𝐅𝐑𝐎𝐌 𝐓𝐇𝐄 𝐂𝐑𝐘𝐏𝐓𝐒 - 𝐂𝐄𝐋𝐄𝐁𝐑𝐀𝐓𝐈𝐍𝐆 𝐏𝐀𝐒𝐓 𝐀𝐋𝐁𝐔𝐌 𝐑𝐄𝐋𝐄𝐀𝐒𝐄𝐒 𝐢𝐧 𝐭𝐡𝐞 𝐇𝐈𝐒𝐓𝐎𝐑𝐘 𝐨𝐟 𝐇𝐀𝐑𝐃 𝐑𝐎𝐂𝐊 & 𝐇𝐄𝐀𝐕𝐘 𝐌𝐄𝐓𝐀𝐋…
July 27, 1984 — Metallica released their second full-length studio album, Ride the Lightning via Megaforce Records. (Spotify / Apple Music)
Highlights:
The album was recorded in three weeks with producer Flemming Rasmussen at Sweet Silence Studios in Copenhagen, Denmark. The artwork, based on a concept by the band, depicts an electric chair being struck by lightning flowing from the band logo. The title was taken from a passage in Stephen King's novel The Stand, in which a character uses the phrase to refer to execution by electric chair.
Although rooted in Thrash Metal, the album showcased the band's musical growth and lyrical sophistication. Bassist Cliff Burton introduced the basics of music theory to the band and had more input in the songwriting. Beyond the fast tempos of its debut Kill 'Em All, Metallica broadened its approach by employing acoustic guitars, extended instrumentals, and more complex harmonies.
The overall recording costs were paid by Metallica's European label Music For Nations because Megaforce was unable to cover it. It is the last album to feature songwriting contributions from former lead guitarist Dave Mustaine, and the first to feature contributions from successor Kirk Hammett.
Ride the Lightning received a positive response from music critics, who saw it as a more ambitious effort than its predecessor. Metallica promoted the album on the Bang That Head That Doesn't Bang European tour in late 1984, and on its North American leg in the first half of 1985. The band performed at major music festivals such as Monsters Of Rock and Day on the Green later that year. Two months after its release, Elektra Records signed Metallica to a multi-year deal and reissued the album.
(𝙻𝚊𝚛𝚜 𝚄𝚕𝚛𝚒𝚌𝚑 𝚑𝚘𝚕𝚍𝚜 𝚊 𝚌𝚘𝚙𝚢 𝚘𝚏 𝚁𝚒𝚍𝚎 𝚝𝚑𝚎 𝙻𝚒𝚐𝚑𝚝𝚗𝚒𝚗𝚐, 𝟷𝟿𝟾𝟺. 𝙵𝚛𝚘𝚖 𝚝𝚑𝚎 𝙲𝚘𝚕𝚕𝚎𝚌𝚝𝚒𝚘𝚗 𝚘𝚏 𝙻𝚊𝚛𝚜 𝚄𝚕𝚛𝚒𝚌𝚑)
Ride the Lightning peaked at No. 100 on the Billboard 200 with no radio exposure. Although 75,000 copies were initially pressed for the American market, the album sold half a million by November 1987.
(𝙻𝚊𝚛𝚜 𝚄𝚕𝚛𝚒𝚌𝚑 𝚑𝚘𝚕𝚍𝚜 𝚊 𝚛𝚎𝚌𝚘𝚛𝚍 𝚙𝚕𝚊𝚚𝚞𝚎 𝚏𝚘𝚛 𝚁𝚒𝚍𝚎 𝚝𝚑𝚎 𝙻𝚒𝚐𝚑𝚝𝚗𝚒𝚗𝚐, 𝚌𝚒𝚛𝚌𝚊 𝟷𝟿𝟾𝟻. 𝙵𝚛𝚘𝚖 𝚝𝚑𝚎 𝙲𝚘𝚕𝚕𝚎𝚌𝚝𝚒𝚘𝚗 𝚘𝚏 𝙻𝚊𝚛𝚜 𝚄𝚕𝚛𝚒𝚌𝚑)
It was certified 6× platinum by the Recording Industry Association of America (RIAA) in 2012 for shipping six million copies in the United States. Many Rock publications have ranked Ride the Lightning on their best album lists, saying it had a lasting impact on the genre.
Background & Recording:
Metallica released its debut album, Kill 'Em All, on the independent label Megaforce Records on July 25, 1983. The album helped to establish Thrash Metal, a sub-genre of Heavy Metal defined by its brisk riffs and intense percussion. After finishing its promotional tour, Metallica began composing new material, and from September, began performing the songs that were to make up Ride the Lightning at concerts. Because the band had little money, its members often ate one meal a day and stayed at fans' homes while playing at clubs across the United States. An incident occurred when part of Metallica's gear was stolen in Boston, and Anthrax lent Metallica some of its equipment to complete the remaining dates. When not gigging, the band stayed in a rented house in El Cerrito, California, called the "Metallica Mansion" (Belonging to fellow Thrashers, Exodus).
