Showing posts with label james hetfield. Show all posts
Showing posts with label james hetfield. Show all posts

Tuesday, March 25, 2025

Flannery O'Connor

Happy 100th, Flannery O'Connor. I'm fascinated by artists who use the language and themes of religious texts to articulate their own personal struggles with the church—Flannery, Nick Cave, Sinéad O'Connor, and of course James Hetfield. I didn't have anything about Metallica's spirituality in my book proposal, but once I started getting more in-depth with my research (particularly after reading John Van Sloten's The Day Metallica Came to Church) I knew I had to include a chapter about it in my book. Of course I included a Flannery O'Connor quote.


Cake courtesy of Fordham.

Monday, March 17, 2025

Phil Lynott

Happy St. Patrick's Day. Here's James Hetfield kissing the Phil Lynott statue in Dublin, pictured next the single for Metallica's version of "Whiskey in the Jar," featuring a collage of Metallica's bad reviews in the album artwork. If you haven't seen the Phil Lynott movie Songs for While I'm Away, which features James as a commentator, it's well worth your time.





Tuesday, March 4, 2025

George Lowe

RIP Space Ghost Coast to Coast's George Lowe, who had the honor of interviewing both Metallica and Body Count.




Friday, January 31, 2025

Marianne Faithfull


I first heard her unmistakable voice on Metallica's "The Memory Remains." She was the first-ever guest singer on a Metallica album (still the only one besides Lou Reed), and got to add her own lyrics, quoting from the film The Misfits. Metallica were considering Patti Smith, Joni Mitchell or Courtney Love for the song, but picked Faithfull off the strength of her 1996 album 20th Century Blues. She partied with band in Dublin and reportedly had some great rock star stories—James called her "a very intense character." Thank you for your life, Marianne Faithfull.


Thursday, April 23, 2015

Metallica, "Wherever I May Roam"

7 Days to Find a Home



James Hetfield's self-empowering anthem depicts a vagabond unbound by commitment, material possessions or any authority: Invictus as a headbanger. Employing an electric sitar and twelve-string bass over an undeniable hook, Metallica's unconventional arrangement still sounds like a single entity, six minutes of metal power without as much as a blast beat or even a scream. Some of the weirdest, tightest one-man vocal harmonies this side of Prince. A sitar on modern rock radio. On the Black Album, Metallica was honoring the Beatles and subverting them, claiming their place as the biggest band in rock by writing their own rules (sometimes with a sitar). They lived impervious to trends and created new ones.

"Wherever I May Roam" is arguably the highlight of the Black Album, even over the signature "Enter Sandman" and "Nothing Else Matters", or the classic "Unforgiven" and "Sad But True". Out of the entire album, "Wherever I May Roam" sounds the least like any other Metallica songs, and therefore is the most Metallica-worthy, knocking out metal conventions, preconceived notions and mainstream pretenders by trying something completely different. It's a sense of adventure that complements the lyrics, and one that has come closest to defining Metallica, for better (The first five studio albums) and worse (the next three) over their entire career. "Wherever I May Roam" emphasized the fact that Metallica could keep adapting their music without conforming to anyone else's standards.

It also helped establish an influence that has stood unmatched in metal over the past 20 years. "The song is probably the closest thing to a personal anthem for me," wrote metal intellectual/wanderer Cosmo Lee. "The Phrygian-flavored intro is delightful; years of metal have made Phrygian modes feel much more natural to me than standard major/minor scales. But when it shifts up a half step at :58, it feels like a wonderland opening up – which connotes the openness of the road that the song celebrates."


Thursday, April 9, 2015

Aerosmith, "Home Tonight"

21 Days to Find a Home



Spin magazine (probably Chuck Klosterman) has my favorite quote about Aerosmith's Rocks, which I'll paraphrase here: They'd one day get their own roller coaster at Disney World, but on Rocks Aerosmith were their own roller coaster.

It doesn't have as many hits as Toys in the Attic or Pump, but Rocks is their best album, Aerosmith at their wildest, loudest and hardest (hell, even Testament couldn't make "Nobody's Fault" sound heavier). After "I Don't Want to Miss a Thing," it's easy to forget that Aerosmith made an album that inspired Slash, James Hetfield and Kurt Cobain to pick up guitars, but with one to Rocks I wonder why anyone remembers "I Don't Want to Miss a Thing" at all. It's the only Aersomith album to have only one power ballad, and like everything else on Rocks it's a doozy, with vocal harmonies that deserve the Mick and Keith comparisons and one of Joe Perry's most transcendent solos. Listening again, I can't blame them for going soft after Rocks--how were they ever going to top this?


