Metallica are fascinating band. For many years, they have remained the biggest metal band in the world – no small feat, whatever your opinion of them. While there can be no denying that Metallica’s most successful and most consistent albums came within the first 10 years of their existence, they have continued to produce some excellent material. Some unfairly maligned, some more inconsistent.
This countdown covers the 11 original studio albums by the band (that means no Lulu and no Garage Days) and was written shortly after the release of 72 Seasons, so its final resting place in my countdown may change over time.
11: St. Anger (2003)
While it is easy to criticise St Anger now when comparing it to the standard of any previous Metallica album, it should not be forgotten that there were some critics (who later tried to deny it) that lauded this album upon its release, claiming this was the band evolving again after the hard rock experimentation of Load and Reload. From the outset however, the vast majority of fans did not take well to the raw, almost demo-like sound of St. Anger. Some Kind of Monster (the film), may have gone some way to explaining the reasons this album took so long to emerge and the visceral, relentless onslaught throughout its running time.
There are good songs on this album but they are utterly stifled by Lars’s abysmal, brain-numbing drum sound, the lack of guitar solos and the inability (or lack of will) to create any space on the album to allow anything that was half-decent to breathe. Inevitably, this lead to an album which was difficult to listen to in one sitting and it probably remains the least listened to album in many Metallica fans collection.
Three favourite tracks: Frantic, St. Anger, Sweet Amber
10: Reload (1997)
When Load was released, it was an album that split the fanbase. Those who wanted them to endlessly produce another Master of Puppets or …And Justice for All, were never going to buy into this change of direction. It is interesting to note that three of the Big Four strayed far from their original thrash origins during the 90s but, by far, Metallica received the most criticism. Reload comes across as exactly what it is – largely, a collection of songs and ideas that did not make it onto Load.
That is not to say that Reload is an album without merit; all the albums in my top ten have some resonance with me. Fuel remains an energetic, simple but effective rock track that works even better live and some of the quieter songs are amongst the best here. The track that seems to be ever popular with fans that simply has never clicked with me is The Memory Remains. It is not terrible; it is not great – it merely exists.
Ultimately, Reload did nothing to draw back in the fans who had deserted Metallica with the release of Load but what was to come next (albeit it not for another 6 years) would alienate many of their listeners like never before.
Three favourite songs: Fuel, Low Man’s Lyric, Attitude
9: Death Magnetic (2008)
The backlash (which at times reached quite ludicrous proportions from some quarters) to St. Anger must have left Metallica (particularly Hetfield and Ulrich) wondering where to go next. The fans had made their feelings clear since the album’s release and the paucity of songs from the album played on the associated tour (and indeed every tour since) displayed a lack of faith in the new material from the band themselves. Death Magnetic is not a faultless album but it is a sizeable improvement from its predecessor. By rejuvenating the band’s career and the fan’s faith in the band, it more than delivered on its promise.
Rick Rubin was hailed as saviour when it was announced he would be producing the album (it was one of the wisest decisions the band made not to use Bob Rock again as he had become too close to the band) and while Rubin may have been partially influential in the direction of the album, the final sound has long been considered to be a victim of over compression. Nevertheless, the quality of the material stood for itself and although this is the point where (similar to modern day Iron Maiden) Metallica began to write songs which were often overlong (and would have benefitted from a more hands-on producer), it was a joy to witness the melodic interplay between the two guitarists again and as all songs were credited to all four members (something that was largely unthinkable a few years previously), it felt like the band (with Robert Trujillo fully contributing to the album) were a complete team once again.
Three favourite songs: The End of the Line, The Day That Never Comes, All Nightmare Long
8: Hardwired…To Self-Destruct (2016)
Metallica in no way disappeared between the release of Death Magnetic and this album but 8 years was a long time to wait for devotees eager to see how the band would follow up the well-received opus from 2008. First single from the album (Hardwired) unequivocally answered any questions about new material they may have. This was Metallica with all the rancour and venom from thirty years before, while still not sounding like a nostalgic version of themselves. The two other songs released before the album (I still do not agree with so many tracks being released prior to any album – in many instances I avoid them) furthered the case that Metallica could still compete with much younger bands.
