Master of Puppets
|Master of Puppets|
|Studio album by Metallica|
|Released||March 3, 1986|
|Recorded||September 1Sweet Silence Studios in Copenhagen, Denmark– December 27, 1985 at|
|Producer||Metallica, Flemming Rasmussen|
|Singles from Master of Puppets|
Master of Puppets is the third studio album by American heavy metal band Metallica, released on March 3, 1986 by Elektra Records. It was the band's last album to feature bassist Cliff Burton, who died in a bus crash during the album's promotional tour. The album peaked at number 29 on the Billboard 200 and became the first thrash metal album to be certified platinum. It was certified 6× platinum by the Recording Industry Association of America (RIAA) in 2003 for shipping six million copies in the US.
Master of Puppets was released to positive reviews from music critics and has been included in several publications' best album lists. Its driving, virtuosic music and angry, political lyrics drew praise from critics outside of the metal community. The album is considered the band's strongest effort of the period, and is one of the most influential heavy metal albums. Many bands from all genres of heavy metal have covered the album's songs, including tribute albums.
The cover was designed by Metallica and Peter Mensch and painted by Don Brautigam. It depicts a cemetery field of white crosses tethered to strings, manipulated by a pair of hands in a blood-red sky. Metallica embarked on a six-month tour supporting Ozzy Osbourne in the United States. The European leg was canceled after Burton's death in September, and the band returned home to audition a new bassist. Metallica honored the album's twentieth anniversary in 2006 by playing it in its entirety.
Background and recording
Metallica signed with Elektra Records in the fall of 1984. The label reissued the band's second album Ride the Lightning on November 19, and the band began touring larger venues and festivals throughout 1985. After parting with manager Jon Zazula, Metallica hired Q Prime's Cliff Burnstein and Peter Mensch. During the summer, the band played the Monsters of Rock festival at Castle Donington, alongside Bon Jovi and Ratt in front of 70,000 fans. The group began writing new material in mid-1985. Drummer Lars Ulrich and frontman James Hetfield were the main songwriters on the album, already entitled Master of Puppets. The two developed ideas at a garage in El Cerrito before inviting bassist Cliff Burton and guitarist Kirk Hammett for rehearsals. Hetfield and Ulrich described the songwriting process as starting with "guitar riffs, assembled and reassembled until they start to sound like a song". After that, the band came up with a song title and topic, and Hetfield wrote lyrics to match the title.
Metallica recorded the album with producer Flemming Rasmussen in Copenhagen from September 1 to December 27, 1985. Rasmussen stated that the band brought well-prepared demos of the songs, and only slight changes were made to the compositions in the studio. Hammett recalled that the group was "just making another album" at the time and "had no idea that the record would have such a range of influence that it went on to have". He also said that the group was "definitely peaking" at the time and that the album had "the sound of a band really gelling, really learning how to work well together". Rasmussen and Metallica did not manage to complete the mixtapes as planned. Instead, the master tapes were sent in January 1986 to Michael Wagener, who had previous production experience with Mötley Crüe, Dokken, and Accept, and who finished the album's mixing. The cover was designed by Metallica and Peter Mensch and painted by Don Brautigam. It depicts a cemetery field of white crosses tethered to strings, manipulated by a pair of hands in a blood-red sky. The original artwork was sold at Rockefeller Plaza, New York City for $28,000.
The songs explore themes such as control and the abuse of power. The lyrics describe the consequences of alienation, oppression, and feelings of powerlessness. Author Ryan Moore thought the lyrics depict "ominous yet unnamed forces of power wielding total control over helpless human subjects". The lyrics were considered perceptive and harrowing, and were praised for being honest and socially conscious. Referring to the epic proportions of the songs, BBC Music's Eamonn Stack stated that "at this stage in their careers Metallica weren't even doing songs, they were telling stories".
"Battery" is about anger and refers to "battery" in the sense of "assault and battery". Some critics contend that the title actually refers to an artillery battery, and interpreted it as "Hetfield [singing] of a war tactic as the aggressor" personifying destruction. The theme of the title track is cocaine addiction, a topic considered taboo at the time. "The Thing That Should Not Be" was inspired by H. P. Lovecraft's short story "The Shadow Over Innsmouth", whose main protagonist battles unearthly forces. "Welcome Home (Sanitarium)" is based on Ken Kesey's novel One Flew Over the Cuckoo's Nest and conveys the thoughts of a patient unjustly caged in a mental institution. According to philosopher William Irwin, it is perhaps the most revealing of Metallica's songs dealing with insanity. "Disposable Heroes" is a tale of a young soldier whose fate is controlled by his superiors. "Leper Messiah" opposes TV evangelists and unveils "the flimsy ruses of false prophets". Irwin wrote that the song "describes how people are willingly turned into blind religious followers", and that the fact that "people are religious" is not what annoys Metallica, but that they "mindlessly do whatever they are told". "Damage, Inc." rants about senseless violence and reprisal at unspecified target.