(𝙼𝚎𝚝𝚊𝚕𝚕𝚒𝚌𝚊 𝚠𝚒𝚝𝚑 𝙹𝚘𝚗 𝚉𝚊𝚣𝚞𝚕𝚊 𝚊𝚗𝚍 𝚂𝚌𝚘𝚝𝚝 𝙸𝚊𝚗 𝚘𝚏 𝙰𝚗𝚝𝚑𝚛𝚊𝚡, 𝚌𝚒𝚛𝚌𝚊 𝟷𝟿𝟾𝟺)
Frontman James Hetfield felt uneasy about performing double duty on vocals and rhythm guitar, so the band offered the job to Armored Saint singer John Bush, who turned down the offer because Armored Saint was doing well at the time.
(𝙼𝚎𝚝𝚊𝚕𝚕𝚒𝚌𝚊 𝚊𝚗𝚍 𝙰𝚛𝚖𝚘𝚛𝚎𝚍 𝚂𝚊𝚒𝚗𝚝, 𝚌𝚒𝚛𝚌𝚊 𝟷𝟿𝟾𝟻)
Hetfield gradually built confidence as lead vocalist and kept his original role. Metallica started recording on February 20, 1984, at Sweet Silence Studios in Copenhagen, Denmark. The album was produced by Flemming Rasmussen, the founder of Sweet Silence Studios. Drummer Lars Ulrich chose Rasmussen, because he liked his work on Rainbow's Difficult to Cure (1981) and was keen to record in Europe. Rasmussen, who had not heard of Metallica, agreed to work on the album, even though his studio employees questioned the band's talent. Rasmussen listened to Metallica's tapes before the members arrived and thought the band had great potential. Metallica rehearsed the album's material at Mercyful Fate's practice room in Copenhagen.
Before entering the studio, Metallica collected ideas on "𝚛𝚒𝚏𝚏 𝚝𝚊𝚙𝚎" recordings of various jam sessions. Hetfield and Ulrich went through the tapes and selected the strongest riffs to assemble into songs. Instruments were recorded separately, with only Hetfield playing rhythm guitar.
Rasmussen, with the support of drum roadie Flemming Larsen, taught the basics of timing and beat duration to Ulrich, who had a tendency to increase speed and had little knowledge of rhythm theory. Drums were recorded in an empty warehouse at the back of the studio, which was not soundproof, and caused reverberation.
Although four tracks were already arranged, the band members were not used to creating songs in the studio, as they had not done so for Kill 'Em All. For Whom the Bell Tolls, Trapped Under Ice, and Escape were written mostly in Copenhagen, and the band put finishing touches on Fight Fire with Fire, Ride the Lightning, Creeping Death, and The Call of Ktulu, which had already been performed live.
Lead guitarist Kirk Hammett took the album's name from a passage in The Stand by Stephen King (as previously noted).
The cover art, displaying an electric chair in the midst of lightning bolts, was conceived before recording began.
Metallica initially had sound problems, because its gear was stolen three weeks before the band arrived in Copenhagen. The band members slept in the studio by day as they could not afford a hotel and recorded by night, because the studio was booked by other artists during the daytime. Because the group was looking for a major label deal, several A&R representatives from different labels visited the studio.
At first, it seemed that Metallica was going to sign with Bronze Records, but the deal was canceled, because Bronze executive Gerry Bron did not appreciate the work done at Sweet Silence Studios, and wanted the US edition to be remixed by engineer Eddie Kramer, and even considered re-recording the album in another studio. Metallica was put off by Bron's failure to share the band's artistic vision and decided to look for another label for the US release, though Bronze had already advertised Metallica as one of its bands.
Metallica had to record quickly because of European shows scheduled 29 days after entering the studio. Recording finished on March 14, and Megaforce released the album on July 27. Although the original album budget was $20,000, the final expense was above US$30,000 (equivalent to $81,620 in 2021).
As previously stated, Metallica's European label Music for Nations paid the studio costs because Megaforce owner Jon Zazula could not afford them. Metallica was unhappy with the lack of promotion by Megaforce, and decided to part ways with Zazula.
Major label Elektra Records employee Michael Alago noticed Metallica at The Stone gig in San Francisco, and invited Elektra's chairman and the head of promotion to see the August show in New York. The performance at Roseland Ballroom, with Anthrax and Metallica opening for Raven, pleased the Elektra staff, and the band was offered a contract the following morning.
On September 12, 1984, Metallica signed with Elektra, which re-released the album on November 19. Cliff Burnstein and Peter Mensch of Q Prime were concurrently appointed as the band's new managers.
Ride the Lightning is the last Metallica album to feature co-writing contributions from former lead guitarist Dave Mustaine, who received credit on the title track and The Call of Ktulu. The album also represented the first time Hammett was given writing credits.