While still occasionally suffering from the need to edit some of the track lengths (some tracks could easily lose two or three minutes) the material here sounds fresh and inventive but perfect for modern day Metallica. Whether (at a mere three minutes longer than Death Magnetic) it was truly necessary to make this a double album could be debated but giving fans the choice to play one or both discs helped dismiss some of the concerns about song length. Overall, disc one is the stronger and perhaps realising this, the band put the complex and thrash-like Spit Out The Bone (released as a single almost a year after the album had debuted) at the end of disc two. If Death Magnetic brought Metallica back online, then Hardwired…To Self-Destruct sent them viral once again.
Three favourite tracks: Now That We're Dead, Moth Into Flame, Spit Out The Bone
7: 72 Seasons (2023)
Being in Metallica must be both a blessing and a curse. Whatever type of album they produce, the scrutiny will be intense. Virtually identical in length to Hardwired…To Self-Destruct, the band reverted to the single disc format and once again, there is a lot of material to digest with several songs long than they probably need to be. However, this is a more consistently satisfying album than its 2006 counterpart. It is not only a good Metallica album, but also an extremely solid heavy metal album full stop.
Since the release of Death Magnetic, Metallica (unlike some of their short-sighted fans who endlessly clamour for a Master of Puppets or Ride the Lightning facsimile) have found the balance between producing material which incorporates the original heart and soul of the band and their modern sound. With each release since 2008, they have been increasingly successful at maintain this equilibrium across the entirety of an album. Lyrically, this is not unfailingly the strongest offering in the band’s catalogue but as Hetfield’s most introspective album, it also draws the listener in further with every play . To some old school fans this may be far removed from the heady heights of the 1980s but it is worth noting that, year after year, Metallica continue to draw in new teenage fans and many more will join the cause on the back of this album. Hetfield (a few months away from his 60th birthday) sounds vibrant and engaged and Metallica continue to do things their way, having enormous fun in the process.
Three favourite tracks: 72 Seasons, You Must Burn!, Room Of Mirrors
6: Load (1996)
As it was the follow-up to The Black Album (1991), it is easy to forget that the 90s were more than half over by the time Load was released. The musical landscape had changed dramatically and many metal bands had not survived or had radically altered their sound. As the newly crowned, biggest metal band in the world, Metallica were under the microscope like never before. Load was as much a progression in their sound from the Black Album as the Black Album was from …And Justice For All. Those fans who had baulked at The Black Album, were most likely apoplectic when Until It Sleeps (new logo included) was released in Spring of 1996.
It is not unusual for bands to lose and gain fans during a long career and more was to come (short hair and eyeliner) for those that could not see beyond the image (although admittedly the album cover is dreadful) and many did not even attempt to engage with the music. While Metallica had undoubtedly spread their musical wings (Mama Said influenced by James Hetfield’s love of country music, for example), there was still much here for fans of heavy metal (who were prepared to dig a little deeper) to enjoy.
It’s often been said that an amalgamation of the best tracks on Load and Reload would have made a great album overall. Each fan would have their own track listing but allowing for 14 tracks and a running time that would fit on a single CD, a link to my attempt can be found below.
Three favourite tracks: Until It Sleeps, King Nothing, Bleeding Me
5: Kill ‘Em All (1983)
Not many bands can say they have spearheaded the popularity of an entire genre but there can be no denying that Metallica were at the forefront of thrash metal and are rightly held up as one of its finest exponents. For a band less than two years old, they had already gained a cult following and the songs here had been finely honed through many live performances.
An abundance of classic thrash metal riffs defies the age of the members of the band. In Summer 1983, Hetfield was 19 (and already one of the best rhythm guitarists in the world) and Hammett 20 when Kill ‘Em All was released. That Hetfield and Ulrich (along with a certain Mr Mustaine – who would not feature on the album but whose presence is felt throughout) could have written such classics as The Four Horseman, Hit The Lights and Seek and Destroy at such a young age demonstrates the song writing muscles they were already stretching.
Dynamic and primal, Kill ‘Em All is the sound of a future world dominating band exploding and screaming into life.
