Has it really been so long since S&M paired the might of Metallica with an orchestra to such delicious effect? I suppose it has. The album, somewhat maligned at the time, has deservedly gained in stature, influencing a host of orchestral collaborations, and earning a follow-up far more ambitious than its forebear. Not that Metallica were the first rock band to pair themselves with a symphony of course; but they brought the format kicking and screaming into the 90s, aided and abetted by the still-sorely-missed Michael Kamen, and the set as a whole has aged remarkably well.
It is both timely and fitting, given how many bands have appropriated the format in the interim, that Metallica should celebrate S&M. With an updated setlist (eleven tracks from the original have made the cut), it’s clear that Metallica learned the lessons from the first outing. Faster tracks such as Battery and the horribly incongruous Fuel have wisely been dropped, whilst epic numbers such as The Outlaw Torn have remained – not to mention the Baroque majesty of Master Of Puppets and One. In truth, few tracks from the first outing needed reworking. Sad But True, whilst a live mainstay, needed no further embellishment from its first dalliance with an orchestra, whilst Devil’s Dance reached a pinnacle on S&M that was as much to do with Michael Kamen’s excellent orchestral arrangement as it was to do with Metallica’s contemporaneous love affair with all things Load. Thus, we get tracks from post-S&M albums, as well as a remarkable experimental number (Into The Iron Foundry) that proves Metallica have lost none of their flair for rattling the odd cage. Strap yourselves in folks, it’s going to be a long show.
Released in a dizzying array of formats you can buy S&M2 on vinyl, double CD, double CD with DVD, double CD with blu ray, DVD, blu ray and a ludicrous box set containing CD, blu ray, vinyl and a lock of James’ hair (OK, maybe not the latter). It’s exhaustive, it’s bordering on the insane… it’s Metallica. This review is for the CD / Blu ray set, which comes housed in a fold-out digipack. Although the outer packaging is nothing special, the large booklet is spot varnished and packed with photos taken by Anton Corbijin as well as liner notes on the collaboration. It’s a nice touch and it helps to commemorate the experience with a degree of respect often lacking in today’s everything-available-all-the-time society. The concert itself is contained on two audio discs, whilst a single blu ray features the complete set, a behind the scenes documentary and a promo for All Within My Hands (the only St Anger song to make the cut). Audio is offered in both DTS Master Audio and PCM stereo, but the orchestra/band-only options of the original S&M DVD are sadly missing. Otherwise, it’s a strong package.
The show itself is remarkable. With the orchestra now surrounding the band, Metallica are free to roam the circular stage in all directions, and the interaction between band, orchestra and audience is enhanced as a result. Obviously, the placement of the orchestra precludes the manic spectacle of a typical Metallica show, but a number of screens show projections and the filming itself as dynamic enough that the performance holds the attention throughout.
Things start on a familiar footing, with the late Ennio Morricone’s Ecstasy Of Gold giving way to The Call Of Ktulu. The latter is a better performance that the original take, which dragged slightly, and gives way to a blistering For Whom The Bell Tolls. It lacks the shivers-up-the-spine rush of the violins racing into Master Of Puppets, perhaps, but it paves the way for a first half packed with mid-tempo pieces from the band’s back catalogue. Highlights include The Day That Never Comes, which proves to be particularly well-served by the orchestral embellishments and, if Confusion feels a touch unnecessary, the hulking return of The Outlaw Torn and the blazing Halo On Fire more than make up for it. The only slight misstep is the subtly reworked No Leaf Clover, which lacks the immediacy of the original and also suffers from not segueing directly from The Memory Remains. Indeed, few of the tracks effectively bleed into one another (I’d like to think this is not just to facilitate a streaming version), which does hamper the flow of the first half a touch.
However, as good as the first half is, it’s rather an appetiser for the second half, which sees Metallica stepping firmly outside of their comfort zone for Into The Iron Foundry (Mosolov). It is here, with Metallica battling the odds, that you catch a glimpse of the acne-ridden urchins that first burst onto the thrash scene with Kill ‘Em All. There’s a power that comes from braving the unknown together that is undeniable and, with Metallica subordinate to the Orchestra, you get to see just how capable the band are as musicians and how that same sense of adventure that saw them embrace the much-maligned Lulu continues to drive them forward.
The orchestra open proceedings with Prokofiev’s The Scythian Suite a stunning and cinematic piece that perfectly suits Metallica’s bombast. Introduced by Michael Tilson Thomas, the orchestra’s director (who exudes boyish glee as he tells the audience about the piece), The Scythian Suite is a short, perfectly-chosen introduction to the power of the San Francisco Orchestra. What follows is one of the album’s most intense sections – The Iron Foundry, Opus 19 – delivered with such panache that it leaves the hair standing on the back of the neck. After such a display, the only possible course is to bring things down a touch, and this they do with a stunning orchestral rendition of The Unforgiven III that sees James stripped of his guitar and delivering the vocals in the most vulnerable and emotional of settings. It’s a bravura performance – one of the great moments of this talented singer’s life – and if some nerves are apparent, James’ vocal nevertheless crackles with power and authority. He has simply never sounded better and more alive than he does here.
We’re not out of surprises yet, either, as the band unveil a radically reworked All Within My Hands, which takes on an Alice in Chains vibe in this unplugged incarnation. Freeing up hitherto unnoticed melodies within the song, it’s one of the album’s most unexpected treats and it makes you wonder how different St Anger might have been had it been crafted in a less turbulent time in the band’s history. And then, keeping the audience very much on the back foot, Scott Pingle takes the stage to deliver an enigmatic take on (Anesthesia) – Pulling Teeth in tribute to Cliff Burton – a moment as emotional as it is impressive.
From there, we’re largely on familiar ground as the band take the audience on a tour of the biggest hitters of their back catalogue. Largely untouched from the original S&M, the band attack tracks like One, Wherever I May Roam, Master Of Puppets and, of course, Nothing Else Matters with gusto. Indeed, even the familiar feels fantastic, and the goose bumps that form as Wherever I May Roam slowly builds its head of steam remind you that Metallica have lost none of their flair for the theatrical.
When S&M2 was announced, I was looking forward to seeing how the band had progressed since the first outing some twenty-something years ago. In point of fact, Metallica have taken huge strides, oozing confidence as they tackle a more challenging selection of material that highlights both the vulnerable and the violent sides of the band. The mesmerising middle section in particular, with its orchestral pieces, unplugged reworkings and risks, proves that Metallica remain a forward-looking force in metal. It’s wonderful, life-affirming stuff and it’s impossible not to look at James, as he delivers Unforgiven III, without a sense of awe, especially considering the personal challenges he had to overcome to stand on that stage. It’s a graceful moment that feels like a reaffirmation of the bond between band and audience and it sits at the heart of a very special show.
There have been times over the years where it seems like Metallica have been taken too much for granted. Their position at the pinnacle of metal’s commercial fortunes means that every subsequent misstep has been amplified many times over, whilst every success seems moderated by those who remain with one foot firmly in the past. Yet, here we have a band unafraid to take considerable risks with their source material, boldly revisiting a key moment from their past and delivering one of the performances of their lifetime in the process. Utterly essential, S&M2 is a triumph beyond all expectations and a stunning reminder of Metallica’s awe-inspiring power. 9
