stronger song, but I guess I appreciate that slightly harder rock of II. Song has a bit of a gothy feel to it, not the bad stigma goth genre but just a bit of that theme. The clean background riff featured throughout the verses with the bendy twangy sounds stand out to me; even though the softer melody of the lyrics is meant to dominate the verses you still get those licks; It’s got that bluesy mix to it. A big contrast to Unforgiven I is this is about another person rather than themselves. The Now I see It! yell with all the rhythm cut out serves as a good lyrical climax into the outro even if it doesn’t go all out. The outro keeps the energy high to end the song and even throws in some Unforgiven I lyric references. I think this song is stronger than the sum of its parts.

Favorite Line: I take this key and I bury it in you

16. The Day That Never Comes

The clear epic of the album, and also a clear rip off of their own songs in One and Fade to Black (FtB); still, I won’t falter them for it. I call it a rip off because they just returned to their formula to create that epic; but this is a much-needed song for their later discography, they needed that true metal ballad not composed since One. The first half of the song sounds more like FtB with the acoustic riff and arrangement for the verse going into the distortion chorus (though FtB didn’t have a chorus but the riff under the non-chorus was a similar riff). Both those riffs sound fairly good too which is impressive this many years later (but still not as good or original as FtB). The middle has some originality (my word for not sounding like FtB or One) with the “This I swear!” part, but after that goes right into a One spitting image; down to the open E riffs and the harmonization couplets or whatever you want to call them (though One put those after the main solo rather than before in this track). Still like One, they are really rocking out (though I am not as much). The solo is quite good, which any of their epics absolutely need. I really commend them for revisiting a formula and executing it very well; and this album needed an epic, so they get high marks even if the lyrics are clearly lesser than FtB and One.

Favorite Line: Push you cross that line, Just stay down this time

17. The Unforgiven

Familiar intro tone growing in volume, always wondering if it is Unforgiven I or II about to play when it comes on (and just different enough to differentiate from Fade to Black). Not just an acoustic opening, I’d argue this is one of their Acoustic songs (even if it has a lot of Distorted guitars in there), The Acoustic Solo I think cements that. Because of this and the slower pace and simple riffs, I think this is another chief example song of people calling Metallica sell outs, but it’s just a quality heartfelt emotional song; I do not fault them for this departure when it creates this art. The chorus is pretty poetic (and again laid over acoustic). The pull off riff transitioning to the chorus is just a great underline to the verse above it. Returning to the acoustic solo, it’s really a very good acoustic mini solo setting up the harder louder main solo; they complement each other quite well. Finally gives way into the ending chorus and the repetitive (in a mostly effective way) outro which escalates up with each line, comes down, and escalates again in that pattern that keeps us going and engaged in the repetition. Metallica really throws in these beautiful techniques that go unnoticed most of the time to keep us engaged and discovering new sides to their music.

Favorite Line: You labeled me, I’ll Label you

18. The Unnamed Feeling

Probably the best song on the album in my opinion. The introduction’s clean tone is actually pretty melodic, and the bass is noticeable, and both contribute pretty well to the track. The vocal tone sounds at the beginning is apparently “been here before,” hah I just saw that; I thought it was just noise. Most of the time I feel like Angst just comes off whiny, with this album and other bands, but this song they actually pull it off; maybe because it calls back the monster inside theme that has been successful for them in the past. If you examine the lines individually, they actually have several candidates for damn good lines; it really helps me rise above the lesser quality of the sound on the album/song. To name a few: “Can’t you help me be uncrazy,” “I cannot sleep in this down-filled world,” “lose myself in a crowded room”, and others; Again most of the time angst gets annoying but when he starts the “get the FUCK” lines I really feel that emotion and even anxiety. Maybe risky but I think it paid off. Yes, it has a breakdown instead of a solo which would’ve been perfect there, but the song still manages to get me pretty amped most times I hear it. I am probably giving it too much of a boost for the lyrics, but I think it stands out (compared to not just other songs on this album).

