Metallica Songs Ranked as well as Tiered

Note:

This is Part 2 of my Ranking Metallica Songs series, and will include the B-Tier as well as a few Honorable Mentions and even a Stats section. Enjoy!

for Part 1 of this post (Intro, S-Tier and A-Tier) 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. https://open.spotify.com/playlist/0zqkSzTeyGC3B3qVU7MEGB?si=f7fa68710d4b4799

B-Tier

43. Prince Charming

Always found the title a little interesting; not sure exactly what it’s trying to convey in connection to the song; maybe an ironic opposite of the characters in the song? I think this is a pretty fun song. The pace of the drums I think sets the tone right away (Kind of keeps it mostly the same through the beginning into the verses and choruses. Lyrics again revisit this monster inside type theme prevalent throughout the discography in places. Uses the word “See” a few times in the span of a couple quick lines kind of reminds me of that one line in For Whom the Bell tolls; just stands out saying “See” a lot in a quick span. I like the outro solo more than the main one, though I am a big sucker for outro solos (even more so ones with lyrics overlaid on top, just extending the climax of the song through the end or even the fade.)

Favorite Line: and I’m the little boy that Pushes, Pushes makes him cry!

44. Dirty Window

Actually, just started listening to this one again after dismissing it at first. I probably couldn’t get past the Def Jam Trashcan sounds at the start (I think this song has that drum sound more than any other song on the album). The more I hear the song though it is starting to grow on me. Speaking of Def Jam, it really does have a Poetry jam feel and cadence to it. The whole song is very raw; except the Judge/Jury verse which is honestly extremely refreshing to hear in the rawness and sticks out like a sore thumb. This house is clean but this sound isn’t, but it isn’t the worst rawness after a while. Overall, I’m glad I got back into it, maybe the album isn’t absolutely terrible, just mostly. Half the time I do feel like I am saying to myself, “what is this” though; it really doesn’t sound like Metallica, maybe a Garage Inc. song.

Favorite Line: I’m judge and I’m jury and I’m executioner too

45. Low Man’s Lyric

What the hell is a Hurdy-Gurdy? I had to look up the instrument to write this. I am not even sure if that is true. Anyways it actually gives this song sticking power in a lot of ways, though I am sure it may drive some people a little nuts. Anyways, the song subject matter is pretty powerful; and deals with a subject matter I think a lot of us just prefer to ignore as an issue in the world. The subtleness of the rhythm matches the “Low” man theme of the song. I like the song, and I like the subtleness of the verses and rhythm but it probably could use to remove the last couple repeats of the verse (kind of like Here I go again on my own by Whitesnake), then wouldn’t be dealing with a 7 and a half minute song; though fortunately for me, long run time usually doesn’t bother me too much (though I’ll talk about that with my Iron Maiden article coming soon). This song goes up or down my charts depending how much I’m in the mood for it (Run time contributes to that), so for that reason I probably lower it a bit on my list as I prefer more objectivity to a song’s greatness. For all I just kind of trashed it though for being a little polarizing, the song usually leaves more satisfied more times than not and again the emotion of the lyrics should not be overlooked as well. I may write another article on just this song just from what it pulls from me.

Favorite Line: So you bring this poor dog in from the rain, though he just wants right back out again

46. The Memory Remains

James kind of stretches his voice out on this one. Till writing this I have never really examined the lyrics, a lot of one sentence anecdotes kind of mashed together one after the other to create a longer verse sentence. Guitar has a bit of a psychedelic feel to it sometimes; then almost an Irish folk song refrain with all the La, da, da’s. the first one of these refrains almost seems a little out of place right in the middle of the choruses; doesn’t seem like natural fit for that interlude. Solo feels a bit psychedelic as well with it heavy on the Wah Wah surely contributing, Heavy but still a bit psychedelic in my opinion. Also, cannot ignore the Fade to Black call back in this song, being one of my favorite songs I always notice the line. Finally, I think when the rhythm cuts out at the end and it’s the single tone with the La, Da, Da refrain over it really makes this song stand out and emphasize in a way; solid choice to end the song. Also features a guest singer (which sometimes is hard to pick up) which guests are almost non-existent with Metallica, which after Lulu I am perfectly fine with them avoiding collaboration haha.

Favorite line: Ash to Ash, Dusk to Dusk, Fade to Black

47. Battery

Pretty good Album start, the title could be a few different completely different themes; and energy source, an act of physical aggression… or a street in San Francisco apparently, oh well I still think it fits the first 2 as well hah. Once again beginning with acoustic like RTL but quickly goes heavy to set the tone of the song and album. This song gets a lot of credit for its main riff (and its difficulty); I think because it embodies and even defines thrash pretty well, but at the same time it’s not as transcendent as I feel its hype is. Has a rather good breakdown to the solo as a lot of the Metallica songs do and followed up with a quality solo (again as usual, nothing transcendent). This has always been a song I’ve wanted to say is great, but I feel as I write this, I have to be honest with myself and give it a middle grade.