Sunday, June 29, 2014

Metallica at Glastonbury

30+ years into one of the most remarkable careers in the history of recorded music, Metallica is still offending more people than any other metal band. At this point, being one of the most popular bands in the world should have rendered them innocuous, but as their headlining spot at Glastonbury this weekend proved, they're still causing more uproars and infuriating more listeners than Watain or Burzum could ever dream of.

I love this t-shirt they sold at the show, honoring the elitists in Mogwai, The Guardian and even Judas Priest, who fumed at the idea of Metallica headlining a hippie-themed festival (front and back image courtesy of Blabbermouth).


Metallica also addressed a widely-circulated internet petition urging the festival to ditch the band over James Hetfield's choice to narrate a History series on bear hunting. While animal rights activists (who apparently cared more about associating themselves with a high profile event than actually doing anything for animals) got up in arms, Metallica filmed an intro video with Julien Temple (The Great Rock 'n' Roll Swindle, The Filth and the Fury) poking at the controversy. It's pretty silly, but it made me smile to see the band have fun in the face of adversity, even a small one like this.



And of course, the show looks and sounds incredible. What a band.


Saturday, February 1, 2014

Saturday, August 31, 2013

Megadeth, "Sweating Bullets"

What a weird, weird song.



A lot of metal press this month has been dedicated to the fact that Megadeth are now downtuning their songs to accomodate Dave Mustaine's deteriorating vocals. This isn't a new practice in music, or one that's exclusive to metal. But many are taking it as an opportunity to haw about how Mustaine can't sing anymore, which is true, or about how he never could sing anyway, which is not true.

Even Mustaine, in rare moments of humility, has said that singing is not his strong suit. While his chops (1983-present) and songcraft (1983-1997, 2004 and 2009) are without question the qualities that earned him his metal god status*, I'd argue that his vocals were a close third. In Megadeth, Mustaine was the first metal vocalist to talk-sing his way into people's minds, breaking down as many barriers for what a vocalist could do in metal as Bob Dylan did in rock n' roll. He doesn't have Tom Araya's range or James Hetfield's force, but neither of those singers--or almost anyone else, really--could handle a song like "Sweating Bullets" without being laughed off. For decades, talented singers have been embarrassing themselves by trying to talk their way through a song (Bono in the middle of The Joshua Tree comes to mind). But somehow when Mustaine starts talking, he turns "Sweating Bullets" into one of Megadeth's biggest hits.

Maybe it's that he's convincingly insane. We didn't know how far off the deep end he'd go until he became a born again Christian, but when he starts talking to himself ("Hello me, meet the real me...Hello me, it's me again...Well me, it's nice talking to myself!") it doesn't sound like he's faking it. That main riff, which more than one reviewer has compared to the comic rimshot, is underplayed by Megadeth standards, emphasizing that the leader might actually have lost his mind. But this song is all about the unforgettable vocal performance from Mustaine, back when he was vocally gifted and likably crazy. He'd never be asked to join  Yngwie Malmsteen's band, but that's not the kind of singer Megadeth needed anyway.

*Non-fans would probably say his hair.

Tuesday, August 6, 2013

Body Count, "Cop Killer"

Mike Huckabee is generally one of the most loathsome social conservatives in America, but he surprised me a few years ago on Morning Joe with his comments about Rev. Jeremiah Wright, then-candidate Obama's hotheaded former preacher who was actively claiming that the US Government invented AIDS and that America deserved the 9/11 attacks. Without defending Wright's statements or linking his agendas to Obama's, Huckabee delivered the wisest message that I heard about the whole ordeal.