Favorite Line: Swallow evil, ride the sky

19. Holier Than Thou

The rolling drums of this intro really set the rhythm; it is a fun rhythm that they maintain I’d say the entire song. I feel like these lyrics capture the experience we all have with that one person who acts so self-righteous; it’s got a lot of good lines, almost anecdotes (most borrowed). The riffs are repetitive but still catchy. Pretty strong solo that pretty much carries to the end of the song, less an ending outro section. This song I always wonder why I like it as much as I do, doesn’t feel special but like the start of the writeup alludes to, it’s just a fun song; and it’s got that single feel though it wasn’t one.

Favorite Lines: Burn your bridges, and Built them back with Will

20. King Nothing

Intro sounds like an insect buzzing in your brain, interesting choice. This song has a lot of attitude to it. Alluding to a children’s rhyme too, which I suppose I appreciate more now that I have a young child. The chorus is pretty catchy, the beat of the words against the rhythm kind of punches you in the face with it; as hard as it can with that slower pace compared to their thrash stuff. That buzzing sound from the beginning they basically bring back to start the solo which is a nice touch; though the solo isn’t necessarily anything special but does end pretty well; and transition to a nice breakdown (Back to the nursery rhyme); which goes very nicely into the ending chorus. I think this song while not toward the top of my list is an underrated song. Even the outro calls back the Enter Sandman drum return punch in the end (as is the off to never-never land line).

Favorite Line: Careful What you wish you just might get it

21. Enter Sandman

Most popular song of the most popular album was the opener; didn’t realize that at first, I’d say really sets the tone to the audience that this album sound will be a bit of a departure from their earlier stuff. I guess if they didn’t open with this album with a song just screaming mainstream radio single, maybe they wouldn’t have been called sell outs. Opens with another acoustic riff which gives way to distortion as is a recurring theme for Metallica. It’s this riff and subsequent opening that got so catchy with all who listen to it that it even is so featured at sports arenas everywhere (and I’ve read the band didn’t expect the song to get so much mainstream attention). Bit of a slower pace than their other mega hits and top tier songs, it’s also not as coarse (or even earlier shrill) of a voice tone with James which again starts to keep trending that way in the next few albums. I don’t feel like I am alone in the feeling that I really liked this song when I first heard it a few times but each 20 times I listen to it just gets a bit cheesy and fades on me a bit; for instance I could do without the prayer with the kid now; just seems like a gimmick. Subjectivity aside though, for what it was, a single seemingly designed for mass radio play, it is very well done. It cannot be understated that Metallica was able to seamlessly transition from thrash to leaders of mainstream hard rock and this was their posterchild song for that transition. If you think about it, how many bands can execute that shift so well, it speaks to their talent as musicians (and Kirk with the contribution of the iconic riff is a great indication of that; it’s not all James coming up with these riffs).

Favorite Line: Dreams of War, dreams of Liars, Dreams of Dragons fire

22. I Disappear

Song from the Mission Impossible II soundtrack. One last breath of 90s Metallica before it went into the St. Anger (Dark) days. Just a Hard Rock anthem (well fit for a movie soundtrack). Starts with the screw into the brain lick before getting into the verses. “Here I go into new days” is a pleasantly poetic way to bring on the next adventure. I love the slowdown and subtle drum rolling of the chorus especially when they x2 it before the solo followed by the slightly more intense (lyrical and rhythmic backing as well) x2 chorus after the solo. Not much of a solo, almost sounds like a Red Hot Chili Pepper solo with the simple lick almost but still good. This is one of the first songs I heard from Metallica believe it or not, so I do have soft spot for it. Don’t think they did too many soundtracks (other than the Southpark movie one??)

