After the band cut their hair in advance of the 1996 single “ Until It Sleeps,” Alice in Chains bassist Mike Inez showed up for his group’s MTV Unplugged taping with “ Friends don’t let friends get friends haircuts…” written on his instrument. Feelgood, to assist was a major apostasy to devotees of “Disposable Heroes” and “Trapped Under Ice,” the first of a decade’s worth. Asking Bob Rock, who mixed Bon Jovi’s Slippery When Wet and New Jersey and produced Mötley Crüe’s Dr. You could argue that 1991’s diamond-selling Black Album and everything since then are a reaction to the fierce love for Metallica’s starting four ( Kill ’Em All, Ride the Lightning, Master of Puppets, …And Justice). But the tragic 1986 tour-bus crash that claimed the life of bassist Cliff Burton and the exacting bleakness of 1988’s … And Justice for All, which introduced Jason Newsted as Burton’s replacement, drove Metallica to abdicate the thrash-metal throne, a decision the band’s most recent works, including this week’s new 72 Seasons, have been loudly reconsidering. Together, they learned what made their predecessors and peers tick and systematically set about beating everyone at their own game, crafting faster, darker, and longer songs while rejecting the image-consciousness of the glam-metal acts dominating the charts at the time.
It was the perfect storm: Drummer Lars Ulrich, descended from Danish tennis pros, had the tenacity and the means to follow Motörhead on tour and study the deliciously distorted riffs and punk-rock tempos of the British New Wave singer-guitarist James Hetfield grew up in a religious family in Southern California fixated on faith and fatalism. Their ’80s classics combined the reckless speed and impressive technicality of European acts like Saxon and Iron Maiden with a Reagan-era flair for the macabre. What do we want from Metallica? The question has plagued the California quartet for decades.
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