Favorite line: Pounding out aggression turns into obsession

48. The Struggle Within

Shuffling drum intro with a patriotic feeling intro riff, intro a shuffling riff; the intro pulls off the theme well. Song has a good pace to it, a bit quicker and even more raw than most of the songs on this album. Kind of reminds me a bit of Through the Never on the same album in terms of sound compared to the rest of the album. Verse build to the Chorus which build up then subsides and the crescendo restarts again; the structure is intriguing in that way; though it also does that to enter to solo kind of separating it from the rest of the song in a way. This song is solidly in the B Tier, good and will listen, but also nothing to write home about.

Favorite Line: Advantages are taken, not handed out

49. Sad But True

Another song that broke through to mainstream, but I feel like you can credit it as one of the proofs that a mainstream rock song can be really heavy. Almost like it introduced the masses to really gritty and heavy distorted (and palm muted) riffs; tunes in D really pushes that gritty sound; I guess the slow pace makes it easier to swallow. It’s got a decent breakdown to the solo (separated by the silent second), then a pretty heavy solo as again another introduction to the masses. The way it transitions into the last verse gives me Master of Puppets vibes, like the arrangement of the song, obviously different pace but I get this similarity. I don’t know why I always subconsciously paired this and Wherever I May roam as fighting for recognition on this “loaded” album, but I think this falls behind WIMR; but it’s definitely not a bad song.

Favorite Line: I’m inside, open your eyes, I’m you!

50. Leper Messiah

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; I think I objected to the heavy distortion in my younger (and ironically more metalhead) years. The song has a cadence to it, melody and lyrics, a down then up then down then up on repetition without blistering pace (not until the breakdowns to the second half of the song where it picks up. I do owe this song an apology but not enough to put it into my upper tiers. I do love how it slows back down to that cadence to end the song; you wouldn’t think it would go that direction, but it does. Maybe that slower pace is the second ode (other than the title) to Bowie’s Ziggy Stardust.

Favorite Line: Bow to Leper Messiah!

51. Stone Cold Crazy

Queen Cover. This one is pretty quick and Heavy. I would’ve totally guessed that Metallica heavied this one up in their cover and the Queen one is lighter but not really; both renditions have that weight. Ultimately it doesn’t have a ton of big differences from the original. The voice obviously, can’t really emulate one of the greatest voices in rock; but still James stamps it his own pretty well. Solos got more Wah to it as well I think but ultimately leaves a lot of the song similar. I will add that I love the Siren tone to open the song, really introduces the song perfectly. This song really feels like a chase; well done (and much credit to Queen). Very quick song (Maybe quickest of their discography) like album mate Die Die Die my Darling.

Favorite Line: Here come the deputy, try f*ckin getting me.

52. Suicide and Redemption

Last Metallica Instrumental (to date). I wonder how bands come up with the names of their instrumentals; I guess it just hits them like some abstract art piece names. The repetitiveness and even length is reminiscent of Call of Ktulu. Even the riffs are similar in my opinion. When it breaks away from the main riffs into the middle I do think it really catches its groove and identity; and honestly make this song a pretty good one (in certain moods it even beats out Orion for my favorite Metallica instrumental); but ultimately I think it’s held back by its own structural elements (no lyrics, repetitive basic riffs at the start and end). The solo (which I will call part of the middle) is also pretty great; both the first half and second half of it. After which the riff kind of runs away (Actually sounds like running away) from the solo which is a great transition. Ends with a mix of the first riffs and a little transition to the outro riff, which is a variation of the other riffs. First Instrumental since Orion which was the last Cliff Burton Instrumental and he usually placed a significant stamp and contribution to their past instrumentals, so it was interesting hearing the contrasts (which is noticeable).

Favorite Line: does Wah Wah from the solo count as words?

53. Until It Sleeps

This song is subtlely beautiful though I’ll admit it’s not that high in my Metallica songs tier. But the sound is pretty unique to their other stuff; and I read it was inspired by Fell on Black days by Soundgarden so maybe that’s where a semi grungy sound comes from. Does have a radio single feel to it but again another well executed song at that and they pulled off a well-received music video as well. Chorus does a great job of building up and the lyrics can be relatable to a lot of people; I think James did a good job with creating the lyric theme; a bit of a recurring one within his latter half of his catalog, the beast within or whatever you want to call it. Solo is more like a melodic arrangement in a way, which is a departure but not necessarily bad. 

Favorite Line: and the Dirt still stains me, so wash me, til I’m clean

54. Wasting My Hate

This song is heavier than it feels actually. Kind of starts with a softer intro but much of the song and even the subject matter is pretty heavy though certainly not back to their earlier albums. But at the same time, it’s got a more bluesy feel to some of its riffs as well (and can even make that case for vocals). Other verse riffs are just 2 chords so maybe not so bluesy. Notably and I am just noticing this now, it doesn’t have a solo. If you try and force a connection it does seem like it could be a pre-amble to St Anger type music; even the last note of the song had that SA twang; but I will say it’s better than almost everything on that album.