Favorite Line: Do you bury me when I’m gone, Do you teach me while I’m here

23. Broken, Beat & Scarred

Something about the riffs in this one just clicks with me; I think it is the almost rolling sound of them. Feels catchy to me. They do it on multiple occasions, the verse riffs with lower intensity, and the chorus riffs with higher intensity; well paired with the drums, I really like the energy it gives the song and is a big reason I boost this song in my rankings. Solo has two times where it has a reverse bend (I can’t find the real name for this where the pitch goes down in note in the middle of the strike); the song is really intense; honestly almost everything about this song is just intense (including title and lyrics). Lyrics have this perseverance feel to it as well. Kind of a has a Nu-metal feel to it in a way.

Favorite Line: They Scratch me, they Scrape me, they cut and rape me!

24. Orion

I actually got into this song kind of later as I was prepping for a Metallica Concert to go to. Not sure why I didn’t give it the chance it deserved immediately. Unlike Leper Messiah I think my LimeWire Torrent file failed to transfer from iPod to iPod all those years ago. Anyways, you can tell a lot of this was written by someone else than the normal writers, and that would be Cliff Burton. A very admirable contribution from a bassist (and such an impact that it was played at his funeral)! It’s got a pretty catch riff featured in the intro and first half of the song. Lots of good scratchy chords I find both of them getting stuck in my head a lot in my re-discovery of this song. Those parts and then the major slow down to the bassline that just feels like you are swimming for a few minutes in the middle of the song; very ethereal kind of like a constellation. Even the wailing guitar feels like swimming; it’s a great effect standing out in this song compared to others (and hard to even discern what is bass licks or guitar licks). The song is so smooth; and kind of sneaks up into the heavy solo which breaks through the submerged feeling we just had. And again, like Leper Messiah goes back to that early verse for a few lines to end the song following the solo after you were just on that journey away from it for so long. This song is particularly good for an instrumental which is saying a lot, but still, that prevents it from getting to the upper tiers that I think some people place it.

Favorite Line: Swimming and wail??

25. Here Comes Revenge

Has some siren sounding attributes to the beginning but once you get to that main riff, that is something I can really appreciate. It’s catchy, it’s got the scraping palm mutes and rising unmuted notes, it’s one of their best riffs in a while. The rhythm behind the verses (with a bring back of the tapping bass drums I loved before on “Now that we’re dead”) is very subtle with sounds like the hulking breathing of a vigilante. Chorus is a variation of the main riff with less of those rising unmuted notes (until after where they return) and even without that part of the riff it still works as a very solid riff (and a bit heavier I’d say). I think they missed a little opportunity to make this song top tier with a little bit of a less inspired breakdown to the solo as well as a solo that doesn’t really sound much different to what we’ve heard before. The very end of the song gets a little life but not enough to save it the second half. This song has a great first half but doesn’t reach its full potential in my opinion so I knock it down a few notches but still a very good song in their discography.

Favorite Line: Man has made me oh so strong.

26. Creeping Death

This narrative may get people to exit the page, but I actually think this song is overrated a bit; However, it is a good song and I’ll give it props for absolutely sounding so metal. The main riff of the song is incredibly complicated and difficult to play throughout substantial portions of the song so I will give them props for that. Goes right from chorus to the big solo, which is a nice departure actually, no bridge build up just go right to it (reminds me a bit of Kill Em’ All); and then departs into probably the best part of the song in my opinion the bridge back to the verse. Really sounds like evil marching to me, those pairs of triplets (with palm mutes between) are a unique and great touch that do elevate this song above just middling. Fairly good track even though I called it overrated haha.

Favorite Line: I rule the midnight air, The destroyer.

27. If Darkness Had a Son

I really like the arrangement here; and the way the Drums mix with the rhythm guitars (counting Bass as one); one of those instances that the drumming is adding a lot. The starting and stopping of the rhythm really kind of builds the tension. You get some chanting of temptation under this rhythm but then (Rather beautifully) takes a sharp turn into the verse. Kind of goes back and forth between verse and main riff and Chorus sound changes and I really am impressed they made those sharp tone changes work this well. One of the few instances that I felt that the breakdown into the Solo and the solo itself actually take away from the overall quality of the song; and they aren’t bad but I think it just kind of broke up the riffing the main arrangement had (which begins Immediately again after the solo). The ending main riff with the screeching sound and other high pitch licks kind of like those old horror movies is just a great addition. This song is extraordinary.