The Music & Lyrics:
Music writers opine that Ride the Lightning exhibits greater musical maturity, with sonically broader songs than Kill 'Em All, which was noted for its one-dimensional sound. This development is partially because of bassist Cliff Burton's knowledge of music theory. He showed Hetfield how to augment core notes with complementary counter-melodies and how basic guitar harmony works, which reflected on the song compositions.
(𝙹𝚊𝚖𝚎𝚜 𝙷𝚎𝚝𝚏𝚒𝚎𝚕𝚍, 𝙻𝚊𝚛𝚜 𝚄𝚕𝚛𝚒𝚌𝚑, 𝙲𝚕𝚒𝚏𝚏 𝙱𝚞𝚛𝚝𝚘𝚗, 𝚊𝚗𝚍 𝙺𝚒𝚛𝚔 𝙷𝚊𝚖𝚖𝚎𝚝𝚝 𝚊𝚝𝚝𝚎𝚗𝚍 𝚊𝚗 𝚒𝚗-𝚜𝚝𝚘𝚛𝚎 𝚜𝚒𝚐𝚗𝚒𝚗𝚐 𝚎𝚟𝚎𝚗𝚝 𝚒𝚗 𝚜𝚞𝚙𝚙𝚘𝚛𝚝 𝚘𝚏 𝚁𝚒𝚍𝚎 𝚝𝚑𝚎 𝙻𝚒𝚐𝚑𝚝𝚗𝚒𝚗𝚐, 1985. 𝙵𝚛𝚘𝚖 𝚝𝚑𝚎 𝙲𝚘𝚕𝚕𝚎𝚌𝚝𝚒𝚘𝚗 𝚘𝚏 𝙹𝚊𝚖𝚎𝚜 𝙷𝚎𝚝𝚏𝚒𝚎𝚕𝚍)
Hetfield developed more socially aware lyrics, as well as ominous and semi-philosophical references. Ulrich explained that Metallica opted not to rely strictly on fast tempos as on the previous album, but to explore other musical approaches that sounded powerful and heavy.
(𝙹𝚊𝚖𝚎𝚜 𝙷𝚎𝚝𝚏𝚒𝚎𝚕𝚍, 𝙻𝚊𝚛𝚜 𝚄𝚕𝚛𝚒𝚌𝚑, 𝙲𝚕𝚒𝚏𝚏 𝙱𝚞𝚛𝚝𝚘𝚗, 𝚊𝚗𝚍 𝙺𝚒𝚛𝚔 𝙷𝚊𝚖𝚖𝚎𝚝𝚝 𝚊𝚝𝚝𝚎𝚗𝚍 𝚊𝚗 𝚒𝚗-𝚜𝚝𝚘𝚛𝚎 𝚜𝚒𝚐𝚗𝚒𝚗𝚐 𝚎𝚟𝚎𝚗𝚝 𝚒𝚗 𝚜𝚞𝚙𝚙𝚘𝚛𝚝 𝚘𝚏 𝚁𝚒𝚍𝚎 𝚝𝚑𝚎 𝙻𝚒𝚐𝚑𝚝𝚗𝚒𝚗𝚐, 1985. 𝙵𝚛𝚘𝚖 𝚝𝚑𝚎 𝙲𝚘𝚕𝚕𝚎𝚌𝚝𝚒𝚘𝚗 𝚘𝚏 𝙹𝚊𝚖𝚎𝚜 𝙷𝚎𝚝𝚏𝚒𝚎𝚕𝚍)
Grinder magazine's Kevin Fisher summarized the album as "𝚞𝚕𝚝𝚒𝚖𝚊𝚝𝚎 𝚃𝚑𝚛𝚊𝚜𝚑, 𝚍𝚎𝚜𝚝𝚛𝚞𝚌𝚝𝚒𝚘𝚗 𝚊𝚗𝚍 𝚝𝚘𝚝𝚊𝚕 𝚋𝚕𝚞𝚛" that reminded him of the speed and power of Kill 'Em All.
(𝙲𝚕𝚒𝚏𝚏 𝙱𝚞𝚛𝚝𝚘𝚗, 𝚊𝚝 𝚒𝚗-𝚜𝚝𝚘𝚛𝚎 𝚜𝚒𝚐𝚗𝚒𝚗𝚐 𝚎𝚟𝚎𝚗𝚝 𝚒𝚗 𝚜𝚞𝚙𝚙𝚘𝚛𝚝 𝚘𝚏 𝚁𝚒𝚍𝚎 𝚝𝚑𝚎 𝙻𝚒𝚐𝚑𝚝𝚗𝚒𝚗𝚐, 1985. 𝙵𝚛𝚘𝚖 𝚝𝚑𝚎 𝙲𝚘𝚕𝚕𝚎𝚌𝚝𝚒𝚘𝚗 𝚘𝚏 𝙹𝚊𝚖𝚎𝚜 𝙷𝚎𝚝𝚏𝚒𝚎𝚕𝚍)
Music journalist Martin Popoff observed that Ride the Lightning offered "𝚜𝚘𝚙𝚑𝚒𝚜𝚝𝚒𝚌𝚊𝚝𝚒𝚘𝚗 𝚊𝚗𝚍 𝚋𝚛𝚞𝚝𝚊𝚕𝚒𝚝𝚢 𝚒𝚗 𝚎𝚚𝚞𝚊𝚕 𝚖𝚎𝚊𝚜𝚞𝚛𝚎" and was seen as something new at the time of its release.