|Encyclopedia of Popular Music|||
|The Rolling Stone Album Guide|||
Master of Puppets received positive reviews from music critics. Editor Tom King said that Metallica was at an "incredible song-writing peak" during the recording sessions, partially because Burton contributed to the songwriting. The album was hailed as a masterpiece by critics outside of the heavy metal audience and cited by some as the genre's greatest album. In a contemporary review, Tim Holmes of Rolling Stone asserted that the band had redefined heavy metal with the technical skill and subtlety on the album, which he described as "the sound of global paranoia". Kerrang! wrote that Master of Puppets "finally put Metallica into the big leagues where they belong". By contrast, Spin magazine's Judge I-Rankin was disappointed with the album and said that, although the production is exceptional and Metallica's experimentation is commendable, it eschews the less "intellectual" approach of Kill 'Em All for a MDC-inspired direction that is inconsistent.
In a retrospective review, AllMusic's Steve Huey viewed it as Metallica's best album and remarked that, although it was not as unexpected as Ride the Lightning, Master of Puppets is a more musically and thematically consistent album. Greg Kot of the Chicago Tribune wrote that the songs were the band's most intense at that point, despite veering towards "the progressive tendency of Rush." Adrien Begrand of PopMatters praised the production as "a metal version of Phil Spector's Wall of Sound" and felt that none of Metallica's subsequent albums could match its passionate and intense musical quality. BBC Music's Eamonn Stack called the album "hard, fast, rock with substance" and likened the songs to stories of "biblical proportions". In a less enthusiastic review, Robert Christgau said that the band's energy and political motivations are respectable, but felt that they evoke clichéd images of "revolutionary heroes" who are "male chauvinists too inexperienced to know better".
Master of Puppets has appeared in several publications' best album lists. The album was ranked number 167 on Rolling Stone 's list of the 500 greatest albums of all time. Time included it in its 2006 list of the 100 best albums of all time. According to the magazine's Josh Tyrangiel, with Master of Puppets, Metallica "reinforced everything good about heavy metal while undermining at least a few of the clichés". Slant Magazine placed the album at number 90 on its list of the best albums of the 1980s, saying Master of Puppets is not only Metallica's best recording, but also their most sincere. The album featured in Robert Dimery's book 1001 Albums You Must Hear Before You Die.
IGN named Master of Puppets the best heavy metal album of all time. The website's editor Spence D. stated it was Metallica's best album because it "built upon and perfected everything they had experimented with prior" and that "all the pieces come together in glorious cohesion". Music journalist Martin Popoff also ranked it the best heavy metal album. The album was voted the fourth greatest guitar album of all time by Guitar World in 2006, and the title track ranked number 61 on the magazine's list of the 100 greatest guitar solos. Total Guitar ranked the main riff of the album's title track at number seven among the top twenty guitar riffs. The April 2006 edition of Kerrang! was dedicated to the album and offered readers the cover album Master of Puppets: Remastered.
Released in early 1986, the album had a 72-week run on the Billboard 200 album charts and earned the band its first gold certification. The album debuted on March 29, 1986, at number 128 and peaked at number 29 on the Billboard 200 chart. Billboard reported that the album sold 300,000 copies in its first three weeks. Despite virtually no radio airplay and no music videos, the album sold more than 500,000 copies in its first year of release. In 2003, Master of Puppets was certified 6× platinum by the Recording Industry Association of America (RIAA), having shipped six million copies in the United States. Between the beginning of the Nielsen SoundScan era in 1991 and 2009, the album has sold 4,578,000 copies.
Master of Puppets became thrash metal's first platinum album and by the early 1990s it successfully challenged and redefined the mainstream of heavy metal. Metallica and a few other bands headlined arena concerts and appeared regularly on MTV, although radio play remained incommensurate with their popularity. Master of Puppets is widely accepted as the genre's most accomplished album, and paved the way for its subsequent development. The album, in the words of writer Christopher Knowles, "ripped Metallica away from the underground and put them atop the metal mountain". David Hayter from Guitar Planet recognized the album as one of the most influential records ever made and a benchmark by which other metal albums should be judged. MTV's Kyle Anderson had similar thoughts, saying that 25 years after its release the album remained a "stone cold classic". Carlos Ramirez from Noisecreep believes that Master of Puppets stands as one of the most representative albums of its genre.