Favorite Line: So paint your eyes as black as sorrow

28. Cyanide

If I try really hard it almost sounds like they are transcending a bit into another genre, maybe stoner metal; I think it’s some of the quick transforming riffs and verses. Fits on the album but also stands out in that way. Gets soft in the middle with some acoustic riffs in a song I really wouldn’t expect it in, the track goes a bit all over the place. The solo in this song though is extremely solid. Feels like the whole band is in it rather than just playing underneath rhythm. Starts off a bit slower and harmonic until it cuts out for a moment and lets loose and runs over you a bit. Has a bit of that master of puppets lick toward the end of it too, bit of a call back. Like a lot of the songs on this album, after the solo it sounds like they are setting up a verse but shoots right into a slightly more intense chorus than the predecessors. Works though.

Favorite Line: Empty they say, Death, won’t you let me stay?

29. Ain’t My B*tch

First song of the album so again setting the tone that this isn’t going to be Thrash metal anymore. Actually, this song almost has a bit of a country or bluesy tone to it (even has slide guitar, wild). Again, right off the bat Metallica shows they can write good songs outside of the Thrash Metal genre; this song is solid and catchy. Can hear some mass appeal even though the title has a curse word in it which may have been a barrier especially in the 90s (and some people got bothered thinking it was referring to women which I guess they aren’t listening that closely). I love the shuffling of the palm mute riffs gapping parts of the verse, subtle but it gets me every time. Solo is a bit soft but not too uncommon on these Load/Reload albums. I do like how they outro the song, that’s almost a larger climax than the solo. Overall catchy and amps you up, but not really much extraordinary going on.

Favorite Line: And now it’s time to kiss your ass goodbye

30. Lux Aeterna

Felt this could’ve been a candidate for album name as well. This one feels like the main single of the album; got great energy and pumps you up (kind of like Fuel); the short song length also single-ly. Lars really going with that tempo with extended periods, pretty impressive for a man in his 60s hah. gets the couple verses/choruses out of the way and goes into a solo, kind of a bit of Kill ‘Em All structure, maybe an homage. I actually really like that they threw in that short little breakdown at the end instead of just ending the song, mixing it up on a semi repetitive song. I think it is an overall refreshing song and glad they pumped this out in their twilight years.

Favorite Line: Magnification, All generations, Approaching thunder awaiting the light

31. Blackened

4^th Album opener you start to see the trend of an intro riff; this time not acoustic but still a slower tempo none the less. The Guitar tone in this intro actually foreshadows the breakdown guitar tones which I think are why I like this song as much as I do. Then it smashes you in the face with the “cruder” production sound and breakneck riff speed that a lot of this album features. Lyrically this song seems a bit environmentalist hah, maybe anti-war? (Though when Metallica sounds Anti-war it doesn’t seem full blown like Fortunate Son or anything like that just more of a commentary in my opinion. Anyways in the breakdown again is where this song can elevate a tier; again, the tone, the couplets going up in octave is a great lead into a really solid solo; I’d listen to this song just for the solo (and maybe I do). Overall, a good introduction to the tone of the album.

Favorite Line: See our mother, put to death, see our mother die!

32. Of Wolf and Man

A song that conveys a bit of raw and primal power; really does have an animalistic feel to the song. Because of that I feel this is an underrated song, really bringing you into a werewolf transformation; they capture the vibe really well. Lets them get away with the relatively simple structure and riff. The melting solo also helps break through that simplicity, its speed and wail again just fit the theme of the song so well. Even the subtlety of the chorus starting with a growing vocal tone kind of brings a pack mentality somehow and the chanty part after the solo like a paranormal seance. Sure, the lyrics and theme itself are a bit cheesy but the song does rock you which is all you can ask for from a song.

