In early 1986, James Hetfield was in bullish mood, talking about the new Metallica album as it was being mixed at Amigo Studios in Los Angeles. “I know that on this album the fast ones are some of the fastest we’ve ever written,” he told Sounds writer Steffan Chirazi. “We’d never try to forget what Metallica formed for, no way. It’s just that maturity in style breeds better material all round.”
The album in question was Master Of Puppets, and its title track was everything that guitarist/vocalist Hetfield promised. It was fast – 220bpm at peak velocity. It had a sense of artistic maturity in its epic scope and dramatic twists and turns, playing out over eight-and-a-half-minutes through several tempo and time signature changes. It was a guitar onslaught incorporating airtight staccato riffing, clean arpeggiated chords, harmonising twin-lead runs and a shredding, frantic solo from lead guitarist Kirk Hammett. And it would become an anthem for one of the most innovative and visionary metal bands of both the 1980s and of all time.
1986 was a landmark year for Metallica and their contemporaries from the thrash metal scene that had revolutionised heavy music in the early 80s. It was the year of Slayer’s Reign In Blood, Megadeth’s Peace Sells... But Who’s Buying?, Dark Angel’s Darkness Descends, Kreator’s Pleasure To Kill and Destruction’s Eternal Devastation. But in the three years since Metallica had kickstarted that revolution with their breakneck debut Kill ’Em All, they had broadened their sound and created in Master Of Puppets an album so ambitious and unique that their rivals were left playing catch-up.
During the tour, Metallica drummer Lars Ulrich told TG’s Paul Elliott: “It’s never been that pre-planned. We’ve just been following our own instincts, doing, Metallica’s focus was razor-sharp. As Hetfield told Steffan Chirazi: “On a lot of numbers there are little things that demand a lot of attention. The album demands this sort of sh*t, man, and we know it’ll make the difference.”