(𝙹𝚊𝚖𝚎𝚜 𝙷𝚎𝚝𝚏𝚒𝚎𝚕𝚍, 𝙻𝚊𝚛𝚜 𝚄𝚕𝚛𝚒𝚌𝚑, 𝙲𝚕𝚒𝚏𝚏 𝙱𝚞𝚛𝚝𝚘𝚗, 𝚊𝚗𝚍 𝙺𝚒𝚛𝚔 𝙷𝚊𝚖𝚖𝚎𝚝𝚝 𝚊𝚝𝚝𝚎𝚗𝚍 𝚊𝚗 𝚒𝚗-𝚜𝚝𝚘𝚛𝚎 𝚜𝚒𝚐𝚗𝚒𝚗𝚐 𝚎𝚟𝚎𝚗𝚝 𝚒𝚗 𝚜𝚞𝚙𝚙𝚘𝚛𝚝 𝚘𝚏 𝚁𝚒𝚍𝚎 𝚝𝚑𝚎 𝙻𝚒𝚐𝚑𝚝𝚗𝚒𝚗𝚐, 1985. 𝙵𝚛𝚘𝚖 𝚝𝚑𝚎 𝙲𝚘𝚕𝚕𝚎𝚌𝚝𝚒𝚘𝚗 𝚘𝚏 𝙹𝚊𝚖𝚎𝚜 𝙷𝚎𝚝𝚏𝚒𝚎𝚕𝚍)
Discussing the album's lyrical content, philosopher William Irwin wrote: "𝙰𝚏𝚝𝚎𝚛 𝙺𝚒𝚕𝚕 '𝙴𝚖 𝙰𝚕𝚕 𝚝𝚑𝚎 𝚛𝚎𝚋𝚎𝚕𝚕𝚒𝚘𝚗 𝚊𝚗𝚍 𝚊𝚐𝚐𝚛𝚎𝚜𝚜𝚒𝚘𝚗 𝚋𝚎𝚌𝚊𝚖𝚎 𝚖𝚞𝚌𝚑 𝚖𝚘𝚛𝚎 𝚏𝚘𝚌𝚞𝚜𝚎𝚍 𝚊𝚜 𝚝𝚑𝚎 𝚎𝚗𝚎𝚖𝚢 𝚋𝚎𝚌𝚊𝚖𝚎 𝚖𝚘𝚛𝚎 𝚌𝚕𝚎𝚊𝚛𝚕𝚢 𝚍𝚎𝚏𝚒𝚗𝚎𝚍. 𝙼𝚘𝚛𝚎 𝚙𝚛𝚎𝚌𝚒𝚜𝚎𝚕𝚢, 𝚝𝚑𝚎𝚢 𝚠𝚎𝚛𝚎 𝚑𝚒𝚐𝚑𝚕𝚢 𝚌𝚛𝚒𝚝𝚒𝚌𝚊𝚕 𝚘𝚏 𝚝𝚑𝚘𝚜𝚎 𝚒𝚗 𝚙𝚘𝚠𝚎𝚛".
(𝙹𝚊𝚖𝚎𝚜 𝙷𝚎𝚝𝚏𝚒𝚎𝚕𝚍, 𝙻𝚊𝚛𝚜 𝚄𝚕𝚛𝚒𝚌𝚑, 𝙲𝚕𝚒𝚏𝚏 𝙱𝚞𝚛𝚝𝚘𝚗, 𝚊𝚗𝚍 𝙺𝚒𝚛𝚔 𝙷𝚊𝚖𝚖𝚎𝚝𝚝 𝚊𝚝𝚝𝚎𝚗𝚍 𝚊𝚗 𝚒𝚗-𝚜𝚝𝚘𝚛𝚎 𝚜𝚒𝚐𝚗𝚒𝚗𝚐 𝚎𝚟𝚎𝚗𝚝 𝚒𝚗 𝚜𝚞𝚙𝚙𝚘𝚛𝚝 𝚘𝚏 𝚁𝚒𝚍𝚎 𝚝𝚑𝚎 𝙻𝚒𝚐𝚑𝚝𝚗𝚒𝚗𝚐, 1985. 𝙵𝚛𝚘𝚖 𝚝𝚑𝚎 𝙲𝚘𝚕𝚕𝚎𝚌𝚝𝚒𝚘𝚗 𝚘𝚏 𝙹𝚊𝚖𝚎𝚜 𝙷𝚎𝚝𝚏𝚒𝚎𝚕𝚍)
The major-key acoustic introduction to Fight Fire with Fire displays Metallica's evolution towards a more harmonically complex style of songwriting. The fastest Metallica song in terms of picking speed, it is driven by nimbly tremolo-picked riffs in the verses and chorus. The extended solo at the end dissolves in a sound effect of a vast nuclear explosion.
