It can sometimes be easy to forget how Metallica became a household name in the music world. In recent years they've been the punchline to many jokes and the whipping post for much public ridicule. This can leave a bad taste in anyone's mouth (or ears). I certainly have not been keen to spin a classic Metallica record in a long while. Today I got the urge and have been reminded that while they have not released a great record in many years, their legacy really is undeniable. The fact is that who Metallica are now has greatly affected how we remember and perceive who they once were. We can easily forget their three album rise to making it big and just how much impact they had on other metal musicians who then went on to do amazing things of their own. How crazy was the speed thrash anthem Metal Militia in 1982? How heavy was the apocalyptic nuclear doom opener Fight Fire With Fire in 1984? How epic and orchestrated was the fan favorite Master Of Puppets in 1986? It's not difficult to take them for granted after years of exposure and eventually excessive radio play.
Clear away your preconceived notions of Metallica, what they were and what they are. If you can, forget you've ever heard them and then sit down and listen - really listen - to ...And Justice For All like it's the first time you've heard it. It's 1988 and your mind is about to be blown. These guys pulled out all the stops and made a truly uncompromising record. No one was telling them what to do, and even if they were it's clear that no external input was heeded. All bassless jokes aside, the production of the record was very tight, clean, and dry; it was quite harsh and gnarly for the eighties and reset the notion for what heavy music production could and would be. Some say it was too clinical, but what I hear is a reflection of anguish and a stand in what otherwise may have been defeat. AJFA is seeping with bitter, cold loss - there is no doubt in my mind that the music and sonic mood reflect the grief over the loss of bassist Cliff Burton in 1987. There is a hard stifling of tears here, and a strong resolve to move on with a record that was as unconventional as it was commercially successful. This record saw Metallica at the height of their technical skill and performance ability...and though many metal musicians today far surpass this level of skill, it was quite an innovative and impressive display in 1988. I remember seeing these guys on the cover of nearly every guitar, drum, and metal magazine in the months, and even years, following its release. This record reminds me of why Metallica was (and is) huge.
My original European pressing.
From the brutal opening track, Blackened, to the beautiful masterpiece To Live Is To Die and lightening quick double-kick-laden closer Dyers Eve, ...And Justice For All provides an ample amount of angsty sociopolitical lyrics and vocals, metronome-tight guitar licks, furiously pummeling drum fills, and progressive song structures and changes. I am reminded that there is still space in my heart for classic 80's Metallica, and I am glad to welcome it once again.
I've been told I have developed a spending habit. Clearly not true, though over the last few weeks I've been augmenting my vinyl collection in various ways. While this post proves, indeed, that I am more hipster than you, it also proves that I am nowhere near as hipster as this person.
Deliciously swirled, translucent, vinyl discus.
I've recently retrieved some old favorites from storage at my parents' house. These gems have been in waiting, faithfully counting the days in the closet of my old bedroom until they see the light once again. The most note-worthy among them are some original pressings: Master Of Puppets (Metallica - 1986), ...And Justice For All (Metallica -1988), The Number Of The Beast (Iron Maiden - 1983), Powerslave (Iron Maiden - 1984), Sad Wings Of Destiny (Judas Priest - 1976), Blizzard Of Ozz (Ozzy Osbourne - 1980), and March Of The Saint (Armored Saint - 1984). Listening to these classics has been a real treat of nostalgic delight.
I've also been hunting for some very particular titles...records that mean something special to me. Comus' First Utterance is a very unique and inspiring album. It's been repressed a few times since its first reralease in 1971, but always in short quantities; it sells quickly and immediately goes up in price when stock diminishes. My 180g copy is from Rise Above Records (Relics). I think it was a failure of a grey/white swirl, but I like it that way - it adds to the charm and oddness of this strange record. As you can see the artwork is very 70's and just gorgeous. The quality of the pressing is quite good as well; the audio sounds very clean and robust.