Favorite Line: Good day, how you do, and I send a smile to you

55. Die, Die My Darling

Misfits cover. Got a punky feeling to it. The subject matter is a bit aggressive, but the song does get you amped up. Probably one of if not the shortest song Metallica has in their discography; just punches you in the face and then moves on (album does have a ton more covers to get to after all hah). Accomplishes being repetitive in such a short run time, not an easy feat. Solid just get the emotion out quick burst song, probably too short to be considered a great song but worth the listen; though they didn’t choose the original length as it is a cover, and a cover of a traditionally short run-time genre. Is it me or are the lyrics slightly different??

Favorite Line: Dead-end soul for a dead-end girl

56. That Was Just Your Life

First song of Death Magnetic. This song comes out of the gate with the heartbeat; and if I may say so, the pulse of Metallica was barely beating after St Anger (and the reception of their other post-black album releases); and they really come back to life starting with this song; really an amazing comeback or else we probably wouldn’t have 72 Seasons today. So not all their thrash is dead huh? From the first distortion note you get a flashback to that 80s sound, while not exactly the same it feels similar; this time with “later James” voice. About a 2-minute intro to get to that voice. The riffs are sneaky complex, there’s a lot going on in a little amount of time; helps because the range in the vocals aren’t too complex themselves. Ahh the solo, so refreshing after St. Anger; comes out ripping and blazing fast; though not too extraordinary otherwise. The end of the song really gives this track a lift. The harmonizing solo and then a little later the escalation of that last verse (executed well with the drum doubling), really leaves the song on a high energy note.

Favorite Line: I open just in time to say goodbye

57. Escape

This one gets a lot of hate, I think probably because the band themselves don’t seem to like that they wrote it (which apparently was in a very quick amount of time, which may be why they don’t like it). The intro riff really reminds me a bit of a classic rock riff (albeit hard rock) from the 70s; and then the chorus again lyrically and melodically again just sounds classic rock; and maybe that is why. Feels weird to say it was hated for being a departure from what Metallica was when that was the three 90s album, but I suppose this was a different departure. All this to say in my opinion, it really isn’t a bad song I could listen to it perfectly fine without issue; solo is pretty catchy too.

Favorite Line: Feed my Brain with your so-called standards, who says that I aint right

58. Thorn Within

This song is very Riffy (at least the distortion parts), is a basic way; the riffs avoid the words in the verses but then melds with them in the chorus. Mixes in some acoustic in the verses as well, which they again pull off pretty well to build that tone jump to the chorus. But really this song doesn’t build up too high, stays kind of in the dark space; even the solo stays a bit depressed. Then just kind of holds it to close out the song. I think this basicness is rather intentional to keep that dark matter of fact tone (I am the…) for the entire song. Even the outro solo is subtle, I usually don’t even realize it’s playing. Another Solid B tier song, will listen but would not seek it out.

Favorite Line: so point your fingers, point right at me

59. My Friend of Misery

A semi rare element for the band, Baseline intro with a distortion build up on top, this intro does go on for a while but does transport you to the cerebral theme of the song. Upon hearing this one was originally written with the intention of being an instrumental it starts to bring that context that makes sense throughout the song; that said, the lyrics are actually pretty powerful. Does dip its toes into a little bit of a psychedelic feel in the middle and the breakdown to the solo is definitely intriguing and complex. It also gets a bit Jam session-y at the end which is a switch-up. For these reasons I believe this was one of their cult classics, but I think Metallica has so many better ones to offer, even just on this album. It’s a good song but they don’t fully nail it, it’s a lot of good not much great.

Favorite Line: One man’s fun is another’s hell

60. Damage, Inc.

Only 5 and a half minutes?? Or really 4 minutes if you remove the slashing tones at the start. Of course, with this tempo how could anyone not faint if they had to play it longer hah. Really thrashy song, and not just the tempo but the pace of the verses and lyrics and the hammering of the chorus. Solid breakdown section before the blistering solo as is tradition in the first 3 albums haha.  Enough here to be worth a listen every time but solidly in the middle tier. Sadly, this was Cliff Burtons last song if you go by Album track order and his contributions are really missed on future albums (though no disrespect to the subsequent bassists who do hold their own).

Favorite Line: F*ck it all and F*cking no regrets

61. Motorbreath

Pretty short song, but really quick paced, so you’re still getting a lot in that little time. Breakdown after the chorus is catchy as hell. And then it just blasts into an intense solo to end the song before a short outro. Again, the whole song doesn’t take too long to get to where it needs to be, just gets right to the mother rocking point and leaves you satisfied 3 minutes later. I’ve seen it’s one if not the only song Solely composed by James, I guess Lars didn’t like it hah.

Favorite Line: Don’t stop for nothing, its full speed or nothing

62. Atlas, Rise!

Takes awhile to get into it but this song really builds up pretty well throughout the beginning, which can make songs really powerful. Maybe that’s a cheap gimmick if you make the beginning kind of poor to grow into a more powerful chorus. The licks in line with the cadence of the vocals during the chorus really feel a bit like an inspirational call to action. And you can really feel James putting all he can into the RISE lyric at the end of the chorus, especially the one into the transitional breakdown; though I wish that transition wasn’t as much of a letdown, they could’ve done so much more and kind of left it flat. Maybe they wanted to undersell the solo that really goes on a journey of its own. Back to the Verse and Chorus and that is basically all she wrote. I read that this song’s working title was an ode to New Wave of British Heavy Metal, and I guess if you listen to it knowing that you can hear that, but I never would’ve made that connection otherwise. Taking that into account, fairly good song but not great.