(𝙹𝚊𝚖𝚎𝚜 𝙷𝚎𝚝𝚏𝚒𝚎𝚕𝚍, 𝙻𝚊𝚛𝚜 𝚄𝚕𝚛𝚒𝚌𝚑, 𝙲𝚕𝚒𝚏𝚏 𝙱𝚞𝚛𝚝𝚘𝚗, 𝚊𝚗𝚍 𝙺𝚒𝚛𝚔 𝙷𝚊𝚖𝚖𝚎𝚝𝚝 𝚊𝚛𝚎 𝚜𝚝𝚊𝚌𝚔𝚎𝚍 𝚒𝚗 𝚝𝚑𝚎 𝚍𝚘𝚘𝚛𝚠𝚊𝚢 𝚘𝚏 𝚝𝚑𝚎 𝙸𝚗𝚝𝚛𝚎𝚙𝚒𝚍 𝙰𝚒𝚛𝚌𝚛𝚊𝚏𝚝 𝙲𝚊𝚛𝚛𝚒𝚎𝚛, 𝙽𝚎𝚠 𝚈𝚘𝚛𝚔, 𝙹𝚊𝚗𝚞𝚊𝚛𝚢 𝟷𝟿𝟾𝟻. 𝚃𝚑𝚎 𝚋𝚊𝚗𝚍 𝚠𝚊𝚜 𝚘𝚗 𝚝𝚑𝚎 𝚁𝚒𝚍𝚎 𝚝𝚑𝚎 𝙻𝚒𝚐𝚑𝚝𝚗𝚒𝚗𝚐 𝚝𝚘𝚞𝚛 𝚠𝚒𝚝𝚑 𝚐𝚞𝚎𝚜𝚝𝚜 𝚆.𝙰.𝚂.𝙿. 𝚊𝚗𝚍 𝙰𝚛𝚖𝚘𝚛𝚎𝚍 𝚂𝚊𝚒𝚗𝚝. 𝙿𝚑𝚘𝚝𝚘: 𝚁𝚘𝚜𝚜 𝙷𝚊𝚕𝚏𝚒𝚗. 𝙵𝚛𝚘𝚖 𝚝𝚑𝚎 𝙲𝚘𝚕𝚕𝚎𝚌𝚝𝚒𝚘𝚗 𝚘𝚏 𝙹𝚊𝚖𝚎𝚜 𝙷𝚎𝚝𝚏𝚒𝚎𝚕𝚍)
The main riff was taped during the Kill 'Em All Tour and the acoustic intro was something Burton was playing on acoustic guitar at the time. The song discouraged the "𝚎𝚢𝚎 𝚏𝚘𝚛 𝚊𝚗 𝚎𝚢𝚎" approach, and its lyrical themes focused on nuclear warfare and Armageddon.
Ride the Lightning is Metallica's first song to have emphasized the misery of the criminal justice system. The lyrics are in the perspective of a death row inmate anticipating execution by the electric chair. The song, one of the two album tracks that credits Mustaine, begins in a mid-tempo which gradually accelerates as the song progress. One of the riffs, originally composed by Mustaine, was simplified. It features an instrumental middle section highlighted by Hammett's soloing. According to Hetfield, the song is not a criticism of capital punishment, but a tale of a man sentenced to death for a crime he did not commit, as in the opening lyrics: "𝙶𝚞𝚒𝚕𝚝𝚢 𝚊𝚜 𝚌𝚑𝚊𝚛𝚐𝚎𝚍/𝙱𝚞𝚝 𝚍𝚊𝚖𝚗 𝚒𝚝/𝙸𝚝 𝚊𝚒𝚗,𝚝 𝚛𝚒𝚐𝚑𝚝".
For Whom the Bell Tolls begins with a bell tolling, followed by a marching riff and high-register bass melody. The chromatic introduction, which Burton wrote before he joined Metallica, is often mistaken for an electric guitar but is actually Burton's bass guitar augmented with distortion and a wah-wah pedal.
The lyrics were inspired by Ernest Hemingway's 1940 novel of the same name, which explores the horror and dishonor of modern warfare.
For Whom the Bell Tolls was released as a promotional single in two versions, an edit on side A and the album version on side B.
Fade to Black is a power ballad with lyrics about suicide. Hetfield wrote the words because he felt powerless after the band's equipment was stolen before the January 1984 show in Boston. Musically, the song begins with an acoustic guitar introduction overlaid with electric soloing. The song becomes progressively heavier and faster, ending with multi-layered guitar solos.