Three favourite songs: The Four Horsemen, Phantom Lord, Seek and Destroy
4: Metallica (The Black Album) (1991)
Accusations of selling out were old news for Metallica well before they even started to write The Black Album. The inclusion of Fade to Black on Ride the Lightning already (and ludicrously) had some fans questioning the band’s commitment to the cause. Lars Ulrich has often stated that they looked at the track lengths on Justice with pride after seeing how far they could stretch them. …And Justice For All (as far as the band were concerned) had taken the band as far as they could in the direction they had been heading. With The Black Album, Metallica (largely at the suggestion of their management) used Bob Rock to take them to a place that Flemming Rasmussen or Metallica alone simply could not reach.
The Black Album is Metallica at their most slick and most polished (now also fully embracing the music video format and the benefits it could bring) but with the songs, riffs and style to back it up. This was their shot at the title and it delivered a knockout punch in the first round. It is a consistently strong album for the most part and for a while Metallica were not only the biggest metal band in the world but the biggest band of them all. The Black Album gave them the freedom to do whatever they wanted for the rest of their career.
Three favourite tracks: The Unforgiven, Nothing Else Matters, The God That Failed
3: …And Justice For All (1988)
Justice holds a special place in my heart as it was my first Metallica album. Having recently discovered various rock and metal bands (not least Iron Maiden), Metallica was a logical next step. They first came to my attention with the release of the lead single, Harvester of Sorrow. It was unlike anything I had heard at the time and 16-year-old me found it unreservedly absorbing. At the time, I paid no attention to the slightly tinny production as the music was so wonderous. It is still one of my favourite Metallica singles.
When the album was released, it was a revelation to me – opening my eyes to a sub-genre previously unexplored. Maiden had recently released Seventh Son of a Seventh Son (one of my favourite albums of all time) but Metallica offered something entirely different. Everything about their album (from the artwork) to the darker, more obscure lyrics was enticing and riveting. My love of the album was secured when I saw the band live for the first time on the Damaged Justice Tour, on which they played many of the songs. Once I had been beguiled by this album, I started to work backwards through the Metallica discography, only to discover that even greater treasures awaited.
Looking back now, it is easy to criticise the production and the band’s decision to replace Cliff so quickly (not a slight on Jason Newsted – he is a valuable and essential part of Metallica’s history) but the songs themselves negate any of these concerns and they remain some of the best the band have ever written.
Three favourite tracks: ...And Justice For All, Eye of the Beholder, One
2: Ride The Lightning (1984)
Metallica’s second album was released a year (almost to the day) after Kill ‘Em All. In that time, the band had become infinitely better song writers and the step up in quality between the two albums was vast. While Kill ‘Em All, spat and bite with a raw, uninhibited toxicity, Ride The Lightning was an altogether more cohesive album with well-structured tracks. Six of the eight songs are rightly counted as Metallica classics (and other two (interestingly the only two which do not feature a writing credit for Cliff Burton) are no slouches – their lesser status is more likely due to the amount of times they have been played live rather than any question of them being merely filler – in the eyes of the fans at least).
Metallica’s understanding of song structure and use of light and shade had developed dramatically since the debut and it is not surprising that the album regularly battles with Master of Puppets for the top spot in many lists of favourites. At this point, Metallica were already unstoppable but what would come next would be truly ground-breaking.
Three favourite tracks: Fight Fire With Fire, For Whom The Bell Tolls, Creeping Death
1: Master Of Puppets (1986)
While the leap in quality from Kill ‘Em All to Ride The Lightning was impressive enough, the fact that Metallica managed to repeat the same feat enabled them to produce their masterpiece. Master Of Puppets is not only the best Metallica album, but also one of the best (maybe the best) metal albums ever made. Still in their early twenties, the quartet swept all before them with a towering tour-de-force that still stands above other stone-cold classics from the same year (Reign In Blood, Peace Sells…but Who’s Buying, and Somewhere In Time to name just three).
Metallica had already started to stretch the boundaries of the genre on Ride The Lightning and here they blew them wide open. Progressive, monstrous and wonderful from the opening of Battery to the conclusion of Damage, Inc., every second of Puppet’s almost 55 minutes is perfectly formed, positioned and performed. Aggressive and unrelenting one moment, melodic, heart-breaking and beautiful the next; it is a band performing at the peak of their powers. A truly flawless album.
Three favourite tracks: Master of Puppets, Disposable Heroes, Orion
Written: May 2023
Listen to my Metallica Through the Years playlist featuring my three favourite songs from each album in chronological order.