Go ahead: Do a spinal tap joke “No more black” when talking about the 1991 album named after Metallica. It was not just the cover but the melodious emptiness of the band that dug Dopy unrooked. And it’s the mainstream of Metallica’s vague romance and its intricate thrash-speed aesthetics that make the so-called “Black Album” now a mega-celebration, a 30th anniversary remaster (complete with hundreds of studio outtakes and live rarities) and an all-around 53 Tribute package featuring John artist Moros Metal’s twilight twilight.
The super-deluxe “Metallica” is a handsome kit for passionate fans because it covers everything from interviews with David Frick’s band to hitting the mechanical versions of major cuts like “The Struggle In”. Want to hear “Enter Sandman” with a slightly different Kirk Hammet guitar single, or a sketchy demo of “Sad But True” (July 6, 1990, Writing in Progress)? They are here.
But the main anniversary attraction is “The Metallica Blacklist”, where a large number of cover artists are scattered across 53 tracks, with some collaborator-Metallica detaching and reorganizing only 12 songs from the 1991 epic. Again, 100% of its income goes to each of the artists ’personal charities.
Metallica’s mesmerizing voice was her calling card, whether it was the band’s complex prog-thrash exploration before 1990 or the liner, Minar Black album. The overall effect of listening in 53 ways on a black album can be numbing সু with the orderly complexity of the song and James Hatfield’s wake-up-two-night dream song. Yet artists of different genres have somewhat fancy ideas to adapt their own versions of Metallica, and to recreate the electric passion of Hatfield, creating two adventure programming and listening.
One of the best examples is “nothing else.” The track was beautifully arranged by Michael Kamen in 1991, with a base-heavy mix by Metallica producer Bob Rock. In 2021, “The Blacklist” welcomes Olympic alternate-goddess Phoebe Bridgers, Depach Mode frontman Dave Gahan and Miley Cyrus’ superstar units, Watt, Elton John, Yo-Yo Ma, Red Hot Chili Paper Drummer Chad Smith and Metallic. At the party with variety.
Elton’s signature theatrical piano and Miley’s trademark Marlboro-and-Merlot roar that you’d expect from this team. That’s right – smoking and humming. Gahan’s slow-burning baritone and the restless majesty of the track also suggest that there may be some D-mode jams during rehearsals. It’s Bridger, though, who is most surprised by the string-laden, minor-key, piano-filled chamber-ballad version that actually sounds like HBO’s “legacy” theme song. Its slip-sliding vocals are double-tracked for maximum consistency, and as Bridger’s tiny, vibrating track is created with electronic rhythm and volume, the play of the metallic melody becomes louder, until it ends strangely.
This fresh tribute package includes some lively and innovative presentations. Saxophonist Kamasi Washington has turned “My Friend of Egypt” into a hilarious, Gill Evans-Esku, big band-arranged wonder whose small words may match David Bowie’s mournful, avant-garde “Blackstar.” As far as the instrumental cover goes, Rodrigo Y. Gabriella’s twin guitarists recreate the once-dense “The Struggle Indie” in a flute-fingered, choppy tango. Of course, the team always does what it does on the metal cover, but it’s no less enjoyable to hear that skill here again.
The low-voiced papyrus comes with a Latin voice in his throat (and a snippet of Hatfield’s own recipe original), before Colombian Wonderkind J. Balvin’s “Wherever I Can Go” suggests his Middle-East-inspired psychedelic conspiracy. The lyrics of the song “The Unforgiven” (to say nothing of Sonic Vision) by Ghana-American space-soul coroner Mosa Sumni are more terrifying than the originals of Metallica.
Jason Isabel and 40,000 units quickly transform the native magic through knitting, “Sad but True”, a pulse hiccuping shuffle and a mangy slide guitar that can lift Dwayne Alman from the grave. Interestingly, on the cover of her “The God That Failed”, Irish rockabilly singer Imelda May found favorable results with similar rhythms, but with a much more stylish attack. And speaking of blunt attacks, Colombian rocker Juanes and pop-soul wild child Alessia Cara manipulate the crunching versions of “Enter Sandman” faster, thicker and heavier than the visor rot metal cover in the collection.
And before we move too far away from the sound of the country, the captivating Mickey Gaiton, the gentle Darius Rocker and the gut shot Chris Stapleton all beautifully make Tongi “nothing else”. In its recent blue-eyed soul catalog, Barry Gibb, like “Greenfields”, Metallica can reconsider its past through a purely calculated lens and move away from it.
Other artists play live metallica here, and sound like Happy Hour’s cover band, Ghost or Cage the Elephant. Some have sought to create horror words like Metallica, and just surprisingly, the version of St. Vincent’s “Sad but True”, which features his recent “Daddy’s Home” as a deadly electro-funk. Album
For such a long package and with so many diverse artists, however, there is not much wrong with this “blacklist”. It can be a noise; Instead, taking their hints from Metallica, the curators and cover artists of “The Metallica Blacklist” acted like alchemists to turn base metal into gold.