"One other thing I think we've got to remember," Huckabee told Joe and Mika. "As easy as it is for those of us who are white, to look back and say 'That's a terrible statement!'--I grew up in a very segregated south. And I think that you have to cut some slack--and I'm gonna be probably the only Conservative in America who's gonna say something like this, but I'm just telling you--we've got to cut some slack to people who grew up being called names, being told 'You have to sit in the balcony when you go to the movie. You have to go to the back door to go into the restaurant. And you can't sit out there with everyone else. There's a separate waiting room in the doctor's office. Here's where you sit on the bus.' And you know what? Sometimes people do have a chip on their shoulder and resentment. And you have to just say, I probably would too. I probably would too. In fact, I may have had more of a chip on my shoulder had it been me."



I wonder if Huckabee would have defended "Cop Killer." Today it's remembered as a historical relic, the finale of Ice-T's punk metal album that launched a thousand free speech debates and sparked public condemnation from President George H. W. Bush and Vice President Dan Quayle. No one seems to care that it was quickly taken off pressings of Body Count (the internet has kind of made that fact irrelevant), and no one remembers that their invitation to the Metallica/Guns N' Roses stadium tour started a press war between those bands' leaders, culminating in Axl Rose calling James Hetfield a racist from the stage. "Cop Killer" rarely gets mentioned or written about today, not even in the summer of the George Zimmerman trial and Fruitvale Station.

That's a shame, because musically, "Cop Killer" is one of the best hardcore songs that I've heard. It's got a perfect bar fight riff, and the machine gun drums are as thrilling as they are unnerving. Ice-T sounds like the most charismatic MC on the planet, the kind of guy who would beat Jay-Z to "99 Problems" by eleven years. In high school, I even liked the lyrics. I would compare them to something like Scarface, an amazingly campy violent movie. Yet today, I don't like Scarface anymore, and I've never liked Reverend Wright, but I still like "Cop Killer."

Like a lot of Body Count fans, I was too far removed from Ice-T's situation to think of "Cop Killer" as anything other than a gleeful prod to the stodgy system, too over the top to be taken as serious social commentary. But now I hear it the way that I hear my favorite metal, punk and hip-hop, as someone blowing off steam. Someone managing the harshest realities of their existence by going there. It's not the call to arms that President Bush feared that it was--if Ice-T really believed in killing cops, he would have done it himself. I'm glad that he was able to talk about it instead.

Saturday, August 3, 2013

James Hetfield, "Don't You Think This Outlaw Bit Has Done Got Out of Hand"

James Hetfield turns 50 today, and I'm sure that you won't have to go far to find online tributes to him and his remarkable career. There are an abundance of killer Metallica songs to celebrate with, but today I'm honoring him with the only solo song he ever released, a cover of Waylon Jennings' "Don't You Think This Outlaw Bit Has Done Got Out of Hand" for the tribute album I've Always Been Crazy. When I write solo, I actually mean solo--this is James playing all of the instruments.



As some point in the next half of his career, I'm guessing that James will do a classic rock or outlaw country record. That baritone would be better serviced by something like "Simple Man" than "Metal Militia" in 20 years. At best, he could pull off a Hetfieldized equivalent of Johnny Cash's records with Rick Rubin.

Case in point: "Don't You Think This Outlaw Bit Has Done Got Out of Hand." James nails the unwieldy chorus, and provides everything that one could hope for in a cover song--a tribute to the original, with the cover artist's own stamp on it. Hetfield turns the singsongy tune into hard-charging country metal, a few years before David Allan Coe and 3/4 of Pantera tried it on Rebel Meets Rebel. I also like Hetfield's Waylon selection. It takes major cojones for a metal god to not just cover a country song, but to pick one with a message about not being as badass as your listeners perceive you to be would be unfathomable for any other thrash metal musician. Nowhere on record is James' lack of self-consciousness better displayed. He makes blending rock and country sound almost as effortless as Elvis did.

Happy birthday, James Hetfield. Still smashing through the boundaries.

Wednesday, June 12, 2013

James Hetfield's Instagram Account

Were I ever to join Instagram, the first account that I'd follow would be James Hetfield's, which he runs under the username papa_het_. It almost feels like a parody account (see PrinceTweets2U or ElBloombito), yet it's actually too goofy to not really be him. Keeping in line with his status as metal's least self-conscious frontman, James comes out as a middle-aged dad who just discovered photoshop and hashtagging, loves cars and guitars, tries to draw like Ralph Steadman and still thinks that adding letters to street signs with a sharpie is hilarious. He also makes faces that almost certainly humiliate his kids.

