S&M is Metallica's eighth album. It was released in 1999, two years after Reload.
And it's an intriguing concept: rock supergroup plus symphony orchestra. The possibilities are very exciting, but it is also fraught with danger. Such as whether the often simplistic Metallica songs would actually benefit from the addition of an orchestra? And whether the arrangements can seamlessly integrate an extra 81 instruments within a rock song designed for 4?
I'm not familiar with the original version of The Call Of Ktulu, so it's hard to comment on the "orchestral conversion". But judged in isolation, the leitmotif isn't especially memorable and the song drags on without much purpose to its structure. The biggest disappointment is that it never unleashes the full power of the orchestra; it's always "rock band plus strings" or "rock band plus horns", etc.
On the other hand, I really like the original version of Master Of Puppets. However, I'm not convinced that the occasional orchestral fluff really adds anything to this version. In fact, it jumps around so much that it's very hard to get into the groove of the song. Of Wolf And Man is similar in the failings of the orchestral integration. It's like they've tried to find gaps in which to squeeze an orchestra, and the result is just background noise more than anything else. The Thing That Should Not Be is also just too busy and often the orchestral parts lack any coherence with the underlying rock song.
The recording quality of the quieter sections shows very good character, subtlety and balance. Unfortunately the louder sections can get quite messy (in particular, a muddy sound in the upper-bass frequencies) and the hi-hat is harsh and overbearing on several songs. However, I don't envy the people tasked with shoehorning a raging Metallica - plus a full orchestra - onto a CD, so some slack must be cut.
For Fuel, it seems the band have let the orchestra loose with some of the main riffs of the song, and the result is brilliant! And in the quieter sections, the swirling instruments works a treat to build drama. So, with the extra room for the orchestra to express itself, suddenly the whole concept makes sense. Phew!
The highlight of No Leaf Clover is the great contrast provided by the gentle chorus. Throughout the song, the orchestral parts adds a grand sense of scale, which is fantastic. Devil's Dance is also a wonderful result of combining "S" with "M", however I find the song lacks any effective hooks to make it memorable. Until It Sleeps is also a great arrangement of a lacklustre rock song.
For better or worse, the original of Nothing Else Matters is quite a crude and lumpy rock-ballad. I personally enjoy it for what it is, but there is definitely scope for a more sophisticated approach. But you won't find that here, unfortunately it's just a case of orchestral fluff in background adding nothing worthwhile to the song. Similarly, the S&M version of Enter Sandman also doesn't interest to me at all, perhaps because the original version's appeal is built around its... ahem purity as mindless, headbanging fun. That timeless riff is obscured (perhaps being unrecognisable if you weren't familiar with the original song) and the overall impression is of diluted rather than enhanced.
The instrumental preamble of For Whom The Bell Tolls is brilliant. The rest of the song features wonderful integration of band and orchestra, although I find it lacking in hooks. It's a similar story for -Human. To finish this review with some highlights, Wherever I May Roam, Outlaw Torn and Sad But True hit the nail on the head and deliver everything I'd hoped for when a great rock band is combined with a symphony orchestra.
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