Metallica spent March to August 1986 touring as the opening act for Ozzy Osbourne in the United States. The band usually played a 55 minute set often followed by an encore. Referring to that occasion, Ulrich stated that Metallica was honored to play with Osbourne, who treated the band well on the tour. According to Ulrich, the audiences in bigger cities were already familiar with Metallica's music, unlike in the smaller towns they've visited. "In the B-markets, people really don't know what we're all about. But after 45 or 50 minutes we can tell we've won them over. And fans who come to hear Ozzy go home liking Metallica." Metallica won over Osbourne's fans and slowly began to establish a mainstream following.
While touring Europe, the band's bus rolled over on a patch of icy road outside of Stockholm on September 27, after a performance there. Burton was thrown through a window and killed instantly. The driver maintained that he hit the patch of black ice, but Hetfield disputed that. The band returned to San Francisco and hired Flotsam and Jetsam bassist Jason Newsted to replace Burton. Many of the songs that appeared on the band's next album, ...And Justice for All, were composed while Burton was still alive.
The title track, the album's only released single, became a live staple and the most played Metallica song. When played live, the crowd fills in some of the vocal parts while the group performs the instrumentals. Loudwire 's Chad Childers characterized the band's performance as "furious" and the song as the set's highlight. Rolling Stone described the live performance as "a classic in all its eight-minute glory". While filming its 3D movie Metallica Through the Never at the Rogers Arena in Vancouver, crosses were rising from the stage during the song.
"Welcome Home (Sanitarium)" is the second-most performed song from the album. The live performance is usually accompanied by lasers, pyrotechnical effects and film screens. "Battery" is usually played at the end of the setlist or during the encore, accompanied by lasers and flame plumes. "Disposable Heroes" is featured in the video album Orgullo, Pasión, y Gloria: Tres Noches en la Ciudad de México (2009) filmed in Mexico City, in which the song was played on the second of three nights at the Foro Sol. Rolling Stone observed Hetfield's rhythm guitar playing as "impeccable" on this lengthy and infrequently-performed song. "Orion" is the least-performed song from the album. Its first live performance was during the Escape from the Studio '06 tour, when the band performed the album in its entirety, honoring the 20th anniversary of its release. The band performed the album in the middle of the set.
All lyrics written by James Hetfield.
|1.||"Battery"||Hetfield, Lars Ulrich||5:12|
|2.||"Master of Puppets"||Hetfield, Cliff Burton, Kirk Hammett, Ulrich||8:36|
|3.||"The Thing That Should Not Be"||Hetfield, Hammett, Ulrich||6:37|
|4.||"Welcome Home (Sanitarium)"||Hetfield, Hammett, Ulrich||6:27|
|5.||"Disposable Heroes"||Hetfield, Hammett, Ulrich||8:17|
|6.||"Leper Messiah"||Hetfield, Ulrich||5:40|
|7.||"Orion" (Instrumental)||Hetfield, Burton, Ulrich||8:28|
|8.||"Damage, Inc."||Hetfield, Burton, Hammett, Ulrich||5:29|
|Digital reissue bonus tracks|
|9.||"Battery" (Live in Seattle 1989)||4:53|
|10.||"The Thing That Should Not Be" (Live in Seattle 1989)||7:02|
Credits are adapted from the album's liner notes.
- James Hetfield – lead vocals, rhythm guitar, acoustic guitar, additional lead guitar
- Kirk Hammett – lead guitar
- Cliff Burton – bass guitar, backing vocals
- Lars Ulrich – drums
- Flemming Rasmussen – producer, engineer
- Metallica – producers, cover concept
- Andy Wroblewski – assistant engineer
- Michael Wagener – mixing
- Mark Wilzcak – assistant mixing engineer
- Mike Gillies – mixing of digital reissue bonus tracks
- George Marino – mastering, remastering on 1995 reissue
- Peter Mensch – cover concept
- Don Brautigam – cover illustration
- Ross Halfin; Rich Likong; Rob Ellsi – photography
|Canada (Music Canada)||6× Platinum||600,000^|
|United Kingdom (BPI)||Gold||100,000^|
|United States (RIAA)||6× Platinum||6,000,000^|
*sales figures based on certification alone
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- The first web page presents the sales figures, the second presents the certification limits:
- "British album certifications – Metallica – Master of Puppets". British Phonographic Industry. Enter Master of Puppets in the field Search. Select Title in the field Search by. Select album in the field By Format. Click Go
- "American album certifications – Metallica – Master of Puppets". Recording Industry Association of America. If necessary, click Advanced, then click Format, then select Album, then click SEARCH