Favorite Line: Atlas, Rise!

63. Whiskey In The Jar

Thin Lizzy Cover. The other well-known song from this album with Turn the page. Sounds quite different from the original (a lot less throaty), and I’d say an improvement and easier listen; I like Thin Lizzy but not exactly this song of theirs. Feels like a Pirate song; and I feel like the Metallica version captures that even more; maybe all the “A-Os” in the lyrics James adds. That said you can really hear Thin Lizzy in the riffs, which is good that they didn’t lose all the essence of the original. Song is a bit sad that the character is still hung up on this woman who betrayed him. Also, the relationship between the three with Captain Ferrell and Molly seems eerily similar to the trio in Santeria (Sublime song). Overall, I find this song overrated (and even played at many of their concerts) but it’s still a good cover.

Favorite Line: But the devil take that woman for you know she tricked me easy

64. Dream No More

Part of the Ktulu trilogy; the heaviness of the guitars really capture that darkness of the creature; also with the slower Heavy Sad but True sound in a way and they hit you with it right away in the intro. Song tries to sound bad-ass; which isn’t my favorite attribute of any song. “Madness, they say” almost sounds like a call back to the Empty they say lyric from Cyanide just an album prior. Coincidentally after that lyric the song really gets its legs; with a great transitional riff that they play off of all the way to the next verse; it saves the song in my mind; I guess it substitutes for a Solo but that’s Ok. Music Video is actually pretty decent except you do really see how old the band is getting but what are they going to do?

Favorite Line: Madness, they say

65. Don’t Tread On Me

Inspired by the Flag! Kidding, I think. Got a marching feel to the intro and really the whole song. Almost fits the Master of Puppets album theme but a bit too slow probably. Song sometimes feels like Metallica’s contribution to the Pop-Punk movement (though a few years too early); Green day should cover this song; I’d love to hear their take (though Green Day cover would be ironic because I think Metallica was trying to be Patriotic). Solo really wails, and heavy on the Wah-Wah Pedal that Kirk Hammett is so fond of. Got this subtle little mix of chorus and verse to end the song, switching up the cadence and lengths (good to keep you engaged).

Favorite Line: Once you provoke her, rattling of her tail

66. Fight Fire With Fire

Starts the whole (epic) album with this acoustic arrangement (Written by Bassist Cliff Burton) almost out of a Fantasy novel and then completely changes direction; kudos out of left field hah. It is like a quick step away from Kill Em’ All then becomes the track on the album that sounds the most like Kill Em’ All; and I am really glad for that because this album really needed to grow from their debut. The verse/lyric pacing really feels like a march so kind of behind the scenes really well executed for that. Not really a ton here pushing this above average but the more you listen to it the more it gets under your skin; It’s got things you can appreciate it but not sure I can bring myself to appreciate it to the level that I think some people do (especially when my favorite part is the acoustic intro that isn’t really in themed of the rest of the song).

Favorite Line: Fight Fire with Fire, Ending is near

67. St. Anger

The Radio single: can kind of see why. Lars bangs the hell out of the trashcans at the beginning; for a moment, the drum sounds Ok hah. There really are several moments in the song where James does show good real emotion in his lines (I think this song was a bit cathartic with some of the events happening in his life recently); but then some others why I feel they fall flat; ironically the cursing and screaming ones; if you’re going to be screaming James maybe go back to the 80’s voice. Note on the favorite line, I always thought it was “But I can’t irk awake” which would’ve completely changed the meaning to something else but in a way still really work. Anyways this song almost stubbornly doesn’t have a solo, he even sets it up with yelling “set my anger free!!!”. Though this album really does have solos, they are just drum solos. Lars really has so much influence on the band even though he’s just a drummer (shots fired). Last note, I actually think the radio edit is better, cleaned out some redundant repetitive lines, and got rid of the “OOOOh” weird noise James makes. I think this grammy win was probably pretty controversial since it’s not that good a song.

Favorite Line: I feel my world shake, like an earthquake

68. Moth Into Flame

I guess the title really needs to be somewhere since it is a paraphrase. I read that this song was inspired by Amy Winehouse’s life/death, but I definitely wouldn’t have made that connection otherwise. The opening licks foreshadow an epic-ness that doesn’t really actually come; unless the lyric “a moth into the flame” is the epic-ness they were seeking. Still the song does have a lot of attitude and a lot of great elements as well. The transition from the verse to the chorus has those licks again which is a very solid transition to the tone shift of the chorus from the verse. The breakdown and lyrics and solo following sound promising at first but really leave me wanting a bit more (though the Solo I may be too hard on, it’s not bad at all). Right after the solo kind of sounds like an outro but goes back to the verse/chorus, which is Metallica’s MO, but I think they could’ve been served just to end the song there. Or really on the flip side, not sure why they had that transition out of the solo that just sounds a bit like an outro (which spoiler alert, they actually use that riff as the outro riff).