Favorite Line: I hunt, therefore I am, Harvest the Lamb, Taking of the Fallen Lamb.

33. All Nightmare Long

Hell of a gallop after the opening riff executing a pretty stark tone shift after that ominous clean tone riff. This song has a lot of unique elements that they didn’t do much up to that time (though they may have continued it a bit with their next couple albums). James is really showing off some vocal range here; shows his progress as a singer. They really play fast tempo on the main riff; not saying it is complex, but it is certainly fast picking; Lars also has his moments of fast drumming too. Solo is heavy on the Wah Wah; kind of keeping in tune with the other songs on the album, it is a bit couplet-y, but it sounds pretty good; and when it seems like it ended, after a little transition they are right back to it. Transitions to a more intense chorus and they bring it back to the opening riff (with some distortion). Pretty good track. This song was on Guitar Hero, I wonder how they chose this one; Not saying it is a bad choice but what was the criteria with so many choices to choose from.

Favorite Line: Luck, runs, out

34. Where the Wild Things Are

For some reason I get this similar vibe from this song to the memory remains on the same album. I think it’s the way James is stretching his voice at times. Though this song has a lot more scratch mutes so while the rhythm is maybe less psychedelic; the lyrics may be more. but there is certainly a bit more darkness to this one. I don’t know enough about the story to see if the title and lyrics are in reference to it or different all together. Definitely not a quick paced song but I think this track is one of their underrated ones in their discography; I think its unique enough to appreciate it on a higher level than some of their other stuff. Solo very heavy on the Wah Wah; could maybe argue too much hah but that’s part of listening to Metallica and Kirk play. After the solo with the marching drums, almost a little flashback to Master of Puppets (album); and again, with the aggressive chanting over the lyrics. (and no, I don’t think all their War theme songs sound like Master of Puppets theme). Ends with a pretty heavy outro solo that don’t hear as much on the Load/Reload albums. This one is a good listen

Favorite Line: All the children touch the sun, Burn your fingers one by one  

35. Now That We’re Dead

Man, the tapping of the bass drums at times throughout the song just catches my ear every time. I think it adds so much to the song, and for someone who certainly isn’t a drum enthusiast I think it is a very great contribution. The song in general is a bit slower paced than we’ve heard in the last 2 songs and previous album; a bit more of the load/reload tempo.  Does a lot of stuff decently but not extraordinary IMO; though the solo is actually a bit unique of a sound, at least in the beginning. And gives a way back into that tapping bass drum with a little guitar jam session going on top. I’ll give this song credit for sounding different on an album that sometimes just comes out flat and unoriginal. Doesn’t get over the “greatness” hump but really solid track.

Favorite Line: Return to Ash

36. 72 Seasons

Title track and first song, gets that out of the way. Title comes to mean first 18 years of life which childhood connection is somewhat of a recurring theme on the album. While not the best song on the album, it’s one of the better ones. Starts with a pretty quick pace but actually brief because slows down tempo a bit not too long after, which kind of enters the general theme of the song. The tempos go up and down from section to section, they really throw a lot of variety at you. Slower verse, slower transition verse to the chorus, and then back up to the breakneck pace in the chorus and the quick breakdown to a mini solo. When I really sit to analyze the song, it actually makes me appreciate the song writing more, it gives you a lot of different aspects; Kind of patchworked into a song in a way. It fits well though I wouldn’t call it seamless. Getting lost too is I don’t think this song even has a main solo, but you don’t really feel it because it gives you a lot of other things. Got Grammy recognition once again, this time I don’t think I’d question their choice on the album too much.