In a previous post I linked to a Youtube rip of Song To Comus. Here's Drip Drip...
Lou, oh, Lou. I would love to track down a vinyl copy of Beloved One if such a thing exists, but in the meantime I have managed to snag a copy of Lou Rhodes' One Good Thing. It still seems to be floating around on the internet in various places for around $16...get yours while you still can. This record sounds quite a bit different from its digital counterpart - perhaps partly the product of vinyl mastering. The end result, to my ears, is a more smooth and mellow mix; the additional instrumentation and reverb feel more organic.
Opeth's Deliverance and Damnation...I purchased both of these at In The Moment Records, a locally-owned shop in Brattleboro, VT that specializes in vinyl. These two albums were recorded at the same time, July through September of 2002. I was a Senior at Ithaca College when they were first released and I very much associate that time of my life with these records. They inspire within me creation and excitement for new opportunity. Here and now they are found on 180g double LPs. The first disc of Deliverance only contains two songs (one per side)...now that's how you do it! The 1970's prog/psych vibe of Damnation is a wonder to observe on vinyl.
Baroness finally rereleased their first two EPs, First and Second, on vinyl in the form of one 12" disc. This is Baroness before the multi-part harmonies...in fact these two EP's are more abrasive and metal than anything else they've done. That said, while they lack some of the signature characteristics of Red Album and Blue Record, they do contain the necessary elements that make Baroness what they are...brilliantly awesome.
In my last post I mentioned Barn Owl...my order from Thrill Jockey Records came in. Along with Ancestral Star I also ordered Eternal Tapestry's lastest, Beyond The 4th Door. Both of these records are guaranteed to chill you out rather nicely.
Ancestral Star, Barn Owl's third album, is a lush and layered drone, teaming with minimalist beauty. Here's a sample that I believe speaks that which my words cannot...
Beyond The 4th Door has been my introduction to Eternal Tapestry and I am quite satisfied - their third record provides a vibrant soundscape of psychedelic garage ambiance. These guys do what many other bands try to do, but they do it right...and rather fantastically well. The disc is a really cool translucent yellow/black swirl that can be seen in detail in the first image of this post.
Last Saturday, April 16th, was Record Store Day - a true holiday for us analog music fanatics. Rosie and I woke up early to drive out to In The Moment for when they opened specially at 9am. I had three titles as my top priority, all of which I am very happy to report are now within my possession. This first is the new Between The Buried And Me, The Parallax: Hypersleep Dialogues, which I shared in my last post. The RSD exclusive pressing of 1000 copies were 180g colored vinyl records (mine is clear, as you can see below). According to an interview with Paul Waggoner, Hypersleep Dialogues is part one of a two-part concept. No word yet as to when BTBAM plan to release the second volume or if it has yet been recorded.
The next disc on my hit list was Neurosis' Sovereign rerelease, limited to 600 copies. The vinyl is a 180g disc in a light violet (pink?) swirl. Sovereign, which has been long out of print, was originally released in 2000 as an EP - though its four songs, recorded in the same sessions as Times Of Grace, clock in at around 33 minutes. It will be released again shortly on regular black vinyl and CD by Neurot Recordings.
Finally, what would RSD have been without an Opeth single containing a song that has only ever been released in a video game soundtrack? The Throat Of Winter is not what I was expecting at all. The song is an acoustic jam with a 70's vibe, and offers quite an interesting listening experience. Hear for yourself...
The 7" disc (yes disc) contains just the one song on one side. What's on the other side? A laser etched Opeth logo of course!
So with all of these recent purchases you may ask what's still on my vinyl short list? The new Storm Of Light for sure, some Decemberists, the new PJ Harvey, Bloom by Lou Rhodes if I can track one down, Obscura's Omnivium, Soundgarden's Badmotorfinger, Isis' Wavering Radiant, and lots and lots of Patti Smith! Oh..and this. ...so...styluses at the ready..."VinylinumHabitus!"