The gangly, leering adolescent on the back of Kill 'Em All would probably have been appalled by these pictures, but it's hard to not take pleasure in seeing him so happy. I usually like to know less about my rock stars' personal lives, and the ones who keep themselves shrouded in mystery are usually applauded for doing so (Axl Rose, Tool, Ghost). But looking over Hetfield's Instagram makes me like him even more.

Met Oliver and mom. 'Make a wish' / 'Starlight' from UK here at Orion. #mff #IronMaidenLegs #metallicaFamily #orionmusicandmore


 #finderskeepers #orionmusicandmore #mff
 

Karma! In my next life! #ThatsOneUglyCat #mff #wtf #AtLeastiCanLickMyOwnBallz


Het kidz and friendz unleashing a traditional TPing of a friendz house who just graduated high skool. #mff #Over100RollsServed #MomWillBeSoMad #MeOnCopWatch


Inking yesterday. After doing this It made me realized how any injury that's happened to me has been on my left side. #mff #motorbreathgallery #PapaInk


R. I. P. Jeff Hanneman #mff #StunnedAndSpeachless #Slayer #big4 #MetalBrother


Til next time Abu Dhabi / Dubai. #SoLongCamelToe #HadAblast #SendMySpeedingTicketsToLarsHouse

  
Face the Face that should not be! #FacePracticeForTour #BrrrEeeeaafffvvvvrrYeahea


Halloween 2009 blues brotherz. Me and Great friend Jim Breuer. Guess what's in the briefcase. #throwbackthurz #breuer #bluesBrothers #WutsInTheBriefcase

  
Captain Crunch inda howse! #letTheCrunchBegin #StupidStuff #wtf #StopThisAndGetWritingNewSongs


 James Blart , Mall Cop #dork


Papa Met wants YOU #tallica #photoshopboredom


 'The Mad Sharpie' strikes again #defacepublicproperty #art


 The 'Mad Sharpie' strikes again! #HQ #2tonBalls


Damn kidz! #SuckaPunched #NoRespect

Thursday, May 9, 2013

Ten Metal Bands to See Before You Die: Metallica

Seeing Metallica in the flesh is like finding out that Batman is real. It's acrobatic, a little cartoonish and employs a few gadgets and explosions. But the most remarkable thing about Metallica might be that, like the Caped Crusader, they give you the sense that you're watching incredible acts performed by mortals. These don't seem like guys with Odin-given talents--there isn't an Axl in this band. Their everyman status may have disintegrated several platinum albums ago, but somehow they can still play it when they take the stage.



Jerry Cantrell from Alice in Chains once noted that with James Hetfield, you'll never see a bigger rock star with absolutely no sense of ego to him. There are no messianic poses, no world-saving or intellectual pretenses, no make up or costume changes (or even costumes, for that matter). No ostentatious act about how what torments him is deeper than what torments you. Just a devastating blend of energy and intensity, that rare performer who can pull off Ready to rock and You will probably get killed before this show is over in the same moment. His chemistry with Kirk Hammett is amplified by 25 years of experience prowling arena stages together, plus a supernatural ability to make each of those stages feel as intimate as at the 9:30 Club.

Much is made of how Metallica are a "guy's band," and anyone who ever waited in line for the bathroom at the Wherever We May Roam tour will attest that that's a fair claim. But in concert, Metallica walks that line better than maybe any other band. It's the most masculine show that you'll see without ever getting macho. Sure, they write songs about war, horror, Hemingway, monsters, nonconformity and repressed emotions, but they never fall into the kind of arrogance, chauvinism or lunkheadedness that people tend to stereotype with metalheads. I'd offer Metallica as exemplary metal show to anyone, whether I wanted to terrorize or win over a nonbeliever.

No matter how many missteps Metallica record and publicize, they will always have one of the greatest discographies in rock music. Maybe one night you'll get "Trapped Under Ice," or "Dyers Eve," or maybe even "Jump in the Fire." There are three bands left in this feature (and if Lars had practiced his drums at all since 1991, maybe there'd be none), but no band in metal, or even the last 30 years of rock, has a stronger, deeper playlist to choose from. At this point, maybe Metallica shouldn't be able to give those songs the performances that they deserve, either from aging or world-weariness. But even if Metallica has stopped fighting to be the world's greatest metal band on record, they are still owning that title onstage. Every time they tear through "Creeping Death" or "Master of Puppets," you can tell what "Nothing Else Matters" is really about. If you care at all about rock music, for recreational or historical purposes, you need to see Metallica.