Favorite Line: Sold your soul, built the higher wall

69. The Call Of Ktulu

Pretty decent instrumental; repetition be thy name. Kind of reminds me of someone trying to learn scales. Also, kind of reminds me of a song that if it was a bit less heavy would be in a Final Fantasy game (I guess an instrumental has more likelihood of reminding me of something like that). I think the riffs are quite catchy and sound good, but I think they should have literally cut everything except the solo just in half. Hearing a riff pattern twice in a row for instance would be enough. Again, I like everything they are doing and really appreciate it, but it does border on boring a bit because of the repetition. It was I believe the longest track for them to date so in an album that had several epic tracks, this one seems instead like it tried to be epic too badly. Maybe crapped on the song a bit more than I should’ve though, probably my second favorite instrumental of theirs for what it is worth.

Favorite Line: duh duh duh duh da da da da dah dah dah dah daa daa daa daa

70. Sabbra Cadabra

Black Sabbath Cover. Doesn’t vary from the original to as large a degree as some of the other Garage Inc covers but just the difference in voices between James and Ozzy goes a long way. Song also has more of a hard rock feel compared to the psychedelic vibe of the original. The main riff sounds like that piano trick you do when you don’t know how to play piano where you roll your knuckle across the flat keys; at least to me. James also shows good voice power when he yells out those ending words in the chorus lines. Not my favorite Garage Inc. song but does get the job done

Favorite Line: I’ve lived a thousand times, I found out what it means to be believed

71. Eye of the Beholder

Not really relevant to the quality of the song but this was one of the earlier Metallica songs I had listened to a bit, but then somehow got lost off my IPOD and I basically forgot it existed for several years until I found it again hah; made me wonder how I just forgot a Metallica song existed (This was the Napster days and not the full album buying but still). While my love for the song hasn’t been as fond as since the first discovery, lyrically I actually find this song catchy; learning about the bill of rights here… Though I guess it is more a rhetoric on the Media. A bit of a call back to Master of Puppet’s time changes in the Verse compared to Chorus. The transition to the chorus with the scrapey riff is surprisingly good but overall, the song seems pretty middling. The Bridge to the solo actually reminds me of Iron Maiden with the way they couple their pull-offs/hammer-ons.

Favorite Line: You can do it your own way, if it’s done just how I say

72. The Judas Kiss

Biblical huh. Song isn’t bad per se but doesn’t really do anything that great, all the way from the starting riffs to the chorus and lyrics. It’s not crap either but just doesn’t get me jumping. I do appreciate some of the Drum fills though. 8-minute run time does give it plenty of time to solo out; and it does do a little to redeem the song; not extraordinary but I appreciate the extensiveness (separated by a bit of a lyrical refrain, I guess to take a breath hah). Bit of a breakdown after the solo into the last chorus and you’ve survived the Judas Kiss. Not a bad song again, but it is overrated in my opinion. Also 72 Seasons is too good a song to put at 72.

Favorite Line: Sanctify your demons

73. Breadfan

Budgie Cover. Only heard the original to write this; and a live version at that. This song is pretty raw, sounds to me like old school punk; heavier side of that at least, both melodically and lyrically. Gets into the breakdown to the middle of the song pretty quickly with a thrashy solo; but interestingly enough the middle of the song is not a solo nor a climax. Kind of slows down like Orion, or really moreso reminding me of Rime of the Ancient Mariner (By Iron Maiden). Kind of abruptly breaks out of it without a solo or major transition or anything, a bit un-Metallica like. Leaves the Only solo in the track starting in the first third of the song, kind of a unique aspect not common in other songs.

Favorite Line: Some Long-time friend’s gonna lose it in the end who’s a fool

74. Seek and Destroy

The first thought about this song is this sounds like the single of the Album; not like “radio single” but the one that would appeal to the most masses, I guess. In a way very instrumental in giving a glimpse of the growth from just raw thrash in Kill Em’ All to the epics that they’d produce in their next few albums that really transcended Metallica to the upper echelon. It even was the first one recorded in a professional studio, so you can kind of hear that more defined sound compared to other tracks on the album. That said, the song itself while holding those elements you could tell were just inexperienced at putting it all together. Everything is fine, or even good, just nothing really great about it. The thing that comes closest to great in the song is the breakdown before the solo.

Favorite Line: Running, on our way, hiding, you will pay dying one thousand deaths.

75. My Apocalypse

One of the shorter songs on the album. It has a bit of the Cross, That, Line cadence to it for everything (the riffs too). I think the snare gets a little distracting in this one. The breakdown is a rather good ride; almost doesn’t sound like singing during (almost a bit of a rap). Honestly, I have trouble coming up with a good write-up on it and I think it’s because I feel it is weak on Identity, but it is catchy enough to make the list; probably heard it too many times. I guess Apocalypse begets nothingness. Like St. Anger, I am not sure I am liking Grammy’s choices for their awards (which it’s no secret the grammy’s criteria is a joke); I think there are much better choices on this album. Felt like they just felt Metallica is on top so let’s choose a song at random and let it be a prestige play. Still, not a terrible track as I said before.

