Metallica
Ride The Lightning

The CD broadly reintroduces the sounds of its predecessor, "Kill 'Em All," released the previous year. The differences are essentially in the fact that the sounds are less raw, the riffs by James Hetfield pose more difficulty both in execution and listening, Lars Ulrich's drumming demonstrates more technique and complexity, Cliff Burton (R.I.P.) and his bass lines dominate even more than the year before, and Kirk Hammet can shine by creating high-level solos, without needing to mention the name Dave Mustaine, who in "Kill 'Em All" had created almost all the solos (and not only that). Even Hetfield's voice seems much better in some tracks, while in others it harks back to the guttural roars of the first album which, yes, are very thrash, but for the ears were not the best, let's face it. Let's move on to the track-by-track review of the CD:

The second track is the title track of the album: "Ride The Lightning". A piece that leaves you breathless. The intro already lets you know what you're in for... Hetfield's riff is extraordinary, aggressive, malicious, it knocks you out. The drumming, which is not excessively fast, adds a great sense of listenability to the whole, but above all...Kerry King should take back his statement "Kirk Hammet is the most overrated guitarist to ever grace the cover of a music magazine". He should take it back, because the solo in this song is indescribable. The first part is executed with breathtaking tapping, Kirk plays a series of indecipherable notes in no time, then gives way to a slower, more enjoyable part, with great melodic taste. So honor to Hammet, who for the first time fundamentally contributes to a historic piece by his band. Fantastic track, apocalyptic, brilliant, a Title-Track that couldn't have been better.

The third song is "For Whom The Bell Tolls". Here, Mr. Clifford Lee Burton takes the stage... and how. There's never been a bassist like him, who drags other members in this way. Usually, the leading instrument is the guitar, well, not in this track. Those with good ears can hear that the first part of this piece is executed by Cliff's distorted bass, and not (as it might seem) by Hammet's guitar. The track is powerful, a great classic when it comes to the band's Thrash rhythmics... there's a lack of a true solo, as Kirk has gifted us many. In this piece, in fact, the rhythmic part is performed by the latter, while a semi-solo part just after the intro is performed by the rougher (yet very effective) James. A standout song for the band with the great Cliff as the protagonist.

Here comes, in my opinion, the highlight (along with the Title-Track) of the album: "Fade To Black". What a song guys... a real semi-ballad with guts, and also one of the most successful tracks by the Four Horsemen. The intro is of high quality, it gets us into the depths of its main melody, and into its heavy and pessimistic words, pronounced by a vocally never-so-fit James. The accompaniment, always performed by the latter, is melodically simple, but precisely for this reason gentle and easy to listen to. It's one of those pieces that bring people (who initially know nothing about Metal) closer to 'Tallica's genre, which is normally much rougher. Note the second part of the song, really remarkable the riff that marks the turning point of the track, becoming more energetic and less melancholic. Hammet's final solo is technically quite easy, but really spot on... and is best enhanced by a more than stunning accompaniment. Sensational as a whole, and it never tires.

Let's move on to one of the two most criticized songs on the album: "Trapped Under Ice". Actually, the piece is very enjoyable, Lars' drum is truly unleashed, and the overall sounds incredibly resemble the first Kill 'Em All. In my opinion, a valid track, enriched by occasional Hammet solos, not transcendental in originality, but always very appreciable technically. The whole song is driven by dizzying rhythms and catchiness reigns supreme, even if the historical rides and brilliant ideas that characterize other more famous tracks by the band are far away. A valid and enjoyable track, but nothing more.

The sixth track of the CD is the most criticized by critics: "Escape". It's indicated as a song that essentially serves to fill the album... well, these things in Metal I personally don't want to hear. Bands that use ridiculous songs to fill their CDs full of crap are just insignificant commercial groups (actually equal to zero). To me, in spite of criticism, I like this piece a lot. The initial riff is good, and even if it does not excel in anything, the bass and drum lines are more cadenced than usual, and therefore there's also some innovation in this piece. The chorus does not give any particular emotion, but if nothing else, it's very catchy. The solo perhaps is the sore point... Indeed the second part of the song is in my opinion a bit boring... this is undoubtedly due to Kirk's lack of inspiration, very good technically, but who sometimes indulges in unnecessary and melodically unappreciable virtuosity. The track definitely closes with a sort of echo of Hetfield repeating the words of the chorus, fading until it disappears, somewhat like the fantastic final solo of Fade To Black. In the overall context, a well-crafted piece, even if certainly not exceptional, with some praise and little disgrace.

The seventh track is a great classic of the American band: "Creeping Death". If you haven't heard this track you don't know what Metallica is. Perhaps slightly inferior to Ride The Lightning and Fade To Black, only because the first is a too charismatic and unreachable Title-Track, and the second is a grand innovation, the band's first Power Ballad, very successful. What to say about this piece instead? That it is as studied and inspired as one can think. The intro is truly of high caliber and plunges us into a terrifying atmosphere, of real death. The chorus is excellent, as is the guitar riff of the verses, the solo is very nice even if not excessively researched, the drumming is clockwork, and Cliff's bass is as usual the driving horse of a perfect machine. Truly great track, one of the best ever for this band, and not only.

The last track is "The Call Of Ktulu". Marks the return of Dave Mustaine's specter, that extraordinary musician who, before the release of the first album, had been escorted home, in favor of Kirk Hammet, and who a few months later, together with David Ellefson, would create Megadeth. This piece is entirely instrumental and was entirely written by Mustaine and the late Cliff Burton. It's the typical track that should be blasted into the ears of those who think: "But if there's no singer, what's the point?"... The point is that it's bloody Thrash Metal, raw and genius, from the first to the last note. Intricate riffs span a surreal and magnificent atmosphere, created by Burton's omnipresent bass. The solo halfway through the track is a masterpiece of speed and essentiality... Sharp as no other. This piece is another classic from the band, even considered the best by some critics, and much appreciated (but not worshipped) by the undersigned.

The album Ride The Lightning concludes this way, when the listener would have instead wanted to continue hearing much more Metallica-branded Thrash... That genre so technical and captivating, but above all angry, which almost no one has managed to replicate with this high quality. This work also served as an inspiration for many other bands, no less important, like Megadeth and Pantera, who, taking inspiration from "Ride The Lightning", the subsequent "Master Of Puppets", and Slayer's "Reign In Blood", gave life to their artistic breakthrough, and their most representative album: "Cowboys From Hell".