Favorite Line: Staring into black light, permanently midnight

37. The God That Failed

I feel like this song stands out through its baseline and its solo. Both are pretty noticeable and add to the song pretty well. The lyrics are a bit of an editorial on people who have faith but not sure its intentions are quite that deep. Does keep you interest until the aforementioned solo. Its arrangement is exceptionally good, comes out of nowhere in the solo. Builds and just climaxes and keeps going for a while; kind of catches you off guard. I really give this song bonus points just for its face melting solo. Also, the subject matter; sounds like a rhetoric on a religious person but once learning some context in James’ Christian Science upbringing and the passing of his mother relying on faith instead of medicine it opens this song on a completely different level when giving it a listen.

Favorite Line: Trust you gave, a child to save.

38. The Unforgiven III

Don’t hear too much Piano in Metallica, do we? Piano into Acoustic, what is this song going to be hah. I always felt this song was extremely awkward, in almost all aspects, but especially the tone of the vocals. I like the song but always find myself thinking what the hell is this vocal sound? Almost goes in the opposite direction to convention, the verses are intense and then the chorus just goes flat (Literally and figuratively). Distracts from the actual lyrics too when they are actually decent. While all that is not terrible, it is redeemed by the buildup transition to the chorus; that riff is catchy as hell and allows James to escalate right on top of it. And the intensity of the scream into the solo just gets you so high. Solo shreds but doesn’t really offer anything extraordinary but it works. Good art piece hah.

Favorite Line: Why Can’t I forgive me?!?

39. Trapped Under Ice

Hard not to be underrated following 3 classics in a row on the album but this song really holds its own in a vacuum. I don’t love that one of the main riffs is a re-use from one of Kirk’s former band songs but it’s not enough to really shape my opinion of the song (which is worse than this one). Has a really refreshing chorus with great synchronicity and rhyme. Very catchy riff in the bridge to the brief solo which they repeat 4 times (even though my brain is expecting it to be just twice; not sure if that is a good or bad thing haha). Solo is quite short so extending the bridge is even more peculiar. Note: Really reminds me of Hit the Lights for some reason, like they could be a duo.

Favorite Line: (Scream) from my soul, (Fate) mystified, (Hell) forever more

40. Turn the Page

Bob Seger Cover. Probably one of the two most well-known songs off the album, and maybe most for radio play (topped rock charts for longer than any of their songs to that point). Aside from the heaviness of the distortion as well as the solo, it is pretty close to the original. It is notable to me that it seems to be Metallica coming down to Bob-Segers genre to be like the original (rather than covering a song closer to their genre); but don’t get me wrong this version definitely has more power and attitude to it (and an actual guitar in the solo). The backing lead guitar licks are fun to follow throughout the song, and the way the final verse right before the solo comes in where the rhythm completely just cuts out; it gives the solo a great stage to burst into a song climax. The outro chorus is a bit extended to gives this song a powerful ending as well (an enhancement over the original song)

Favorite Line: All the same ol clichés, is it woman, is it man?

41. Hit the Lights

This is the song some say started it all; Not just Metallica’s Discography but help pioneer a burgeoning genre of Thrash metal; and it really does represent Trash pretty well. Love the quick Solos going between the verses. Most riffs on the album were raw and quick but these showed good maturity, pretense into what they’d do on next couple albums. Finally, the solo showcased what Metallica does very well which is the rhythm guitar during the solo comes in clear and couples with the solo over it very well. Also, the classic crescendo solo to end the song. Very solid track. As Trapped under Ice mentioned, really seems like it could be a duo paired with this one.

Favorite Line: No Life Til’ Leather

42. Dyers Eve

Album ender, it goes really hard and aggressive from the first note. And really fast it is. Underrated amount of emotion in the verses and lyrics; feels extremely personal to James and we kind of go on that emotional roller coaster with him. Most of the riffs have a rolling feel to it, well executed but not exactly transcendent; and the crude sound really fits the song. The Solo has always caught my attention though. For a fast one you really take notice of the melodic connections in the middle even if melodic isn’t a key trait of the song, it integrates well. Great song to get any aggression out hah.

Favorite line: you’ve clipped my wings before I learned to fly