Favorite Line: Fear thy name, Annihilation

76. …And Justice For All

Almost seems like the Album Acoustic Intro we expect to see in the opening songs of the albums like RTL and MOP though this one integrated into the distortion of the intro more than just a separate acoustic arrangement; I like that they did that here; in fact the intro is probably the strongest part of the song; not the greatest sign for a nearly 10 minute song but it is what it is. The rolling wave licks in the verses are also pretty noticeable too; as well as the altering lyrical line lengths in the middle of the chorus again is noticeable, which is generally a solid accomplishment. After six minutes I like how it goes back to the intro riffs (all distortion this time), does give it that journey feel but doesn’t really build into anything that special. Not sure why but this song almost has a St. Anger (album) feel, maybe the lack of a true solo.

Favorite Line: Pulling your strings, justice is done.

77. Disposable Heroes

Right into another long song. Though this time I kind of wish it was a bit shorter. Maybe they wanted some time distance from the masterpiece that preceded it in Sanitarium. I think right now this is a very trendy Top 10 song for a lot of lists but I just think they have a lot more songs of higher impact in their catalog.The song isn’t bad by any means though and perhaps personifies the theme of the album better than the title song. Really pulls off the rhetoric of military blind obedience, back to the Front! I think the rhetoric the verses have is probably the strongest part of the song otherwise. Has its breakdowns and a heavy, long (and objectively good) solo and just in general is a pretty heavy song but I am not jumping out of my seat to it most of the time. And again, probably could’ve ended a couple minutes earlier, but it’s not a bad song that I am wanting to skip or anything like that.

Favorite Line: Victim of what said should be, a servant ‘til I fall

78. Frantic

Opener on St. Anger, their worst album to date (I’m not counting Lulu as a Metallica Album, that’s all yours Lou Reed as the name suggests anyways). I think Frantic refers to the album starting and Lars frantically finding anything to bang sticks on and came up with the closest metal trash cans. Song seriously introduces us to the worse drum sound I think I’ve ever heard in rock. This is also one of the more aggressive songs on the album too so a pretty intentional choice as the album opener. The Frantic tick tick tock line really gives an unhinged feeling, which I’ll admit is well done for the track. The lyrics themselves are pretty meh though. Song also introduces us to the no solos attribute of the album. Song is OK and certainly not the worst on the album; actually, starts to get good in the last 30 seconds of the song; should’ve kept going with that.

Favorite Line: You live it or lie it

79. Harvester of Sorrow

This song with the heavy drums and distortion in the intro is actually carried at first by an acoustic riff, a subtlety that doesn’t carry the song softer but actually emblazes one of the core riffs (Mostly distorted in the rest of the song) into our brains. Even though a lot of people feel like it was actually the next album (Black album) which was a sell out and a departure from their core stuff, you really can hear similarities in some songs, and this is one instance of a AJFA song resembling their Black Album sound; though probably would’ve been one of their weaker songs on that album. Nothing really jumping out as extraordinary on this song, the drum sections are noticeable which if calling that out in a song probably means the rest isn’t that memorable. It’s got a noticeable bassline as well which is also significant because this is the first album with Jason Newsted (who I am not sure the rest of the band actually appreciated). Low tier but worth listening to. That acoustic intro riff I mentioned before is fun to play too

Favorite Line: Been cheated of my Youth, you turned this lie to truth

80. You Must Burn!

Must, that is very definitive and really a commentary on cancel culture I believe. I hear the intro and the main riff, and I think “wow they were close to something amazing,” or on the other side of that, I guess it just falls short; still pretty decent though. Perhaps one reason I feel it falls short is I think they slowed this song a tiny bit too much. I guess it does accomplish a whole crowd mob mentality and marching (like a witch hunt). Quality transition to the chorus but nothing extraordinary happening. Breakdown gets a little Where the Wild Things are vibes especially with the distorted vocals. Intro riff into the solo actually was a great combination here; was a bit surprised and impressed by that selection. Not sure the last chorus was necessary (maybe would’ve gone directly into Outro) but all in all not a bad journey

Favorite Line: The Perfect don’t want you around

81. Invisible Kid

Definitely not the worst song on the album, though it is too long. How can an 8-and-a-half-minute song not have a solo? The verse has a catchy cadence and rhyme; Lyrics really do touch on some of the psychiatric issues some of our youths are feeling today (though not just youths probably). But the song does mostly lose its cachet after a few minutes. Great songs + Length = EPIC and AWESOME. Middling songs + Length = strategic misstep. And this one fell into a trap Metallica does every once in a while, of being too repetitive. Even when they switch it up a bit over 4 minutes in, they just switch it to more repetitive riffs.

Favorite Line: Invisible Kid suspicious of your touch

82. Mama Said

Almost left this in Honorable Mention section but since it’s one of Metallica’s few acoustic and softer songs I thought it warranted a write up. It’s quite pretty but also morose; Still I am a bit surprised this song didn’t chart a bit better as it is soft enough to appeal to a lot of people. It could even probably be made fully acoustic a la Unplugged if they wanted to release that version. Seems like a very personal song to James, especially when it vocally peaks at the end; I guess in a way it’s just got that ballad feeling to it or just some remorse and maybe regret. It was never a big listen for me but still it’s got some pretty appeal to it.