Tuesday, April 2, 2013

Five Great Videos of Fans Meeting Musicians



1. Crazy Russian Guy flips out over Dave Mustaine

Be sure to watch this one with subtitles. My favorite part is when he re-enacts one of Mustaine's legendary alleged fistfights. How often is Dave Mustaine the second-craziest guy in the room? Maybe not even here.



2. Black Sabbath Super Fan

This video of a Chris Farley-type meeting Dio-era Sabbath went viral a few years ago, to the point where if you yell out "THE GODS ARE HERE!" at a metal show, at least half the attendees will know what you're talking about.



3. Acrassicauda meets James Hetfield

All of you need to watch Heavy Metal in Baghdad, the tense and touching doc about four Iraqi headbangers fighting the Hussein dictatorship's ban on heavy metal in one of the most dangerous parts of the world. Thankfully, the boys were granted refugee status in the United States, where they met James Hetfield and made some of the greatest faces that I've ever seen.



4. Crashing with Andrew W.K.

This could be an entire list of Andrew W.K. encounters, who even hosted his own MTV2 show specifically about meeting and helping fans, Your Friend, Andrew W.K. That concept, however, may have stemmed from Crashing with Andrew W.K., a special where our host spent a few days in a girls' dorm at North Carolina Central University. This idea deserves a full-length movie.





5. The Red Hot Chili Peppers on FANatic

Nobody talks about FANatic anymore, but in the late '90s it was one of the last watchable programs on MTV. Every episode gave a few megafans a chance to meet their heroes, and of course the craziest fanatic was there for the Red Hot Chili Peppers. Keep an eye on that clipboard, and be sure to stick around for the ending. If any of you can track this guy down, please tell me what he's up to.

Wednesday, March 20, 2013

Every James Hetfield "Yeah"

I've listened to this more times than I care to admit since a few friends sent it to me last week. My favorite part is when he goes country for "Tuesday's Gone."



Also, if anyone can tell me what Metallica rarity the compiler left out (where "Yeah" is the only lyric, actually), I'll send you a mix tape.

Sunday, February 10, 2013

Metal at the Grammys

The word "Grammy" will earn a groan from anyone who takes music appreciation seriously, and if I add "metal" to this sentence, most of you will stop reading all together. Yet Chris Weingarten's spot-on New York Times piece on the Grammys this week reminded me that maybe the most laughed-at awards show in American entertainment has one truly great metal moment.

People who can't name two Jethro Tull or Metallica songs know the story of how the first-ever metal Grammy went to the mandolin and flute-wielding Tull over Metallica. But Metallica's performance that night, the first time they were seen by millions of viewers, is almost as strange.



Playing "One" in what looks like half of a steel cage, Metallica don't sound much like the juggernaut that they were in the 1988. An unassuming James Hetfield tries not to eye the camera and lets out one expletive, either out of nervousness or subversiveness. You don't see him in his element until the second movement, which he introduces with a Nick Cave-worthy scream. I wish I had reaction shots from the viewers who had just watched Whitney Houston and Linda Ronstadt.

A few years later, when Metallica won their first Grammy, the Recording Academy remained noticeably clueless about metal. In the minute before Metallica accept their award, we see Robbie Robertson's praises of metal greeted with silence from the audience, Megadeth's name being mispelled and individual songs thrown into a category with full-length LPs. At least Lars Ulrich, in one of his last ever underdog moments, had the graciousness to thank Jethro Tull for not releasing an album that year.

Saturday, January 19, 2013

Metallica, "Don't Tread on Me"

President Obama's official inauguration playlist has been released, and most of it is garbage. Outside of the obvious Stevie Wonder and Beyoncé choices, it's the usual hodgepodge of blander-than-bland pop hits strategically picked to offend the least amount of people. Barack may have won the election, but whoever put this playlist together obviously still thinks he has to pander.

Unlike Congress, I won't criticize the President's actions unless I have a better idea. Here it is.



