Master Of Puppets is more than just Metallica’s third studio album—it’s a cornerstone of heavy metal history.
Released in 1986, this is the album that elevated Metallica to the status of metal legends, for it’s a legendary release that doesn’t yield until the final note has been played. Even then, you’ll find yourself at the end of “Damage, Inc.” wanting to play the record again, for Master Of Puppets can seldom be listened to once.
It isn’t just the music that’s notable, however, as the album artwork is among the greatest in all of Metal history and, as it relates to Metallica’s releases, is their most impressive. While digital and associated streaming options don’t fully represent the detail as well as one would like, if you’re fortunate enough to own a copy on vinyl you’ll be met with a piece of visual art that is not only the perfect complement to the music contained within the record, but one that is worthy of being on display.
Sonically, this is where the album truly shines. Yes, many fans will likely suggest that it’s the Bob Rock produced albums that see Metallica sounding their best, but this is thrash metal after all, and for that style of music, Master Of Puppets is stunning. It is also the final album to feature legendary bassist, Cliff Burton and unlike …And Justice For All, every bass note can clearly be heard within the mix, thereby making it a noteworthy tribute to one of metal’s greatest bassists.
As it pertains to the 2017 remaster, it’s a pleasure to listen to, and the Lossless Apple Digital Master is amongst the best mastering that has ever been released, and that I’ve heard, of this classic album. It’s full-bodied, with a ton of detail, yet it isn’t brittle or shrill, thereby allowing you to turn the volume up to ear-bleeding levels without experiencing listening fatigue, as there is a plethora of warmth, not unlike the vinyl sound, to be heard via this edition. So, join me, take a listen, and let’s explore the songs that make up this landmark release.
Battery opens the album masterfully with a glorious acoustic styling before exploding into one of the fiercest thrash assaults of Metallica’s career. The aggression within every riff and lyric is unrelenting and has the technical precision that sees Metallica at, arguably, the creative peak of their pure thrash-era recordings; a level of perfectionism that runs through the entire album.
Master Of Puppets is a killer title track with one of the greatest introductions in all of recorded music history. While it may be an epic, at just over eight and a half minutes in length, Master Of Puppets is structurally ambitious and musically rich, resulting in a song that perfectly balances complexity and raw power. Unlike any song that came before it, Master Of Puppets showcased that Metallica was more than just a band that could play at speed, for the sophistication in the composition not only ensured this song became a timeless classic, but it would lay the groundwork for the uniqueness that Metallica would continue to deliver to fans upon each new album and musical evolution.
The Thing That Should Not Be is one of my all-time favourite Metallica tunes for the slower, doom-laden, sludgier sonic style creates a distinguishing separation from their speed-driven tracks. The musical bed is particularly appealing, adding an eerie texture beneath Hetfield’s growling vocals, but it’s the down-tuned guitar tuning that takes this song to another level entirely.
Welcome Home (Sanitarium) is a sonically beautiful ballad, before erupting into a magnificently dynamic tune, complete with thrash elements for good measure. Kirk Hammett’s soloing here is expressive, as are Burton’s bass notes, while Hetfield’s vocals shift from sorrowful reflection to burning anger. While Welcome Home (Sanitarium) should never be overlooked, it undoubtedly paved the way for some of Metallica’s most notable ballad-structured numbers, such as “One” and “The Unforgiven”.
Disposable Heroes returns us to the relentless and furious thrash-styling that was a highlight on Kill ‘Em All and Ride The Lightning. Featuring intense rhythms and riffing, as well as intricate tempo changes, Disposable Heroes will appeal to those who appreciate Metallica’s earliest works, albeit with a little more spit and polish. It isn’t necessarily the strongest song on the album, but it’s a tune that’s thoroughly appealing each time it enters the album’s linear structure during playback.
Leper Messiah grooves more than it thrashes, with its mid-tempo styling, but don’t let that deter you, for Leper Messiah will see you move involuntarily to the rhythm, and if you haven’t already, you’ll feel compelled to turn the volume up to 11. The riffs are tight and hypnotic, building tension as the song proceeds, before erupting into a thoroughly pleasurable outro.
Orion is a rare instrumental masterpiece and is, without a doubt, Burton’s greatest compositional achievement. Burton’s classical influences are on full display here, with multiple time changes and layered instrumental harmonies that are not only a bass-lover’s dream come true, but a musical marvel. It is, however, intriguing to consider that Orion was never featured on the symphonic releases, S&M or S&M2, for this composition would have been absolutely perfect for those live performances.
Damage, Inc. closes the album with a no-holds-barred thrash assault, following a clean and relaxed introduction. The explosive fury harkens back to Metallica’s earliest recordings, but it’s an ideal album closer as it reminds listeners that this is not only, fundamentally, a thrash record, but a thrash metal band commanding one’s attention.
From the first note to the last, Master Of Puppets is a relentless and emotional musical journey that showcases Metallica’s maturing songwriting and musicianship over their earlier releases. There isn’t a single track that feels out of place on this record, and the production still holds up decades later. The result is that Master Of Puppets is not just one of the best metal albums ever released; it’s one of the greatest albums in all of recorded music history.