Favorite Line: Let My Heart Go, Let your son grow.

83. Tuesday’s Gone

Lynyrd Skynyrd Cover. Part of me never expected a Lynyrd Skynyrd cover from them, and of all the songs they chose this slow ode (Huh, wonder what a Freebird cover would’ve sounded like). But I guess it fits the folky vibe of the album. One of the covers on this list that doesn’t really add or change a ton from the original. A shorter run time would’ve been nice; I don’t mind long run times but when they are repetitive, I find myself wishing they’d cut out the last couple verses; but that is on Lynyrd Skynyrd and not Metallica (Not too many covers remove full verses hah). Rare harmonica appearance in the Metallica song. Fun to sing along with a few choruses but novelty does wear off. Unique little check in with the crew at the end and hearing those names which was a collection of “guest-stars” on the track from other bands which is pretty cool.

Favorite Line: My Baby’s gone with the wind

84. Screaming Suicide

I wish they had a stronger song to follow the filler feeling of Shadows Follow (especially so early in the album) because it kind of started to shape my first impression So-so feeling of the album on the first album before getting to some really good later tracks. Opening licks aren’t bad though (although sound a little hair metal-ly. This one also falls victim to a bit of stale main riff with the verse vocals not really escalating the song. Right before the chorus (which is a pretty short one) you get this grungy sound, almost like Alice in Chains, which they usually don’t sound like even though grunge and metal are sometimes cousins. Breakdown and the solo also kind of stale though I like the exit right out of the solo (which again a bit hair metal-ly). This one definitely doesn’t sound as much filler as Shadows follow, but it doesn’t elevate the album that much; and it’s not the first time they sing about suicide.

Favorite Line: Keep me Inside, my name is suicide

85. ManUnkind

This opening sounds so much like the Iron Maiden openings on some of their recent albums; it’s like the two bands are sharing notes (literally) for their twilight year albums. Kind of like Fight fire with Fire, not sure how that opening really fits with the rest of the song but it’s an appreciated intro. Perhaps may sound better than the other real intro. The bar was set pretty low with Disc 2 of Hardwired that this does rise to the top (Though here comes revenge is probably better), its listenable and the chorus has a little catchiness to it, but I never really leave thinking this is an overly good song. Since hearing it is an attempt at some Black Metal themes, I guess I can see why it wouldn’t be too high on my list. James really emphasizes some of the lines a lot so maybe that was where he is trying to generate intensity from but for me it doesn’t land. Almost has a ballad feel with the “seized by the day” verses before the solo too and again not sure where those fits. Solo is ok though a little unique with Kirk really making the guitar weep at times but not overly impressive elsewhere. Middling track

Favorite Line: Left Myself behind, blind lead blind

86. Shadows Follow

Not the highest on my list but I’ll still listen to it. Not bad for old-timer album hah. This song kind of has a feel where they have written so many songs that their main riffs can get a little stale. Verse vocals don’t really escalate the riff either; however, the vocals in transition to the chorus and the chorus itself is where I can say ok… I’ll listen to this song again. But breakdown to the solo kind of returns to that stale feeling and the rhythm and the melody before the solo repeats the same lick over and over again. Solo is OK. Got this Batman homage riff after the solo apparently with a na-na-na-na sound but I would never hear it if someone didn’t tell me about it. This one really feels like a filler track. At least it is ONLY 6 minutes.

Favorite Line: On I run, Still my shadows follow

87. Whiplash

After the intro which is a very solid buildup of anticipation; the verses do execute the theme of the album pretty well; Getting down to the thrash pretty quick. Not much pushing it above the rest of the album though I will give its chorus above average grade; and the solo (including the breakdown before) is rather good too. I saw that this was a song that Kurt Cobain citing its impact on other genres as well, I can see it but not necessarily seeing it impacting Nirvana’s sound; sounds quite a bit different

Favorite Line: You’re Thrashing all around

88. Hardwired

The title song, of the songs I “like” on the album this one took me the longest to warm up to. I am not getting why it is one of the more popular songs on the album.  The verses and chorus are a bit stale and unoriginal, but when it gets to the breakdown to the solo it does pick up. One of their shorter songs in a couple albums which may make it more mass appealing, and I can see it fitting with a grenade type of self-destruct theme. I’m ok that it is short though so I can move to the next track. They should use the music video to this song in medical clinics to test for epilepsy; I am lost on how this video got met with positivity.

Favorite Line: On the way to Paranoia

89. Through The Never

In my opinion the least appealing song on the Black Album but still wouldn’t call it bad. The title kind of reminds me of Stranger Things hah. The sound seems more AJFA than black album in my opinion (Maybe until it slows down after the solo). The Rhythm kind of throws me off, it’s a pretty basic structure and repetitive; but I will say the more I’ve listened to it the more I like it and can hear the subtle complexities of the riffs. I think this one may be a fan favorite because it sounded more like the old Metallica in the midst of the sound changing in this album and future ones; but I was never hung up on that change; and this song wouldn’t get close to a favorite of mine.