"Don't Tread on Me" is a patchwork quilt of American proverbs, taking its title from the Culpeper Minutemen, lifting its first eight bars from Leonard Bernstein's "America" and depicting our country as the rattlesnake on the Gadsden flag, which is also honored on the cover of the Black Album. "Liberty or death, what we so proudly hail...To secure peace is to prepare for war..." Hetfield must have had an ninth-grade history paper sitting around.

Upon its release, "Don't Tread on Me" earned a minor backlash for its staccato, two-note riffing and a simple-minded view of patriotism, heard as a disappointment for a band that had confronted social injustice, warmongering and anti-environmentalism on ...And Justice for All. "We got people calling us 'jingoistic,'" Kirk Hammett told Rolling Stone. "That was definitely a word we had to look up." Perhaps unsurprisingly, the band doesn't like this song, never playing it live until their Black Album anniversary shows in 2012.

But "Don't Tread on Me" is exactly the kind of underappreciated anthem that deserves a comeback on the inauguration playlist. What better way to celebrate the inauguration of a President than with a patriotic hymn from a band that has been independent-minded enough to dissent and loyal enough to cheer on separate occasions? Plus, it would help take the Gadsden motto back from the Tea Partiers.

Saturday, January 5, 2013

Derek and the Dominos, "Layla"

Emma is a (literally, I fear) sleepless humanitarian. I won't hear from her for months, or even years at a time, but sometimes she'll call me when she's 15 minutes away from my home, stopping by New York for a quick UN Conference in between ecology work and community organizing in South America. She's one of the most accomplished people that I know, but she's never heard "Layla."



With the restless energy of a pixie, Emma was gushing to me about listening to Eric Clapton's Unplugged record on the way to New York, which includes a popular version of "Layla" more in tune with blue-eyed blues and and soft rock that Clapton is currently akin to. I grumbled something about the original being better, and her reaction was the musical equivalent of when someone finds out that a movie they cherish was originally a book.

Who dares talk about "Layla" anymore? Who talks about "Smells Like Teen Spirit" or "Satisfaction?" There's not much that I can say that hasn't been said better (I like Robert Christgau's 1970 review and Chuck Klosterman's "The Ninth Day" chapter in Killing Yourself to Live). But today I'll write that I love both how innovative and how traditional "Layla" is. It's a proto-metal song that's catchy enough for Beach Boys fans, a plugged-in, blues-based shuffle with Duane Allman on guitar and a sonata's worth of movements. When Martin Scorsese uses Jim Gordon's piano segment to emphasize a montage in Goodfellas, its closest companion is the use of Mascagni in Raging Bull.



That blend of classical and anti-establishment sensibilities has been distinguishing metal for decades. Years after he praised "Layla," Robert Christgau trashed Metallica's Master of Puppets in his Consumer Guide, writing that the band's "stock in trade is compositions not songs" and that he was "no more likely to invoke their strength of my own free will than I am The 1812 Overture's." Eric Clapton should be as proud as James Hetfield and Tchaikovsky.

Monday, November 5, 2012

Top Five Metal Movie Cameos

1. Alice Cooper in Wayne's World

Everyone remembers this scene for Alice's mild-mannered discourse, but the part that I could never get over is that Wayne and Garth head backstage while Alice is still playing "Feed My Frankenstein."





2. GWAR in Empire Records

Ever try to explain GWAR to someone? It never works, but I still try, and I usually start by asking if they've seen this movie. Easily the best scene. (Also, didn't realize until now that Daniel Johnston's "Rock 'n' Roll/EGA" is juxtaposed with "Saddam A-Go-Go" here. Brilliant.)




3. James Hetfield in South Park: Bigger, Longer and Uncut

Metallica's frontman tells Kenny that he's going to Hell, the consolation being that he'll still get better music than the angels.




4-5. Ronnie James Dio and Dave Grohl in Tenacious D in The Pick of Destiny

One terrible movie bookended by a Ronnie James Dio poster coming to life and Dave Grohl playing one of the all-time best Beelzebubs. YouTube clips were invented for movies like this.



Monday, September 17, 2012

Song of the Day: Metallica, "Fade to Black"

"It’s a suicide song, and we got a lot of flak for it, (as if) kids were killing themselves because of the song. But we also got hundreds of letters from kids telling us how they related to the song and that it made them feel better."  --James Hetfield



For Bunski.