The ballad's arpeggiated chords and reserved singing was incongruous for Thrash Metal bands at the time and disappointed some of Metallica's fans.
The song's structure foreshadows later Metallica ballads, Welcome Home (Sanitarium), One, and The Day That Never Comes. Fade to Black was also released as a promotional single in 1984, in phosphorescent green.
Trapped Under Ice is about a person who wakes from a cryonic state. Realizing there is nowhere to go, and no-one will come to the rescue, the person helplessly awaits impending doom. The song is built on a fast-picked galloping riff, reminiscent of the album's opener. It was inspired by a track Hammett's former band Exodus had demoed called Impaler, which was later released on that band's 2004 album Tempo of the Damned.
Escape was originally titled The Hammer and was intended to be released as a single due to its lighter riffs and conventional song structure. The intro features a counterpoint bass melody and a chugging guitar riff that resolves into a standard down-picked riff. Escape is Hetfield's most disliked Metallica song, due to it being the result of the record company forcing Metallica to write something more radio friendly.
Book authors Mick Wall and Malcolm Dome said the song was influenced by the album-oriented rock of 1970s bands such as Journey and Foreigner, but fans perceived it as an attempt for airplay on rock radio. Metallica has so far performed Escape live only once, at the 2012 Orion Music + More festival, while performing Ride the Lightning in its entirety.
Creeping Death describes the Plague of the Death of the Firstborn (Exodus 12:29). The lyrics deal with the ten plagues visited on Ancient Egypt; four of them are mentioned throughout the song, as well as the Passover. The title was inspired by a scene from The Ten Commandments (1956 film) while the band was watching the movie at Burton's house. The bridge, with its chant "𝙳𝚒𝚎, 𝚋𝚢 𝚖𝚢 𝚑𝚊𝚗𝚍!", was originally written by Hammett for the song Die by His Hand while he was playing in Exodus, who recorded it as a demo but did not feature it on a studio album.
(𝙼𝚎𝚝𝚊𝚕𝚕𝚒𝚌𝚊 𝚒𝚗 𝚙𝚎𝚛𝚏𝚘𝚛𝚖𝚊𝚗𝚌𝚎, 𝚁𝚒𝚍𝚎 𝚝𝚑𝚎 𝙻𝚒𝚐𝚑𝚝𝚗𝚒𝚗𝚐 𝚃𝚘𝚞𝚛, 𝚌𝚒𝚛𝚌𝚊 𝟷𝟿𝟾𝟻. 𝙵𝚛𝚘𝚖 𝚝𝚑𝚎 𝙲𝚘𝚕𝚕𝚎𝚌𝚝𝚒𝚘𝚗 𝚘𝚏 𝙻𝚊𝚛𝚜 𝚄𝚕𝚛𝚒𝚌𝚑)
Journalist Joel McIver called the song a "𝚖𝚘𝚜𝚑𝚙𝚒𝚝 𝚊𝚗𝚝𝚑𝚎𝚖" due to its epic lyrical themes and dramatic atmosphere.
(𝙰𝚕𝚕 𝙰𝚛𝚎𝚊 𝙰𝚌𝚌𝚎𝚜𝚜 𝚕𝚊𝚖𝚒𝚗𝚊𝚝𝚎 𝚙𝚊𝚜𝚜 𝚏𝚛𝚘𝚖 𝙲𝚘𝚊𝚜𝚝 𝚝𝚘 𝙲𝚘𝚊𝚜𝚝 𝚒𝚗 𝙱𝚊𝚕𝚝𝚒𝚖𝚘𝚛𝚎, 𝙼𝚊𝚛𝚢𝚕𝚊𝚗𝚍, 𝙹𝚊𝚗𝚞𝚊𝚛𝚢 𝟷𝟹, 𝟷𝟿𝟾𝟻, 𝚍𝚞𝚛𝚒𝚗𝚐 𝚝𝚑𝚎 𝚁𝚒𝚍𝚎 𝚝𝚑𝚎 𝙻𝚒𝚐𝚑𝚝𝚗𝚒𝚗𝚐 𝚝𝚘𝚞𝚛. 𝙾𝚝𝚑𝚎𝚛 𝚊𝚌𝚝𝚜 𝚒𝚗𝚌𝚕𝚞𝚍𝚎𝚍 𝚆.𝙰.𝚂.𝙿. 𝚊𝚗𝚍 𝙰𝚛𝚖𝚘𝚛𝚎𝚍 𝚂𝚊𝚒𝚗𝚝. 𝙵𝚛𝚘𝚖 𝚝𝚑𝚎 𝙲𝚘𝚕𝚕𝚎𝚌𝚝𝚒𝚘𝚗 𝚘𝚏 𝙹𝚊𝚖𝚎𝚜 𝙷𝚎𝚝𝚏𝚒𝚎𝚕𝚍)
Creeping Death was released as a single with a B-side titled Garage Days Revisited made up of covers of Diamond Head's Am I Evil? and Blitzkrieg's Blitzkrieg.