Favorite Line: All that is, Ever, Ever was

90. Sleepwalk My Life Away

The title is a pretty stark image of just coasting through life. Subtle intro build up; foreshadows a heavier sound. Actually feels a little like a Load/Reload sound. Verse still is a bit more subtle, continuing this escalation. Kind of reaches a peak with the Chorus; which is probably the most (maybe only) redeeming part of the song; as the Intro and verses are just a little boring in my opinion (with the transition to the Chorus just a little bit more intriguing). Even the breakdown to the solo falls back into the same lack of inspiration. Solo is Okay (and lasts a very long time, I guess bad and good there) but this song probably wouldn’t even make my list if I didn’t listen to it a bunch of times in prep for a Metallica Concert coming up. (Chorus is good though I’ll give credit).

Favorite Line: Wake Me, Caught in the spell I’m dreaming

91. Loverman

Nick Cave Cover. This song barely makes my cut, but it’s got enough It factor to include. Since it is on the fringe, I wish it wasn’t so long, so I sometimes skip it (I think the original is a couple minutes shorter). The tone of the song is pretty subtle, and I will say stalky almost; kind of goes through the thought process of a predator; the ups and downs. Gets a little weird with the spelling parts though I guess that is not out of place in a just overall creepy song. James does show good range in his voice on this one though. This one always has me going back and forth in liking it but it’s a fighter and it just stays in (and even finds a way to get stuck in your head for a day).

Favorite Line: There’s a devil waiting outside your door.

Honorable Mentions

Bleeding Me

The Outlaw Torn

The Four Horseman

Inamorata

Tier Stats By Album

Just a little content for you stat nerds…

Quality Index = B-Tier or Above / Total Songs on Album (Includes Honorable Mention)

Hit Rate: A-Tier or Above / Total Songs on Album

Kill ‘Em All

S-Tier – 0 Tracks; A-Tier – 1 Track; B-Tier – 3 Tracks; HM – 1 Track; C-Tier or below – 5 Tracks

Quality Index: 5 Tiered / 10 Total = 50%

Hit Rate: 1 S/A-Tiers / 10 Total = 10%

Ride The Lightning

S-Tier – 3 Tracks; A-Tier – 2 Tracks; B-Tier – 3 Tracks; C-Tier or below – 0 Tracks

Quality Index: 8 / 8 = 100%

Hit Rate: 5 / 8 = 63%

Master of Puppets

S-Tier – 2 Tracks; A-Tier – 1 Track; B-Tier – 4 Tracks; C-Tier or below – 1 Track

Quality Index: 7 / 8 = 88%

Hit Rate: 3 / 8 = 38%

…And Justice For All

S-Tier – 1 Track; A-Tier – 2 Tracks; B-Tier – 3 Tracks; C-Tier or below – 3 Tracks

Quality Index: 6 / 9 = 67%

Hit Rate: 3 / 9 = 33%

The Black Album

S-Tier – 2 Tracks; A-Tier – 5 Tracks; B-Tier – 5 Tracks; C-Tier or below – 0 Tracks

Quality Index: 12/ 12= 100%

Hit Rate: 7 / 12 = 58%

Load

S-Tier – 1 Track; A-Tier – 2 Tracks; B-Tier – 4 Tracks; HM – 2 Tracks; C-Tier or below – 5 Tracks

Quality Index: 9 / 14 = 64%

Hit Rate: 3 / 14 = 21%

Reload

S-Tier – 1 Track; A-Tier – 2 Tracks; B-Tier – 3 Tracks; C-Tier or below – 7 Tracks

Quality Index: 6 / 13 = 46%

Hit Rate: 3 / 13 = 23%

Garage Inc.

S-Tier – 1 Track; A-Tier – 1 Track; B-Tier – 7 Tracks; C-Tier or below – 18 Tracks

Quality Index: 9 / 27 = 33%

Hit Rate: 2 / 27 = 7%

S&M (New Songs)

S-Tier – 1 Track; C-Tier or below – 1 Track

Quality Index: 1 / 2 = 50%

Hit Rate: 1 / 2 = 50%

Death Magnetic

S-Tier – 0 Tracks; A-Tier – 5 Tracks; B-Tier – 4 Tracks; C-Tier or below – 1 Track

Quality Index: 9 / 10 = 90%

Hit Rate: 5 / 10 = 50%

Hardwired… To Self Destruct

S-Tier – 1 Track; A-Tier – 2 Tracks; B-Tier – 5 Tracks; C-Tier or below – 4 Tracks

Quality Index: 8 / 12 = 67%

Hit Rate: 3 / 12 = 25%

72 Seasons

S-Tier – 1 Track; A-Tier – 3 Tracks; B-Tier – 4 Tracks; HM – 1 Track; C-Tier or below – 4 Tracks

Quality Index: 9 / 12 = 75%

Hit Rate: 4 / 12 = 33%