Following this they released their double album cover songs compilation “Garage Inc”, which combined their already released cover songs from previous eras and a bunch of newly recorded cover songs, which again sold so well that they even did a short tour promoting just those tracks. Only Metallica it would seem could sell out concerts playing songs of which none of them were actually Metallica songs.
So, what was next? A new album? Well it seems the band was not ready for that step just yet, and instead they and their management came up with the idea that perhaps they could do something else a bit out of character. The covers album and tour had worked. Thankfully, the band did not go as far as to record and release an unplugged album, though that concept did creep into their shows around this time, something that should never see the light on an official album release. Instead, the band went down the path of playing their bombastic heavy music on stage with the accompaniment of a symphony orchestra.
The idea for this had been around for a while. Michael Kamen, who would eventually compose and conduct the orchestral arrangements for this album, had also been involved in the backing for the song “Nothing Else Matters’ from the Black album, and had suggested at that time that the band could possibly perform some of their material in this way. It was not an unusual approach with the concept having been done since the 1960’s, perhaps most famously by Deep Purple with Jon Lord’s “Concerto for Group and Orchestra” in 1969. Although it took some years to come to fruition, the band and Kamen finally put their heads together to knock out the song list and the arrangements and the performance, which became the album “S&M”
One of the highlights of the album is the beginning, with Ennio Morricone's wonderful "The Ecstasy of Gold", which Metallica has always played as their opening music at the start of each concert. Here, of course, it can be played live by the symphony orchestra in attendance, and it sounds amazing. A real treat from the start. When it comes to the combination of the orchestra and the band, then perhaps the lead off track on the album is still its best response. "The Call of Ktulu", the wonderful instrumental that concludes the "Ride the Lightning" album has always been a majestic piece of music, and here the symphony and metal combine beautifully to create what does sound like a masterpiece. The song is pure enough in itself when the band plays it live, and doesn't need the extra behind it. Butas an enhanced feature, its a beauty. And, coming off "The Ecstasy of Gold" it is the perfect way to start this album and experience. And then, the segue straight into "Master of Puppets", the first call on James's vocals, and of course just the utter power and brutality of the track itself. How would the symphony ride along with this? Well as it turns out, pretty bloody well. The combination of strings and brass alongside guitar and drums, and especially how it ebbs and flows through the middle melodic guitar break back into the MASTER MASTER WHERE'S THE DREAMS THAT I'VE BEEN AFTER and then the full blown guitar solo is quite majestic. Once again the band and Michael Kamen have done a terrific job.
And the fun doesn't stop there. "OF Wolf and Man" crashes out of the speakers with band a strings squealing at you, and taking you on the journey of the song in grand style. This was always one of the stars of the 1991 release and the live version here is every bit as good. And then... My goodness... "The Thing That Should Not Be" is such a monster track on its own, and it sounds terrific here. Then we have the "Reload" heavy hitters of "Fuel" and "The Memory Remains", to slightly opposing offerings. "Fuel" is such a furious song that while it sounds good here doesn't benefit as much from the setting it is played in, while "The Memory Remains" seems to grow legs with the backing of the extended instrumental source, and sounds larger and more responsive as a result. The crowds backing chants help it as well. This is followed by a new track, one that is only found on this album, "No Leaf Clover", which does defy the recent releases by sounding very good, and has become a track that has outgrown its appearance on this album.
Orchestrally, the joining of the songs from "Load" and "Reload" seems to be a snug fit, and perhaps that it because of the way those albums were composed with a less intense and aggressive musical tone that instinctively suits the symphonic renditions. "Hero of the Day" and "Devil's Dance" are the perfect examples here. Both have their moods well covered by the orchestra behind them, allowing the flow of the song to meld with the backing created by Kamen for these tracks. "Bleeding Me" also always felt like it had a purpose further than what Metallica perform on the studio version, and those differing musical platitudes sound better filled here with the backing of the orchestra and the parts written for them to exacerbate them.
Not all the songs gain much from the setting. "Nothing Else Matters" is not amplified by having the symphony backing and remains much as it does for how you individually enjoy it. "Until It Sleeps" does sound good with the backing, with it fitting seamlessly around the original track, while "For Whom the Bell Tolls" is hampered by the extra sonics making the rather simplified track a bit overcharged. So too to the second new song prepared for this album, "- Human", which doesn't match the enjoyment of the earlier new track. And yet another track that has its own power and majesty, "Wherever I May Roam", is given a completely different feel by the orchestics added in for this show, and while the song sounds great it has its guitar power drowned out which lessens its impact.
For the most part, I feel the same way about the rest of the songs on the album from this point on. The only possible point of difference is "Outlaw Torn" which cannot be saved from itself no matter what they added or subtracted from it. But "Sad But True", "One", "Enter Sandman" and "Battery" are all songs that have their own ambiance, a gravitas that allows them to hold their own without additional backing. So while the addition of the composed symphony that envelops them here sounds great, and it was always going to be interesting to hear what they did with those songs for this concert, it does perhaps slightly hinder each track rather than make it a special version of itself. That is certainly the case with "One" that has all of its dramatic passages completely nullified by the orchestra pieces that were written to amplify it.
I'm not sure how long it would have taken me to get around to buying this album if it had not been for the kids I was playing cricket with at that time. Being a 30 year old around 16-18 year olds meant that they were often pushing their music on me to insist that I listen and give it the thumbs up. And I hadn't really any early enthusiasm to get this album when it was released, but after being hounded for weeks that 'you've gotta listen to it, it's awesome!!' I relented and bought myself a copy. And... It was fine. The dual CD - and of course the DVD of the performance, which was probably better as you could see everyone playing their part - was worth a listen. And I won't deny that the opening of that first CD, from the first strains of "The Ecstasy of Gold" through to the end of "No Leaf Clover", is still pretty good to this day. But beyond that, I could easily dismiss the rest. And to be fair I probably have. Over the years when I have listened to this album or watched the DVD, I get to the end of "No Leaf Clover" and then look for what is next in the rotation.
And perhaps this is one of my bugbears. Metallica have never released an official live album, if you do not include the "Live Shit: Binge & Purge" box set from 1993, which has the CD live show from Mexico City on that Black Album tour. Eventually they took on the role themselves through their own company and now offer people the chance to buy every live show they ever play, in soundboard quality. And that's a great thing. But for all of the amazing shows they performed prior to 2005 or so, you have to rely on bootlegs.
So this being the only other officially released live album... and I know it was a gimmick of the time and they rode that wave all the way to the shore... I would probably have preferred a live album without the orchestra. They even did a show they filmed for MTV on their tour to promote "Garage Inc" with all those cover songs live. They could have made THAT a live album, which still wouldn't have solved the main point of my argument. Which again, is this. This album is fine. It has some great songs on it and great versions of songs in a concept that drew more people in to experience what the band had to offer. And I enjoy it as outlined previously. They even did a SECOND one of these 20 -odd years later, which I had never seen nor listened to. Because what you want is to hear the four members of the band, and that's about it. And here you don't have that.
I understand why there are people out there that adore this album and the versions of the songs it contains. I really do. For me though, unless it is on a rare occasion such as having to review it for a podcast episode on its anniversary, I'll be happy to leave it on the shelves.
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