The Call of Ktulu, tentatively titled "When Hell Freezes Over", was inspired by H. P. Lovecraft's book The Shadow Over Innsmouth, which was introduced to the rest of the band by Burton. The title was taken from one of Lovecraft's key stories featuring Cthulhu, The Call of Cthulhu, although the original name was modified to "Ktulu" for easier pronunciation.
The track begins with a D minor chord progression in the intro, written by Mustaine (Mustaine later re-used the chord structure on Megadeth's track Hangar 18) followed by a two-minute bass solo over a rhythmic riff pattern.
Conductor Michael Kamen rearranged the piece for Metallica's 1999 S&M project and won a Grammy Award for Best Rock Instrumental Performance in 2001.
Touring for Ride the Lightning:
After recording was completed, Music for Nations founder Martin Hooker wanted to arrange a triple-bill UK tour in March / April 1984 with Exciter, Metallica, and The Rods. The Hell on Earth Tour never materialized because of poor ticket sales.
To promote Ride the Lightning, Metallica commenced the Bang That Head That Doesn't Bang European tour on November 16, in Rouen, France, with British New Wave band Tank as support. The tour continued with dates in Belgium, Italy, Germany, and the Nordic countries to an average crowd of 1,300.
After a Christmas break, the group embarked on a 50-date North American tour, first as a co-headlining act with W.A.S.P. and then as headliners with Armored Saint supporting.
At a gig in Portland, Oregon, Metallica covered The Money Will Roll Right In by Fang, with Armored Saint onstage.
The American leg ended in May 1985, and the band spent the following two months working on the next studio album, Master of Puppets, whose recording sessions were scheduled to begin in September.
Metallica performed at the Monsters of Rock festival held at Castle Donington in England on August 17 in front of 70,000 fans.
The band was placed between RATT and Bon Jovi, two Glam Metal groups whose sound and appearance were much unlike Metallica's.
At the start of the set, Hetfield pronounced to the audience:
"𝙸𝚏 𝚢𝚘𝚞 𝚌𝚊𝚖𝚎 𝚑𝚎𝚛𝚎 𝚝𝚘 𝚜𝚎𝚎 𝚜𝚙𝚊𝚗𝚍𝚎𝚡’ 𝚎𝚢𝚎 𝚖𝚊𝚔𝚎-𝚞𝚙, 𝚊𝚗𝚍 𝚝𝚑𝚎 𝚠𝚘𝚛𝚍𝚜 '𝚘𝚑 𝚋𝚊𝚋𝚢' 𝚒𝚗 𝚎𝚟𝚎𝚛𝚢 𝚏𝚞𝚌𝚔𝚒𝚗' 𝚜𝚘𝚗𝚐, 𝚝𝚑𝚒𝚜 𝚊𝚒𝚗‘𝚝 𝚝𝚑𝚎 𝚏𝚞𝚌𝚔𝚒𝚗’ 𝚋𝚊𝚗𝚍!"
Two weeks later, Metallica appeared on the Day on the Green festival in Oakland, California, before 90,000 people.
(𝙼𝚎𝚝𝚊𝚕𝚕𝚒𝚌𝚊 𝚊𝚝 𝙳𝚊𝚢 𝚘𝚗 𝚝𝚑𝚎 𝙶𝚛𝚎𝚎𝚗 ‘𝟾𝟻)
The last show Metallica played before recording began was the Loreley Metal Hammer Festival in Germany, headlined by Venom.
Metallica finished 1985 with a show at the Sacramento Memorial Auditorium on December 29 opening for Y&T, and a New Year's Eve concert at the Civic Auditorium in San Francisco on a bill with Metal Church, Exodus, and Megadeth, the first time Metallica and Megadeth shared a stage. At this gig, Metallica premiered Master of Puppets and Disposable Heroes, songs from the then-upcoming third studio album.
Critical Reception & Album’s Legacy:
Ride the Lightning received widespread acclaim from music critics. According to Q magazine, the album confirmed Metallica's status as the leading Heavy Metal band of the modern era. The magazine credited the group for redefining the norms of Thrash Metal with Fade to Black, the genre's first power ballad.
British rock magazine Kerrang! stated that the album's maturity and musical intelligence helped Metallica expand Heavy Metal's boundaries.
Greg Kot of the Chicago Tribune described Ride the Lightning as a more refined extension of the group's debut.
In a retrospective review, Sputnikmusic's Channing Freeman named it as one of the few albums that can be charming and powerful at the same time. He praised Hetfield's vocal performance and concluded that Metallica was "𝚏𝚒𝚛𝚒𝚗𝚐 𝚘𝚗 𝚊𝚕𝚕 𝚌𝚢𝚕𝚒𝚗𝚍𝚎𝚛𝚜".
AllMusic's Steve Huey saw the album as a more ambitious and remarkable effort than Kill 'Em All. He called Ride the Lightning an "𝚊𝚕𝚕-𝚝𝚒𝚖𝚎 𝙼𝚎𝚝𝚊𝚕 𝚌𝚕𝚊𝚜𝚜𝚒𝚌" because of the band's rich musical imagination and lyrics that avoided Heavy Metal cliches.
The Rolling Stone Album Guide viewed the album as a great step forward for the band and as an album that established the concept for Metallica's following two records.
Colin Larkin, writing in the Encyclopedia of Popular Music, singled out For Whom the Bell Tolls as an example of Metallica's growing music potential.
Martin Popoff regards Ride the Lightning as an album where "𝙴𝚡𝚝𝚛𝚎𝚖𝚎 𝙼𝚎𝚝𝚊𝚕 𝚋𝚎𝚌𝚊𝚖𝚎 𝚊𝚛𝚝". "𝚃𝚑𝚒𝚜 𝚕𝚒𝚝𝚎𝚛𝚊𝚕𝚕𝚢 𝚠𝚊𝚜 𝚝𝚑𝚎 𝚏𝚒𝚛𝚜𝚝 𝚊𝚕𝚋𝚞𝚖 𝚜𝚒𝚗𝚌𝚎 (Judas Priest's 1976) Sad Wings of Destiny 𝚠𝚑𝚎𝚛𝚎 𝚝𝚑𝚎 𝚛𝚞𝚕𝚎𝚋𝚘𝚘𝚔 𝚑𝚊𝚜 𝚌𝚑𝚊𝚗𝚐𝚎𝚍. 𝚃𝚑𝚒𝚜 𝚠𝚊𝚜 𝚊 𝚗𝚎𝚠 𝚔𝚒𝚗𝚍 𝚘𝚏 𝚑𝚎𝚊𝚟𝚒𝚗𝚎𝚜𝚜; 𝚝𝚑𝚎 𝚜𝚘𝚏𝚝, 𝚋𝚒𝚕𝚕𝚘𝚠𝚢 𝚋𝚞𝚝 𝚎𝚡𝚙𝚕𝚘𝚜𝚒𝚟𝚎 𝚙𝚛𝚘𝚍𝚞𝚌𝚝𝚒𝚘𝚗 𝚠𝚊𝚜 𝚊𝚖𝚊𝚣𝚒𝚗𝚐, 𝚝𝚑𝚎 𝚜𝚙𝚎𝚎𝚍 𝚠𝚊𝚜 𝚜𝚞𝚙𝚎𝚛𝚑𝚞𝚖𝚊𝚗", stated Popoff.
Reviewing the 2016 box set reissue (pictured here), Jason Anderson of Uncut considers Ride the Lightning the second best Metallica album which set the pace for Metal in the years to come.
Megaforce initially pressed 75,000 copies of the album for the US market, while Music for Nations serviced the European market. By late 1984, 85,000 copies of Ride the Lightning had been sold in Europe, resulting in Metallica's first cover story for Kerrang! in its December issue.
Many rock publications have ranked Ride the Lightning on their best album lists. The album placed fifth on IGN Music's Top 25 Metal Albums list, and SPIN listed it as a Thrash Metal essential, declaring it "𝚝𝚑𝚎 𝚃𝚑𝚛𝚊𝚜𝚑𝚒𝚎𝚜𝚝 𝚃𝚑𝚛𝚊𝚜𝚑 𝚎𝚟𝚎𝚛".
According to Guitar World, Ride the Lightning "𝚍𝚒𝚍𝚗‘𝚝 𝚓𝚞𝚜𝚝 𝚌𝚑𝚊𝚗𝚐𝚎 𝚝𝚑𝚎 𝚋𝚊𝚗𝚍‘𝚜 𝚝𝚛𝚊𝚓𝚎𝚌𝚝𝚘𝚛𝚢—𝚒𝚝 𝚛𝚎𝚜𝚎𝚝 𝚝𝚑𝚎 𝚌𝚘𝚞𝚛𝚜𝚎 𝚘𝚏 𝙼𝚎𝚝𝚊𝚕 𝚒𝚝𝚜𝚎𝚕𝚏".
Corey Deiterman of the Houston Press considers Ride the Lightning the most influential Metallica album, saying it had a lasting impact on genres such as Crossover Thrash and Hardcore Punk.
In 2017, it was ranked 11th on Rolling Stone's list of 100 Greatest Metal Albums of All Time.
In a 1991 interview, Jason Newsted stated that Ride the Lightning was next to Metallica, "𝚝𝚑𝚎 𝚋𝚎𝚜𝚝 𝚊𝚕𝚋𝚞𝚖 𝚎𝚟𝚎𝚛".
Notice: Any reviews shared here are for historical reference. The views and opinions expressed within are not always supported (in full or in part) by Into the Wells. — E.N. Wells
Follow Us:
Comments